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    <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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    <title>The Bills That Destroyed Urban America — The New Atlantis</title>
    <dc:date>2026-04-01T04:17:04+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The planners dreamed of gleaming cities. Instead they brought three generations of hollowed-out downtowns and flight to the suburbs."

[See also:


"The Demise of Real Neighborhoods Is a Story of Finance"
https://www.thenewatlantis.com/publications/the-demise-of-real-neighborhoods-is-a-story-of-finance

"America’s neighborhoods were once beautiful, unique, dense, and scaled for a communal life on foot. But obscure federal rules piling up over a century have made it nearly impossible for banks to finance new ones."]]]></description>
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    <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>
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    <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>
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<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>
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<item rdf:about="https://www.hodinkee.com/articles/inside-the-design-afraid-minimalism">
    <title>Inside The Design: Why Are Watch Dials So Busy? - Hodinkee</title>
    <dc:date>2025-07-27T05:16:47+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Across the design world, minimalism equates to luxury. In the watch world, it's the opposite."]]></description>
<dc:subject>lizstinson 2021 design minimalism watches luxury hmoser braun tiborkalman m&amp;co anicorn bodoni joedoucet movado dieterrams georgehorwitt moma graphicdesign graphics typography rolex rolexgmtmaster bulgari bvlgari zenith julientornare edouardmeylan logos eames rayeames charleseames baughaus modernism lecorbusier miesvanderrohe bedoni</dc:subject>
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<item rdf:about="https://www.patreon.com/posts/mcmansionization-126873692">
    <title>The McMansionization of the White House, or: Regional Car Dealership Rococo: a treatise | Patreon</title>
    <dc:date>2025-05-09T23:36:11+00:00</dc:date>
    <link>https://www.patreon.com/posts/mcmansionization-126873692</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you, like me, were putzing around on social media last night, you perhaps saw this post in which data journalist John Keegan claims to have found the original source from which Trump ordered the ridiculous gold-painted faux Rococo slop currently hot glued onto every visible surface of the oval office. In a separate blog, Keegan convincingly compared close ups of the Trump appliques with a set of polyurethane offerings listed by Chinese wholesaler AliBaba.*

The responses to this discovery were unsurprisingly gleeful: tariffs for thee but not for me! So much for a “trade war” with CHAYNAH etc. However, as we all know, hypocrisy does not work on Trump and his ilk; if anything, they bask in it like pigs in shit and leave the rest of us huffing the fumes. Beyond hypocrisy, for years the common interpretation of Trump’s longstanding romance with 18th century gilded kitsch has been that, Trump, like other practitioners of so-called “Dictator Chic” (most of whom, like Saddam Hussein, have since been deposed) wishes to fashion himself in the style of the late Bourbon kings who ruled tyrannically and absolutely over their immiserated French populaces. But this ressentiment towards democracy is only a psychological analysis, albeit with aesthetic undertones. For our purposes it is much more useful to consider what Trump is both communicating with this architectural hatchet job as well as its various precedents, most of which come later in history than one would think.

In my last McMansion Hell post, I deployed the phrase “Regional Car Dealership Rococo” (henceforth RCDR) as a joke, but I think it works well as a broader idea. We can define RCDR as the ad hoc revival of 18th century ornamentation that arose, perhaps inevitably, during a period of skyrocketing income inequality coupled with consolidated global supply chains that brought down the cost of architectural materials. Culturally, it is a weed in Postmodernism’s garden bed.

I use the term Rococo here as a catch-all, because that is how the practitioners of RCDR themselves see it, if they consider it in the first place. A victim of a long-standing anti-intellectualism, at some point, these details all just became one “classical” “ornament.” Technically speaking, RCDR is a hodgepodge of Late Baroque, Rocaille, and Rococo as well as their revivals. I choose to use Rococo instead of these other styles because, being associated with a pre-revolutionary opulence, it is more politicized.

[image]

If we want to get educational about it, the foam piecework in Trump’s office is technically called a margent – which is a strip of leaf and/or flower forms hanging downwards, in this case from a shell motif. Last night, I spent hours with various tomes and anthologies of ornamentation and could not find this specific form, though I am not a scholar of 18th century architecture, and such granular details are outside my wheelhouse. It is very possible that it’s completely made up by the manufacturer. I can say, however, that these particular margents are more Late Baroque than Rococo. Although they are florid in nature, they lack the asymmetry that typically defines Rococo ornament.

That Trump rotates these margents 90 degrees to have them work more as, I don’t know, scrolls or festoons is indicative of the RCDR imperative that ornament does not exist in service to some historical or architectural fidelity, but as a simple commodity to be used as one sees fit. It communicates architectural meaning shallowly through pastiche and juxtaposition, rather like a sticker book. This does not mean, however, that it shouldn’t be taken seriously as an object of architectural study.

Rococo and its Discontents

[image: "Commode decoration by Charles Cressent (1745–1749), Metropolitan Museum. CC0."]

Let’s start at the beginning. Though it’s not my favorite style, the reputation of Rococo architecture suffers, I think, from its various afterlives. The use of the term in the 19th century, for example, is similar to how I’ve used it casually in the past: to denote something that is busy and overly ornamented. Originally devised by the French in the early 18th century, Rococo was a reaction to the heavy-handed classicism of the Louis XIV style, characterized by looming, imposing pediments and strict geometries. Bereft of mythical and antique motifs, Rococo was considered lighter and more frivolous than its predecessor. It is best remembered for its pastel colors, its introduction of the exotic, especially chinoiserie, and its use of scrolls on pediments and bandwork. The originator of the rockwork and fake grottos that would become even more popular in the 19th century (including in the castles of our King Ludwig II), Rococo expressed the beginning of what would emerge more fully in Romanticism: a longing for an idealized natural world that was becoming increasingly encroached upon by industry and urbanization.

The French Revolution swept away the original Rococo movement along with many of the despots who proliferated it. However Rococo’s death was short-lived, a premature conclusion. History has repeatedly shown that an architectural style is one of the hardest cultural life forms to kill off. As the Bourbon kings returned to power in the wake of Napoleonic rule, they brought their style with them as means of cementing soft political power. From then on, Rococo revivalism became a fixture of French nationalism. (Perhaps more important to our contemporary analysis is that the Bourbon Restoration was also a period of illiberal protectionism characterized by, you guessed it, high ariffs.)

Even after the July Revolution, this revival lingered for most of the 19th century, and sometimes even merged syncretically with the Romantic movement. Here it was inevitably a bourgeois reaction to not only the Revolution itself, but to emerging changes in society, technology and labor relations, all of which would result in major crises by the middle of the century. This ruling class nostalgia for times of absolute domination over the populace and its use as a conservative, if not nationalistic and imperialist signifier is a defining characteristic of Rococo Revivalism in all its forms, including RCDR.

In its Second Empire (1830-1848) iteration, the nouveau riche of the petit bourgeoisie gravitated in particular towards Rococo decorative arts as a way of legitimating their newly-obtained wealth and prestige, to say to the old aristocrats: we’re not so different, you and me. However, this bourgeois aesthetic pact with the Rococo was a Faustian one. The same techniques of mass production that made the bourgeoisie rich also made the style more accessible than ever, thereby diluting its power.

Early mass production techniques from Britain, such as the steam press, allowed Rococo motifs to be imprinted on thinner sheets of silver – no need for the hassle of silversmithing. Later, industrial mills churned out wooden balustrades and scrollwork at an unthinkable pace. Suddenly, the style of extreme ornamentation had fallen prey to mechanical reproduction. In the process, the original works of Rococo decorative arts, paradoxically, would only become more valuable, as they now retained what Walter Benjamin called “the aura” – i.e. the special, reified thingness imbued in an original work which has since been endlessly copied.

[image: "Photograph of a Rococo Revival parlor in the Metropolitan Museum of Art. CC0."]

Architecture, however, retained its aureatic power for longer, at least if we understand mechanical reproduction as a function of labor. Mature capitalism resulted in the transformation of both architecture and its labor into commodities. This, however, was a gradual process. While replicas of Rococo architectural ornament were commonplace, these replicas still required a certain type of craft labor (shoehorned, of course, into its new capitalist strata.) This was the labor of the stonemason or the carpenter, and even though it would later be armed with tools that sped up production, this labor was still put to use for the creation of a new, albeit aesthetically derivative building. In other words, ornament was widely reproduced from an “original” (and always has been in architecture since at least the Renaissance) but, at this stage, only partially mechanized.

While revivals aspired to creative deviations from a pre-existing aesthetic whole, they soon gave way to something else: eclecticism. Owing in part to the expansion of architectural vocabularies through the parasitic twins of colonialism and archaeology, eclecticism – in which this newly liberated piecemeal ornament could be detached from its original historical contexts and used to create new forms – dominated the mid-late 19th century. The disconnection of ornament from its whole and accelerated advancements in architectural fabrication gradually blurred the line between details and their respective origins, especially for laypeople.  

While bourgeois architects like Charles Garnier explored this mixing of classical ornament through movements such as Beaux-Arts, capitalism didn’t sleep. By the 1890s, vernacular buildings – company housing, industrial sheds etc. -- were mass produced wholesale in factories and assembled by day laborers. This marked the beginning of rapid deskilling in architectural production. Even the term vernacular, once denoting the common buildings that sprung up in response to local material and environmental conditions, became permanently attached to the manufactured buildings that spread indiscriminately across the landscape.

The development of early modernism in the late 19th century finally put the nail in the Rococo coffin, though the style would continue to play a conservative role in France until the late 1930s. Neoclassical revivals regularly popped up contra modernism in the Greek Revival pediments and county courthouses of the world, but fully gilded Rococo would not emerge again for a good forty or fifty years, and when it did, it wasn’t in the realm of high architecture. For the first time in its existence, the locus of the Rococo shifted away from Europe in favor of that capital of kitsch, the United States.

**
Hollywood Days

[image: "Scan from Daydream Houses of Los Angeles."]

Regional Car Dealership Rococo owes its primary loyalty not to King Louis but to Hollywood, where it found a home at midcentury. Hollywood, imbued with the artifice of set design and a very real glamour, was the dominant distributor of cheap spatial reproduction and ersatz images of the past. This was, you must remember, the era that spawned Disneyland, an institution that somehow managed to distill the kitsch of Neuschwanstein castle into something even more saccharine.

By the time Rococo hit the West Coast, the material processes of the 19th century were all but complete. Architecture, even in its most customized forms, became, at heart, an assemblage of commodities. Modernism employed stonemasons primarily in Carrera, for the purposes of making floors and wall panels, not columns, corbels, and pediments, and that’s only if said architects wanted to spend the money. Usually, they didn’t – or couldn’t. By the 1950s, concrete, millwork, stamped metal, and later polyurethane and other foams and plastics, would all be employed in the making and remaking of ornamentation.

The British architectural historian of Postmodernism, Charles Jencks, made several studies of California’s vernacular architecture in the 1970s. His small books for Rizzoli frequently explore the storybook cottages and New Formalist (in appearance only) entablatures that would later give rise to important McMansion elements like the oversized transom window above the front door. Jencks’ analytical penchant was for ever more granular taxonomies, a precedent for our internet-driven predilection for labeling everything an “aesthetic” – albeit with less and less intellectual rigor as the years go by.

In Bizarre Architecture Jencks called Hollywood’s panorama of cheap stylized castles, colonnades, and hobbit holes “fantasy eclecticism” – a mix of ticky-tacky make believe with the existing eclectic pantheon of architectural subjects --  all built with mass produced materials. His somewhat obscure book Daydream Houses of Los Angeles, provides more detail for the residential realm. It is also the original inspiration for this blog. In it, Jencks labels the most ridiculous examples with clever barbs like “topiary fascist” and “predatory mansard.” (I can only aspire to be this funny.)

Of these houses he writes more seriously: “As a type the Movie Star House displays two very definite aspects: power, as signified in a massive and conventionally bland front (like a provincial city hall) and a rambling, spread out informality (like a relaxed Texan with his boots off and his limbs spread akimbo over sofa, stool and coffee table.)” He continues: “Every star’s house has some equivalent to [a] screen rumpus room, where past triumphs are relived and the golden memories are kept alive. They bear some iconographic relation to the cemetery at Forest Lawn and the Movieland Wax Museum, being a quintessential attempt at earthly immortality.”

Trump, we must remember, was, in addition to being a developer, a product of this same showbusiness, for which he has seemingly endless nostalgia. This is, after all, the man who wished to replace the Kennedy Center’s programming with reruns of Cats. (He also has surprisingly developed takes on musical theater, a fact Adorno would have loved.) It’s not just Trump, though, who holds this sentiment. In the basements of many of the country’s McMansions, we will find this same movie room concept regurgitated by a population who did not make any movies but whose joyful memories are irrevocably linked with passive consumption, and who attempt to remake in situ the more contemporary sticky, exurban movieplexes they, as antisocial creatures, wish to petulantly control for themselves. In both cases, this is an architectural culture shaped entirely by mediation.

[image: "By Allan warren - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=10976476"]

The primary text of midcentury Rococo was, of course, the Liberace mansion in Las Vegas. I don’t have time to get into the biography of Liberace, who was decidedly a 20th century phenomenon incomprehensible to my generation, a kind of grindset kitsch pianist whose offerings mostly clog up space in flea market record bins. It is worth mentioning, however, that he was staunchly pro-capitalism and had an extraordinary fascination with both theming as a concept (think a piano-shaped swimming pool, which he invented) and with anything that could communicate luxury, extravagance, wealth, and frivolity. His Vegas abode, built in 1962, is, like many famous people’s houses from the time, a closely guarded mansard on the outside – except this time peppered with filigree scrolls and goofy cherubs. The interior is a pearl within an architectural clam – and it is pearlescent. With its mirrored walls, sunken columned bathtub (the contemporary version of the Rococo grotto), fake Sistine chapel ceiling (there’s our Baroque), and crystal chandeliers, the Liberace mansion is a Rosetta Stone for not only RCDR but the worst McMansions of the early 80s.

Postmodern Malaise

Jencks makes an important point about houses like these, which is that many of them began their lives as more architectural (read: modernist) offerings that were later modified with cheap ornament to conform to changing tastes in the late 60s and early 70s – tastes that were on the vanguard of what would eventually be called Postmodernism. It’s no coincidence that they, as well as the city of Las Vegas as an institution, would be the primary source materials for Robert Venturi and Denise Scott Brown’s famous theory-manifesto, Learning From Las Vegas.

I’ve written about this elsewhere, but I’ll just paraphrase myself by saying that for better or for worse (and often both!) this important book was both spirited and populist in nature. It explored the increasingly dire contradictions between form and function in what is often called Late Modernism, while pointing out that architects, in their pursuit of perfection and control had long ignored the desires of everyday people. In this respect, the language of vernacular rather than academic architecture could thus serve as a new avenue for creativity. In their words: “Main Street was almost alright.”

By now, all the parts were in place for Regional Car Dealership Rococo to proliferate widely. Beyond architectural populism, Postmodernism saw the inevitable synthesis of, well, a lot of concurrent phenomena emerging in art and culture, such as excessive mediation (tv brain), juxtaposition as a compositional tool, and pastiche. It was backed by a rich and extensive theoretical literature, some of which is more readable than others. However, an undercurrent of anti-intellectualism also ran deep in Postmodernism, especially in its later years. And there is no world in which RCDR gives a shit about A Thousand Plateaus or what a “simulacrum” is (even though it is itself a simulacrum: a copy for which no original exists.)

What began with ironical, historically informed, and largely ludic explorations of mixing old architectural elements with new methods of fabrication (think giant, cartoonish columns; simplified but oversized pediments; those neon-besotted displays at the mall) Postmodernism eventually either lost the (formal) plot or transformed into a culture war that lives on to this day regarding the primacy of traditional architecture over modern. The Postmodern Classicism of Leon Krier and Robert AM Stern fame was architecture’s last revival movement and it has never truly left us.

These debates transpired at a time when making traditional architecture without the now-depleted natural materials or craft labor was and remains a largely farcical endeavor. Doing so is either extravagantly expensive or ends up somewhere squarely on the McMansion spectrum. RCDR circumvented this problem simply because it wasn’t thinking of architecture as any kind of meaningful cohesive cultural or even aesthetic program but as a casual expression of personal taste, a desire to communicate what are, if we’re being honest, pretty simple desires. Then, as now, it was traditionalism sold off-label.

[image: "Chair by Robert Venturi and Denise Scott Brown for Knoll, Milwaukee Art Museum. By Sailko - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=63469461"]

By the time of Late Postmodernism (the late 80s or early 90s), one could sense a kind of ideological desperation in projects like Prince Charles’ goofy yet sad pseudo-Georgian town of Poundbury or Celebration, Florida, a kind of Disney company town but for the consumer side that posed the question: what if a theme park resort were a model for urban planning? Such a concept could only come from an flailing movement so subsumed by corporations, culture warring and media consumption it forgot that cities existed at all before Le Corbusier, all while retaining the old master’s distaste for organic urban life and democratic planning. It lives on to this day in the unvanquishable meme of “people like Disney World because they want walkable urbanism.”

At any rate, an unintended side-effect of Postmodernism was the semantic saturation of architectural ornament writ large, the spamming of the same imagery until it lost its distinction and historical meaning. In this respect, it is an acceleration of the eclecticist project. Commodified and sold first in catalogs like its 19th century predecessors, then online, Baroque became Rocaille became Rococo became Liberace became Dictator Chic. Beyond semantics, RCDR would not materially exist without the innovations of the plastic age and its resultant escalation of both pollution and fossil fuel production, or without the cheap labor and global supply chains that grant both Trump’s margents and the McMansion itself their (temporal rather than stylistic) immediacy. Within three months, the Oval Office was transformed from its more routine Biden iteration into a cathedral of gilded junk, all for the low, low price of $1 to $5. But most importantly, more than anything else, RCDR would not exist without the explosion of income inequality spanning from the 1970s to our current oligarchal predicament. It was this minting of new millionaires and billionaires that stimulated the old bourgeois demand for such imagery of wealth, albeit desiccated, at scales not seen since the dawn of capitalism itself.

It is a common misconception that the goal of Trump and other McMansion peddlers is to replicate in any way an architectural style from the past with any kind of fidelity, or that the true comedy lies in how badly this fails. In fact, there’s nothing funny about any of this, though the juxtaposition of extremely cheap commodities with the intention to communicate having lots of money is decidedly ironic. Trump’s margents are an architectural representation of the world he inherited in the 20th and 21st century, as much as the world he wishes to make: a world of paternalism and rule by mob, kingly, sure, but also a world of cheap artifice fabricated in miserable conditions soon to be imported from neoliberalism’s imperialist proving grounds into the domicile, with us footing the tariffs. In short, and to our detriment, Regional Car Dealership Rococo is underwritten by a politics as impoverishing as its imagery.

----

*(The comments, however, dispute this comparison, offering instead a different posting from a Vietnamese wholesaler. I find this proposal somewhat unconvincing on a logistical rather than architectural basis, as a site such as Alibaba would be much easier and seamless to order from. The truth is probably in the middle – a similar listing we haven’t yet uncovered.)"]]></description>
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<item rdf:about="https://salmagundi.skidmore.edu/articles/75-on-jane-jacobs">
    <title>On Jane Jacobs - Salmagundi Magazine</title>
    <dc:date>2025-04-18T05:14:12+00:00</dc:date>
    <link>https://salmagundi.skidmore.edu/articles/75-on-jane-jacobs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One reason Jacobs’ book may have seemed so relevant, in retrospect, was that it tapped into a whole postwar aesthetic celebrating simultaneity and pedestrianism, the beautiful and the ugly happily conjoined in New York’s public spaces. You encountered it in Frank O'Hara’s poems (“Everything suddenly honks”), Edwin Denby’s essay “Dancers, Buildings, and People in the Street,” the walk-inspired choreography of Merce Cunningham and Yvonne Rainer, the street photography of Helen Levitt, films like John Cassavetes’ Shadows, De Kooning’s and Pollock’s paintings, Charlie Parker’s and Charlie Mingus’s mercurial jazz and the aleatory, everyday sounds of John Cage. Jane Jacobs never mentioned these artistic models, but she shared with them an appetite for serendipitous dissonances caught on the fly. Her celebrated “intricate sidewalk ballet” chapter in Death and Life took readers through a day in the life of Hudson Street, the Greenwich Village block where she lived: the shopkeepers opening their gates, the children on roller skates, the natives who hold each other’s keys for safekeeping, the benevolent stranger who applies a tourniquet to a bleeding local and then disappears, the eyes on the street assuring that “All is well.” She made urban life sound stimulatingly benign, revealing “a marvelous order for maintaining the safety of the streets and the freedom of the city.”

Over the years, though, I have found myself having some second thoughts about Jacobs’ do’s and don'ts. The neighborhood pastoral she described seemed too precious and too specifically tied to anomalous Greenwich Village. Her assumption that a large metropolis could only function by ordinary citizens attending to little details, correct as it may be, did not take into sufficient consideration the enormous challenges cities faced, such as poverty, crime, racism, disease, de-industrialization, gentrification, homelessness and income disparity."

...


"In short, metropolises are too complicated and their fates too dialectically enmeshed to fit any one vision. In considering future courses for our cities, we could afford to learn from all three innovative urban thinkers: Jane Jacobs, Lewis Mumford and (even) Robert Moses."

[via:
https://blog.ayjay.org/moses-the-roadgiver/

"P.S. Denunciation of Robert Moses has often been accompanied by reverence for Jane Jacobs (no relation), but in this outstanding essay Philip Lopate shows why those paired assessments need to be complicated."]]]></description>
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<item rdf:about="https://medium.com/@shannonmattern/intellectual-furnishings-e2076cf5f2de">
    <title>Intellectual Furnishings. The Aesthetics and Epistemology of our… | by Shannon Mattern | Medium</title>
    <dc:date>2024-12-15T07:00:38+00:00</dc:date>
    <link>https://medium.com/@shannonmattern/intellectual-furnishings-e2076cf5f2de</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this working paper I’ll outline a new research project that I plan to begin next year, as part of a fellowship at the Internationale Kolleg für Kulturtechnikforschung und Medienphilosophie at the Bauhaus-Universität Weimar. This work is quite rough, but I’m certain that the GIDEST forum will help me shape the project at its foundational level; it’ll help me build the frame before I upholster it. Heh heh.

Most of my research up to this point has focused on “mediated spaces” at the urban and architectural scales – e.g., urban communications infrastructures, cities as communicative spaces, libraries, archives, etc. And while some of that work – including my book on library design (where I addressed the approaches to labor embodied in service-desk and bookshelf design); my article on the Philips Exeter Library (where I focused on the pedagogical values embedded in library furniture and the “Harkness Table”); an article on the collection of, and interior design for, Alvar Aalto’s Woodberry Poetry Room; and an essay on the history of filing apparatae – has examined interior and furniture design within their architectural contexts, this is the first project that maintains its focus at the “furnishing scale.” I’d be remiss if I didn’t acknowledge my intellectual debts to Lynn Spigel and Beatriz Colomina, whose work proved epiphanous for me in grad school, and who have informed my work to this day."

[via:
https://blog.ayjay.org/intellectual-furnishings/ ]]]></description>
<dc:subject>shannonmattern furniture furnishing libraries highered highereducation philipsexeter harknesstable interiors interiordesign design alvaraalto bookshelves tables beatrizcolomina lynnspigel ethnography academia desks shelves shelving chairs reading howweread writing howwewrite offices colleges universities tools media computers computing datacenters servers amiesiegel lecorbusier pierrejeanneret chandigarh rizzoli harryabrams sherryturkle lorrainedaston brunolatour rolandbarthes melvilledewey gidest archives librarystacks books cloud ikea history ezra marclecouer abigailvanslyck johncottondana melvildewey librarians librarianship progressivism storage epistemology mrvdv taxarquitectura seattlepubliclobrary brunorainnaldi ux ui siegfriedgiedion mechanization automation albrechtdürer jonathanedwards wilsonkimnach kennethminkema jacobschuebler vannevarbush memex paulotlet clivewilkinson markuskrajewski konradgessner georgenelson henrywright stotragewall 2014</dc:subject>
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<item rdf:about="https://jackforster.substack.com/p/on-brutalism">
    <title>On Brutalism - by Jack Forster - Split Seconds</title>
    <dc:date>2024-06-02T22:12:19+00:00</dc:date>
    <link>https://jackforster.substack.com/p/on-brutalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[if I were willing to create a Substack account, I'd point to these:
https://22designstudio.net/pages/4d-concrete-watch-44 ]]]></description>
<dc:subject>jackforster brutalism architecture watches design audemarspiguet philtoledano lecorbusier brasilia chandigarh cities urban urbanism standardization urbanplanning witoldrybczynski radiantcity paris judgedredd marcelbreur fascism modernism modernity whitney grandseiko asymmetry girard-perregaux rolex rolexkingmidas ochsundjunior lucaturin watchmaking philliptoledano ludwigoechslin</dc:subject>
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<item rdf:about="https://comment.org/the-architecture-of-prayer/">
    <title>The Architecture of Prayer - Comment Magazine church architecture</title>
    <dc:date>2024-05-25T19:27:06+00:00</dc:date>
    <link>https://comment.org/the-architecture-of-prayer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with architect Amanda Iglesias."

...

"AI: Architecture is a difficult but rewarding career. My advice to young persons is to pursue formation into a person of confidence and conviction. Read broadly. Take every available art history class. Maintain a sketchbook. Spend time with art. Develop “eyes to see.” Wherever you travel, consider yourself a pilgrim and not a tourist. Walk slowly. Learn how architecture is different from buildings, in the same way poetry is different from writing, cuisine is different from food. If you are already in college, take classes in every subject. If you are in high school, consider a liberal arts degree before a master’s in architecture. If you’ve already graduated college with a different degree, it’s still not too late! (This was my path.) Regardless of your season, invest in godly friendships. To be an architect is a lifelong pursuit, one that requires a slow and attentive attitude, and this is cultivated best through a healthy blend of solitude and camaraderie. Finally, ask yourself, What kind of person do I want to become? To adapt a famed C.S. Lewis quote: “The world does not need more Christian [architects]. What it needs is more Christians [designing] good [buildings].”"]]></description>
<dc:subject>architecture 2024 prayer churches design amandaiglesias matthewmilliner faith catrhedrals chapels interiors senegal southafrica berlin christianity davidschaengold denmark rudolfschearz germany davidhotson history rome italy china ostudio duncanstroik franklloydwright louissullivan chicago tadaoando studiogang knowing being armeniangenocide rudolfschwarz ingerexner johannesexner adamcaruso helenthomas duren davidshaengold stevenholl philipbess marktorgerson richardkieckhefer karlabritton gretchenbuggeln philipjenkins vincebantu steynstudio insitu cambodia marlonblackwell arkansas uruguay mapaarquitectos 100foldstudio christopheralexander erikadoss timelessness romanoguardini miesvanderrohe florasamuel ingelinder-gaillard lecorbusier inoutarchitettura ladoarchitetti lamber+lamber rudolphreitermann cslewis pilgrimage italia</dc:subject>
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<item rdf:about="https://www.tate.org.uk/research/tate-papers/07/towards-anarchitecture-gordon-matta-clark-and-le-corbusier">
    <title>Towards Anarchitecture: Gordon Matta-Clark and Le Corbusier – Tate Papers | Tate</title>
    <dc:date>2024-03-23T19:45:36+00:00</dc:date>
    <link>https://www.tate.org.uk/research/tate-papers/07/towards-anarchitecture-gordon-matta-clark-and-le-corbusier</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gordon Matta-Clark (1943–1978), who trained originally as an architect, is best known for his spectacular ‘building cuts’. These have often been seen as an outright rejection of the architectural profession. The collaborative project Anarchitecture (1974), however, demonstrates how the language of modernism, particularly the polemical and epigrammatic Towards a New Architecture by the French modernist artist and architect Le Corbusier, was very much part of his raw material."]]></description>
<dc:subject>godonmatta-clark lecorbusier 2007 architecture art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=UWhuHiL8Pug">
    <title>Why everyone hates this concrete building - YouTube</title>
    <dc:date>2023-11-11T03:52:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=UWhuHiL8Pug</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And why brutalism dominates US college campuses. 

When you look at college campuses across the US, you’ll see massive concrete buildings everywhere. Many of these are designed in a style of architecture called "brutalism," and it's as divisive as it is distinctive.

Brutalist buildings strive for honesty and transparency in their form and materials. This often means using simple materials like raw untreated concrete as well as using bold geometry. 

Its origins can be traced back to the architect Le Corbusier, who pioneered many of the concepts that would become popular amongst brutalist architects.

Brutalism found its way onto college campuses in the wake of World War II. With veterans returning from the war and a baby boom in the US, campuses expanded their facilities to accommodate the growing enrollment. And they wanted to convey their ambition and progressiveness by utilizing these modernist styles.

But as is explored in the video above, these buildings weren't always popular with the public. And they became less so as time went on. We look at Evans Hall at UC Berkeley, which some people view as the ugliest building on campus and whose future hangs in the balance of shifting tastes in architecture. So what does the future hold for these buildings?"]]></description>
<dc:subject>brutalism architecture 2023 harvard ucsd ucberkeley yale design colleges universities highered highereducation history 1940s 1950s 1960s buildings evanshall riceuniversity universityofchicago umassamherst maintenance repaired deferredmaintenance universityofcalifornia deanpeterson timothyrohan concrete cal campuses lecorbusier marcelbreuer louiskahn paulrudolph högnasigurðardóttir reynerbanham memorability structure materials colgate sunystonybrook brynmawr umassdartmouth 1970s robertventuri ucb uc</dc:subject>
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</item>
<item rdf:about="https://www.e-flux.com/architecture/overgrowth/">
    <title>Overgrowth - e-flux</title>
    <dc:date>2018-11-25T23:04:31+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/overgrowth/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Architects and urban practitioners, toiling daily at the coalface of economic expansion, are complicit in the perpetuation of growth. Yet they are also in a unique position to contribute towards a move away from it. As the drivers of growth begin to reveal their inadequacies for sustaining life, we must imagine alternative societal structures that do not incentivize unsustainable resource and energy use, and do not perpetuate inequality. Working on the frontline of capitalism, it is through architecture and urban practice that alternative values, systems, and logics can be manifest in built form and inherited by generations to come.

Editors
Nick Axel
Matthew Dalziel
Phineas Harper
Nikolaus Hirsch
Cecilie Sachs Olsen
Maria Smith

Overgrowth is a collaboration between e-flux Architecture and the Oslo Architecture Triennale within the context of its 2019 edition."

[See also: https://www.e-flux.com/architecture/overgrowth/221902/editorial/ ]

[including:

Ateya Khorakiwala: "Architecture's Scaffolds"
https://www.e-flux.com/architecture/overgrowth/221616/architecture-s-scaffolds/

<blockquote>The metaphor of grassroots is apt here. Bamboo is a grass, a rhizomatic plant system that easily tends towards becoming an invasive species in its capacity to spread without seed and fruit. Given the new incursions of the global sustainability regime into third world forests to procure a material aestheticized as eco-friendly, what would it take for the state to render this ubiquitous material into a value added and replicable commodity? On one hand, scaffolding offers the site of forming and performing the subjectivity of the unskilled laborer—if not in making the scaffolding, then certainly in using it. Bamboo poles for scaffolding remain raw commodities, without scope for much value addition; a saturated marketplace where it can only be replaced by steel as building projects increase in complexity. On the other hand, bamboo produces both the cottage industry out of a forest-dwelling subject, on the margins of the state, occupying space into which this market can expand.

Bamboo is a material in flux—what it signifies is not transferable from one scale to another, or from one time to another. In that sense, bamboo challenges how we see the history of materials. In addition to its foundational architectural function as scaffolding, it acts as a metaphorical scaffolding as well: it signifies whatever its wielders might want it to, be it tradition, poverty, sustainability, or a new form of eco-chic luxury. Bamboo acts more as a scaffolding for meaning than a material with physical properties of flexibility and strength. Scaffolding, both materially and metaphorically, is a site of politics; a space that opens up and disappears, one that requires much skill in making.</blockquote>

Edgar Pieterse: "Incorporation and Expulsion"
https://www.e-flux.com/architecture/overgrowth/221603/incorporation-and-expulsion/

<blockquote>However, what is even more important is that these radically localized processes will very quickly demand spatial, planning, and design literacy among urban households and their associations. The public pedagogic work involved in nurturing such literacies, always amidst action, requires a further institutional layer that connects intermediary organizations with grassroots formations. For example, NGOs and applied urban research centers with knowledge from different sites (within a city and across the global South) can provide support to foster these organizational literacies without diminishing the autonomy and leadership of grassroots movements. Intermediary organizations are also well placed to mediate between grassroots associations, public officers, private sector interests, and whoever else impinge on the functioning of a neighborhood. Thinking with the example of Lighthouse suggests that we can think of forms of collective economic practice that connect with the urban imperatives of securing household wellbeing whilst expanding various categories of opportunity. The transformative potential is staggering when one considers the speed with which digital money systems and productive efficiencies have taken off across East Africa during the past five years or so.

There is unprecedented opportunity today to delink the imperatives of just urban planning from conventional tropes about economic modernization that tend to produce acontextual technocracy. We should, therefore, focus our creative energies on defining new forms of collective life, economy, wellbeing, invention, and care. This may even prove a worthwhile approach to re-signify “growth.” Beyond narrow economism there is a vast canvas to populate with alternative meanings: signifiers linked to practices that bring us back to the beauty of discovery, learning, questioning, debate, dissensus, experimentation, strategic consensus, and most importantly, the courage to do and feel things differently.</blockquote>

Ingerid Helsing Almaas: "No app for that"
https://www.e-flux.com/architecture/overgrowth/221609/no-app-for-that/

<blockquote>Conventionally, urban growth is seen in terms of different geometries of expansion. Recent decades have also focused on making existing cities denser, but even this is thought of as a process of addition, inscribed in the conventional idea of growth as a linear process of investments and profits. But the slow process of becoming and disappearance is also a form of growth. Growth as slow and diverse accretion and shedding, layering, gradual loss or restoration; cyclical rather than linear or expansive. Processes driven by opportunity and vision, but also by irritation, by lack, by disappointment. In a city, you see these cyclical processes of accretion and disruption everywhere. We just haven’t worked out how to make them work for us. Instead, we go on expecting stability and predictability; a city with a final, finished form.</blockquote>

Peter Buchanan: "Reweaving Webs of Relationships"
https://www.e-flux.com/architecture/overgrowth/221630/reweaving-webs-of-relationships/

Helena Mattsson and Catharina Gabrielsson: "Pockets and Folds"
https://www.e-flux.com/architecture/overgrowth/221607/pockets-and-folds/

<blockquote>Moments of deregulations are moments when an ideology of incessant growth takes over all sectors of life and politics. Returning to those moments allows us to inquire into other ways of organizing life and architecture while remaining within the sphere of the possible. Through acts of remembrance, we have the opportunity to rewrite the present through the past whereby the pockets and folds of non-markets established in the earlier welfare state come into view as worlds of a new becoming. These pockets carry the potential for new political imaginaries where ideas of degrowth reorganize the very essence of the architectural assemblage and its social impacts. These landscapes of possibilities are constructed through desires of collective spending—dépense—rather than through the grotesque ideas of the wooden brain.</blockquote>

Angelos Varvarousis and Penny Koutrolikou: "Degrowth and the City"
https://www.e-flux.com/architecture/overgrowth/221623/degrowth-and-the-city/

<blockquote>The idea of city of degrowth does not attempt to homogenize, but rather focus on inclusiveness. Heterogeneity and plurality are not contrary to the values of equity, living together and effective sharing of the resources. Difference and plurality are inherent and essential for cities and therefore diverse spatial and social articulations are intrinsic in the production of a city of degrowth. They are also vital for the way such an idea of a city could be governed; possibly through local institutions and assemblies that try to combine forms of direct and delegative democracy.</blockquote> ]]]></description>
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<item rdf:about="http://www.thefader.com/2016/08/18/hip-hop-architecture-mike-ford-interview">
    <title>How Bad Urban Planning Led To The Birth Of A Billion-Dollar Genre | The FADER</title>
    <dc:date>2016-09-03T21:36:36+00:00</dc:date>
    <link>http://www.thefader.com/2016/08/18/hip-hop-architecture-mike-ford-interview</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Architect Mike Ford traces the relationship between structural racism, public housing projects, and hip-hop."

…

'Hip-hop lyrics are [filled] with first-hand accounts of living conditions in the projects. The hip-hop MC used lyrics to create a dialogue, to give commentary and counterpoints to the modernist vision [that birthed towers like 1520 Sedgwick Ave]. The MCs served as a voice for disenfranchised communities and often un-consulted end users of public housing. Think about Streetlife’s contribution to Wu Tang Clan’s [1998 song] “S.O.S”: Street chronicle, wise words by the abdominal/ High honorable, rap quotable phenomenal/ Seniority kid, I speak for the minority/ Ghetto poverty fuck the housing authority. Or Snoop Dogg’s song “Life in the Projects,” [from the soundtrack of the animated TV show The PJs]: Ain't no trees, the grass ain't green/And when I say it's all bad, you know what I mean. They provided realistic accounts of what life in the projects was like, of the failed urban planning and deplorable conditions of high-rise, low-income housing developments in contrast to the utopia imagined by Le Corbusier.

Corbusier’s plan [did receive] its fair share of criticisms. A critique of the plan was published in the French architectural magazine L’Architecte, and spoke to the uncertainty of the social impact of high density living and Corbusier’s machine-like architecture: “Is the next generation really destined to pass its existence in these immense geometrical barracks, living in standardized mass production houses with mass production furniture…Their games, and by that I mean their recreations, are all based on the same model…Poor Creatures! What will they become in the midst of all this dreadful speed, this organization, this terrible uniformity?” I argue that this 1925 criticism is a prediction of hip-hop culture.

It’s crazy because every architecture school around the country celebrates people like Corbusier and Moses as being great. I’m changing up the story and saying that these people and their ideas were flawed, you know? They created these awful conditions that birthed hip-hop. This is something that’s left out of architectural studies. It hides the hands of those that damaged communities and blames the existence of the “hood” on African-American culture.

As long as people from the outside are telling the story, that narrative will continue. We need to continue to get people of color involved in architecture, as urban planners, as professors, as authors. It’s important for minorities to enter architecture because, throughout the United States, our communities have been designed, uprooted, and pretty much destroyed by architects and urban planners who do not look like us and unfortunately have little to desire to communicate with us during the planning of those events.

So what can happen if we get more minorities involved in architecture and architecture fields such as urban planning? You’re gonna have people at the table who are sensitive to the fabrics of [their] communities and understand what it means to not uproot them. Having a voice at that table to be an advocate for those underrepresented communities is essential. Architecture can destroy and inhibit people from becoming their best, but it also has the power to uplift and empower them. If we’re going to achieve the latter, it’s got to be a collaborative effort."]]></description>
<dc:subject>mikeford architects urbanplanning music history hiphop bronx nyc robertmoses lecorbusier housing housingprojects urbandesign urbnism racism race us wutangclan snoppydogg architecture design</dc:subject>
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<item rdf:about="http://thefunambulist.net/2015/12/03/the-city-of-the-global-south-and-its-insurrections-algiers-cairo-gaza-chandigarh-and-kowloon/">
    <title>The City of the Global South and its Insurrections: Algiers, Cairo, Gaza, Chandigarh, and Kowloon | THE FUNAMBULIST MAGAZINE</title>
    <dc:date>2015-12-14T06:22:37+00:00</dc:date>
    <link>http://thefunambulist.net/2015/12/03/the-city-of-the-global-south-and-its-insurrections-algiers-cairo-gaza-chandigarh-and-kowloon/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On November 10th, I was invited by friend Meriem Chabani to give a small lecture in Paris in the context of the exhibition New South that she curated around six architecture students’ thesis projects engaging cities of the Global South in Bangladesh, Saudi Arabia, Burkina Faso, Morocco and the Canaries. I started writing a digest of this presentation here the next day but the Nov. 13 attacks occurred and I am profoundly sadden to announce that, Amine Ibnolmobarak, the brilliant and kind author of the project for Mecca in this exhibition, was killed in the shootings. Despite the shock of this news and the difficulty to mourn in the maddening noise of the journalistic and political state of emergency, his friends gathered around his family, and remembered with emotion his life in the great hall of the Beaux Arts school last Friday.

The City of the Global South and its Insurrections: Algiers, Cairo, Gaza, Chandigarh, and Kowloon ///

This presentation constitutes a rather shallow examination of five cities’ reciprocal influence between their urban fabric and their insurrections and counter-insurrections operations. In order to make the presentation clearer, I produced a few new maps and thus propose to include my slides here, as well as a few notes to explain them."

…

"CONCLUSION ///

The criminalizing discourses that took the Kowloon Walled City for object as well as its inhabitants, even if based, to a certain degree on a actual facts, is common to all neighborhoods presented here. These discourses construct an imaginary of these neighborhoods that prepares the policed and/or militarized interventions against the urban fabric and its inhabitants. The insurrections evoked throughout this presentation are sometimes less the historical accomplishment of their inhabitants than a narrative forced upon them in order to (re)gain the full political control of these urban formations. As described in another recent article, the rhetorical use of “bastions” or “strongholds” to talk about these neighborhoods or other similar ones, contributes (more often than not, deliberately) to their transformation or demolition orchestrated by the State, sometimes including the very lives of their inhabitants (like in the case of Gaza)."]]></description>
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<item rdf:about="http://www.citymetric.com/horizons/our-cities-should-be-machines-play-869">
    <title>Our cities should be &quot;machines of play&quot; | CityMetric</title>
    <dc:date>2015-03-25T05:49:44+00:00</dc:date>
    <link>http://www.citymetric.com/horizons/our-cities-should-be-machines-play-869</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Le Corbusier famously defined houses as machines for living in: carefully constructed systems that would efficiently help us live. Following that line of thought, he claimed that carefully planned cities, composites of machines for living, would actually lead to a better, more humane urban environment.

In some ways, our modern western cities are somehow thought of, or dreamt of, as postmodern interpretations of Le Corbusier’s ideals. We want our cities to be planned, rehabilitated, open spaces for pleasure as well as productive machines for commerce and innovation. We dream of our cities as being efficient machines of inclusion, environmentally friendly and both forward looking and aware of their past.

But these cities are not very well oiled machines – unless, of course, you’re wealthy. The humane interface of the machine is only available to few, at the expense of the many who can barely scrap a living together in these urban spaces. Our cities have become politically determined zoned areas, corporate gardens through which we transit, but not stay.

Our model of the citizen has also changed. In this era of big data, to be a citizen of a modern city is to be a data provider. Modern cities have become hungry machines that squeeze from all of us all possible data to paint a picture of who inhabits them. The portrait of the modern citizen is a pointillist image made of countless data entries, from addresses to spending habits, framed by the city as the backdrop of what we call “living”.

The spaces of the city machines are highly regulated, with constant refreshers of norms and regulations about their appearance, style, and how citizens, or maybe users, should behave. The ways of traversing cities are also highly regulated, disallowing other forms of transportation than those deemed relevant, possibly, beneficial.

And yet, there are glitches in these machines. The skateboarders and “traceurs”, who see the open spaces of corporate parks and plazas as the perfect settings for athletic performance and just plain fun. The graffiti artists that know there is no better canvas than that paid for by a rich hand, the playful vandals that destroy CCTV cameras in the weird, poignant game of Camover. None of them resist order: rather they create new orders, new spaces of possibility, through play.

This is why making playable cities matters: it is an effort to make these machines human again. To play is to appropriate the world for our own personal expression, within boundaries we set. To play is the fundamentally human act of exploring not only the “what ifs”, but also the “what if nots”, searching joyfully for a space for expression, together with others.

That’s why making cities playable is also making cities livable – making the “public” corporate spaces truly public, spaces to meet across cultures and races and incomes to do what we can best do together: to play, and be playful.

Playable cities can help us rethink big data through toys and playgrounds, giving us the opportunity to reclaim our data. Playable cities allow us to play hide and seek with the restless datavore machine, potentially educating us on what big data actually means, and how to survive it.

Making cities playable won’t solve all of our urbanism problems. But like play theorist Brian Sutton-Smith once said, “Life is crap, and it’s full of pain and suffering, and the only thing that makes it worth living — the only thing that makes it possible to get up in the morning and go on living — is play.”

So let’s make our cities open for play: play as joyous revolt, as constructive resistance, as spaces for moments of joy. Let’s turn cities into collective instruments for pleasure and resistance. Let’s turn cities into machines for playing."]]></description>
<dc:subject>play cities urban urbanism lecorbusier miguelsicart 2015 skating skateboards skateboarding placemaking briansutton-smith resistance pleasure pakour</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:37e4e6bfe7a4/</dc:identifier>
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<item rdf:about="http://www.mascontext.com/issues/19-trace-fall-13/residential-archaeology/">
    <title>Residential Archaeology – MAS CONTEXT</title>
    <dc:date>2015-03-18T21:03:00+00:00</dc:date>
    <link>http://www.mascontext.com/issues/19-trace-fall-13/residential-archaeology/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The cultural phenomenon of customization, the appropriation of things to make them personal, has been the focus of study for years. We can see it daily in the objects that we transform and recycle, between efficiency and aesthetics. If we extrapolate this idea to the discipline of architecture, it becomes even more interesting, albeit of varying intensity: from the wallpaper to the added floor level and through various degrees of appropriation in between.

The approach of Modern Architecture, such as the universal space from the early 20th Century, becoming even more common in the 1950s in houses by Craig Elwood or Richard Neutra among others, has been transformed nowadays into the idea of neutral space, empty, ready to be occupied.

There are also curious examples such as the Appliance House and the Put-Away Villa by the couple formed by Peter and Alison Smithson. In the first one, architecture and household goods are the same, taking to the limit the idea that we are only passing through the spaces. Ideas such as comfort are taken to the extreme in the growing amount of advertising of autos and appliances.

From the industrialized architecture of those spaces we had to extract the particular aesthetic related to the prefabrication process. It is time for architects and manufacturers to address the problem from the opposite end of the scale and make buildings that emanate living habitats and reflect the needs of those who inhabit the spaces.

In the second example, a few years later and almost in opposition, the warehouse house, where we all collect, resulting in the need for a deposit, which requires the occupation of a third of the house: the place for objects-that-you-don’t-use-now-and-that-perhaps-won’t-be-used-anymore. Ultimately, it is the domestication of the spaces.

Let’s recall the performance “I Like America and America Likes Me” (1974) by Joseph Beuys. In it, Beuys is separated from his usual space in order to be placed in a single space along with a coyote, also separated from its natural habitat. Cohabitation and making the space human, space domesticated.

Finally we are generally talking about two things: first, how we get to the spaces and second, how we fill them and therefore, how we transform them.

We must pause and think, how do users (of different social class) personalize their spaces? What can we learn and understand from the materiality of life? Does this have anything to do with the materiality of the projects designed by architects and with any social commitment?

Le Corbusier, Mario Pani, Teodoro González de León, among others, have focused on the constructive materiality, in methods of self-construction or low-cost construction. But, what about the materiality of the everyday? What happens between the mere representation that the architect proposes and the everyday occupation by the resident?

Residential Archaeology consists, therefore, of:

1. Drawing in an archeological way three things: the space occupied by the architecture itself; the everyday life infrastructure, that is, furniture; and the elements that provide use to the furniture, those that humanize them.

2. Studying the impact in terms of occupancy, density and time. An archaeological GPS that subtly gets transformed by the passing of the hours and the collecting of objects, and sometimes their final destination. What we called earlier the objects-that-you-don’t-use-now-and-that-perhaps-won’t-be-used-anymore. How do they alter and reconfigure the space?

3. As a result, the project proposes the registration of these styles-modes-adjustments of life in an electronic file in order to observe their impact and make the design and use evident. Additionally, the project makes a 1:1 scale comparison of each unit: a rug-map, as if drawn by hand on the floor itself, recalling the images we have of when we did so as children on the street or sidewalk. It is, in the end, a recording as George Perec explains in Life A User’s Manual.

The project places the Unité d’habitation in Marseille, the Tlatelolco housing complex, the Mixcoac Towers, the CUPA and Unidad Esperanza under equal conditions, like it does with its authors: Le Corbusier, Mario Pani and Teodoro González de León. All are perhaps pieces of the same puzzle that builds and shows more faithfully what, perhaps, we should take more into account, how we domesticate the spaces.

Citing [furniture and interior designer] Clara Porset, “we could not impose the tenant to acquire the furniture that had been created specifically for his home, nor did we think about convincing him. Instead, we chose to instruct him about design in general, providing him with a culture of housing.”"]]></description>
<dc:subject>housing architecture archaeology residentialarchaeology tlatelolco mixcoactowers lecorbusier mariopani teodorogonzálezdeleón space everyday infrastructure furniture juancarlostello residential cupa mexicocity mexico marseille france customization josephbeuys humans domestication habitat craigelwood richardneutra modernism df mexicodf</dc:subject>
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<item rdf:about="http://www.crousel.com/home/exhibition/174/">
    <title>Galerie Chantal Crousel - Exhibition Dom-Ino - Rirkrit Tiravanija</title>
    <dc:date>2014-06-09T22:25:44+00:00</dc:date>
    <link>http://www.crousel.com/home/exhibition/174/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/quilian/status/476100905322827780 ]

"Once the sports compétitions (or other shows) over, stadium architectures becomes meaningless. Without spectators, they are nothing but empty shells. The onlookers on the step form a passive controlled mass. Each individuel being completely directed by the spectacle in the center. In an evocation of this center, Rirkrit Tiravanija has chosen to install a replica of the « Dom-Ino » project (1915) by le Corbusier. In this wooden replica, Rirkrit Tiravanija invites the visiter to invest the 2 platforms of the habitat. Thus, the Spectator bec omes the inventer and the actor of his own environment, in the interaction with his fellows visiter. The lower plat-bord is equisetum with a CD and cassette player, a TV monitor, a kitchen corner with table and butagaz-cooker, a low table with poufs. The visiter are invited to use the house as they wish, and to share what they bring or find with the others."]]></description>
<dc:subject>art architecture design rirkrittiravanija lecorbusier homes housing dom-ino 1915 1998</dc:subject>
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<item rdf:about="http://www.ft.com/cms/s/2/3b25e156-a532-11e3-8988-00144feab7de.html#axzz2xCRHGE3M">
    <title>The poetic architecture of Luis Barragán and Lina Bo Bardi - FT.com</title>
    <dc:date>2014-03-28T16:39:31+00:00</dc:date>
    <link>http://www.ft.com/cms/s/2/3b25e156-a532-11e3-8988-00144feab7de.html#axzz2xCRHGE3M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My house is my refuge,” wrote Luis Barragán; “an emotional piece of architecture, not a cold piece of convenience.”

A direct challenge to Le Corbusier’s contention that “a house is a machine for living in”, Barragán (1902-88) offered a poetic view of the home as a retreat. His highly individual house in Mexico City, built in 1948, is a minimal masterpiece and curiously monastic. He was intensely religious and an obsessive reader of theological and philosophical texts, and his house embraced layers of public-ness. Some rooms are expansive and generous; the most private ones small and spartan.

Inspired by north African houses, Barragán’s house presents a blank face to the street: just a solid white wall and a small door with a sliding panel – the kind of feature you might find at the entrance to a nunnery. Its entrance hall is modest but its combination of geometric simplicity, flush surfaces, rough plaster and a floor of dark volcanic stone offer an idea of a house luxurious in its attention to detail yet ascetic in its architecture.

There is, however, a flash of colour that draws the visitor in: a canary-yellow door leading to a bright pink room. Where Le Corbusier and his modernist contemporaries might have used the odd colour highlight – typically red, yellow or blue – Barragán was renowned for soaking his houses in bold, unforgettable colour.

Take his most photographed work, the San Cristóbal stables outside Mexico City. For its vivid blast of pinks and fuchsias set against the bright blue Mexican sky (and its reflection in the pool), the stables are a powerful Latin American riposte to the notion that modernism had to be anaemically white and allergic to colour.

A tour through Barragán’s house reveals layers in which the more public parts of the house are gradually stripped away to reveal the sparse rooms inhabited by the architect himself, and intended only for him. Each room features some nod to Christian art, ritual or iconography.
In the guest bedroom, a Madonna is placed not directly above the bed (Barragán was sensitive to those who might not share his beliefs) but to one side, her eyes turned towards her infant son – a Madonna not dominant yet still keeping an eye on the spiritual wellbeing of the guest.

…

…

The Casa de Vidro (Glass House) in São Paulo was built three years after Bárragan’s masterpiece. It too rebels against Le Corbusier’s concept of the house as a machine or as abstract sculpture – even if it is at least in part inspired by his use of concrete. But unlike Barragán’s insular, contempl­ative house, this is a dwelling that opens up to the landscape, that scoops up the surrounding rainforest and sucks it in. The Casa de Vidro was designed by Lina Bo Bardi (1914-92) for herself and her husband Pietro Maria Bardi, director of the São Paulo Museum of Art, not long after arriving in Brazil from their native Italy.

The site, which has now developed into the upmarket suburb of Morumbi, was in the middle of the rainforest. Even now, enough jungle remains on the hillside to remind people of the original wilderness.

Where Barragán’s house resolutely looks inwards, Bo Bardi’s looks out. Its living space is purely public, glazed all round, and the dining and living areas flow into each other. Like Barragán, Bo Bardi and her husband collected artworks – many of them profoundly Catholic images. Both architects consciously play with the juxtaposition of the emotional intensity of religious imagery and the asceticism of modernist architecture.

Bo Bardi thought Brazilian architecture should look to its indigenous past as well as to modernism. “Its source”, she wrote in a 1951 essay, “is not the architecture of the Jesuits: it comes from the wattle-and-daub shelter of the solitary man, laboriously constructed out of the materials of the forest; it comes from the house of the rubber-tapper, with its wooden floor and thatch roof.” Her house exhibits some of those fetishes and crafted objects that express that urge to make, alongside Catholic artefacts.

Yet her house never feels like an exhibition space; instead these pieces form a landscape of memory that stretches from Italy to Brazil. If there is a difference (beyond the obvious openness of the façades), it is in the sense of hierarchy between the private and the social, which is much less pronounced in Bo Bardi’s house. This feels like a house for company rather than contemplation.

…

Both houses, in their preoccupations with the delineations of public and private space, their concerns for transparency or opacity and their treatment of landscape or street, are very Latin American in spirit. Both depart from the more showy aspects of their contemporaries in Europe and North America, where houses were seemingly built as much for public consumption as they were for the client, and with the photographed image in mind. They are also among the most influential houses of the past century, their genius apparent in their constant rediscovery by each successive generation."]]></description>
<dc:subject>luisbarragán linabobardi design architecture mexico 2014 color lecorbusier modernism brasil mexicocity mexicodf sãopaulo brazil df</dc:subject>
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<item rdf:about="http://forum-network.org/lecture/inventing-kindergarten-seedbed-modern-art">
    <title>Norman Brosterman - Inventing Kindergarten: Seedbed of Modern Art | Video on PBS &amp; NPR Forum Network</title>
    <dc:date>2012-02-21T06:53:51+00:00</dc:date>
    <link>http://forum-network.org/lecture/inventing-kindergarten-seedbed-modern-art</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Norman Brosterman discusses the history of kindergarten and its influence on such modernist giants as Frank Lloyd Wright, Wassily Kandinsky, Piet Mondrian, Le Corbusier and the Bauhaus school.
In his book Inventing Kindergarten, Brosterman argues that within this lost world of women and children we can locate the seedbed of modern art. With its emphasis on abstract decomposition and building up from elemental forms, the original kindergarten system of the mid-nineteenth century created an education and design revolution that profoundly affected the course of modern art and architecture, as well as physics, music, psychology and the modern mind itself."]]></description>
<dc:subject>decomposition design education music physics psychology architecture art modernism inventingkindergarten bauhaus lecorbusier pietmondrian wassilykandinsky franklloydwright normanbrosterman 2005</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:22164aa60cb6/</dc:identifier>
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<item rdf:about="http://www.nytimes.com/2012/01/26/arts/design/penn-south-and-pruitt-igoe-starkly-different-housing-plans.html?pagewanted=all">
    <title>Penn South and Pruitt-Igoe, Starkly Different Housing Tales - NYTimes.com</title>
    <dc:date>2012-01-27T06:30:01+00:00</dc:date>
    <link>http://www.nytimes.com/2012/01/26/arts/design/penn-south-and-pruitt-igoe-starkly-different-housing-plans.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Penn South is a cooperative in affluent, 21st-century Manhattan past which chic crowds hustle every day to and from nearby Chelsea’s art galleries, apparently oblivious to it. It thrives within a dense, diverse neighborhood of the sort that makes NY special. Pruitt-Igoe, segregated de facto, isolated & impoverished, collapsed along w/ the industrial city around it.

But they’re both classic examples of modern architecture, the kind Mr. Jencks, among countless others, left for dead: superblocks of brick & concrete high rises scattered across grassy plots, so-called towers in the park, descended from Le Corbusier’s “Radiant City.” The words “housing project” instantly conjure them up.

Alienating, penitential breeding grounds for vandalism & violence: that became the tower in the park’s epitaph. But Penn South, with its stolid redbrick, concrete-slab housing stock, is clearly a safe, successful place. In this case the architecture works. In St. Louis, where the architectural scheme…"
]]></description>
<dc:subject>2012 urbanism urban design comparison nyc stlouis lecorbusier architecture pruitt-igoe</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:90a31646b0c0/</dc:identifier>
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</item>
<item rdf:about="http://www.domusweb.it/en/art/the-brutality-of-utopias/">
    <title>The brutality of utopias - Art - Domus</title>
    <dc:date>2012-01-16T00:31:00+00:00</dc:date>
    <link>http://www.domusweb.it/en/art/the-brutality-of-utopias/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A realised utopia is definitive and concluded. It cannot evolve, for that would imply an error or instability in the originally conceived utopia. This is what seems to underlie the brutality that Michel Houellebecq ascribes to Le Corbusier's vision in his latest novel: utopia's inherent lack of evolutionary scope (for nature, man and architecture itself), and the exclusion of continuity from its language. The same flaw is also shared by 3D projects for the most recent signature buildings, thus disclosing their utopian aspiration: whiter than white, rendered surfaces; empty and immaculate horizons all around, never to be populated; proportionate, identical trees set in rows; scattered knots of people inside them gazing into each other's eyes or holding hands, with children destined never to grow, who have no shadow. This non-utopia represents the epicentre of Dionisio González's work."
]]></description>
<dc:subject>favelachic vincenzolatronico unplanning planning organicgrowth teddycruz robertomarinho lecorbusier fiction slums collage favelas art architecture utopia dionisiogonzalez</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6c915ffdcb8a/</dc:identifier>
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<item rdf:about="http://www.ribbonfarm.com/2010/07/26/a-big-little-idea-called-legibility/">
    <title>A Big Little Idea Called Legibility</title>
    <dc:date>2011-08-17T19:47:37+00:00</dc:date>
    <link>http://www.ribbonfarm.com/2010/07/26/a-big-little-idea-called-legibility/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Authoritarian High-Modernist Recipe for Failure…

• Look at a complex and confusing reality, such as the social dynamics of an old city
• Fail to understand all the subtleties of how the complex reality works
• Attribute that failure to the irrationality of what you are looking at, rather than your own limitations
• Come up with an idealized blank-slate vision of what that reality ought to look like
• Argue that the relative simplicity and platonic orderliness of the vision represents rationality
• Use authoritarian power to impose that vision, by demolishing the old reality if necessary
• Watch your rational Utopia fail horribly

Central to Scott’s thesis is the idea of legibility. He explains how he stumbled across the idea while researching efforts by nation states to settle or “sedentarize” nomads, pastoralists, gypsies and other peoples living non-mainstream lives…"]]></description>
<dc:subject>politics history philosophy problemsolving imperialism colonialism jamescscott design architecture urbanplanning urbanism nomads nomadism gypsies pastoralists mainstream radicals radicalism 2011 venkateshrao legibility illegiblepeople illegibles stevenjohnson patternmaking patterns patternrecognition complexity unschooling deschooling utopianthinking india high-modenism lecorbusier forests brasilia bauhaus control decolonization power nicholasdirks rome edwardgibbon civilization authoritarianism authoritarianhigh-modernism elephantpaths desirelines anarchism organizations illegibility highmodernism utopia governance simplification measurement quantification brasília canon modernity modernism 2010 romani roma</dc:subject>
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<item rdf:about="http://www.aggregat456.com/2011/01/utopia-for-sale.html">
    <title>this is a456: Utopia For Sale</title>
    <dc:date>2011-02-05T19:03:18+00:00</dc:date>
    <link>http://www.aggregat456.com/2011/01/utopia-for-sale.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["somehow rings familiar. During early 20th century, art & architecture never existed wholly isolated from popular culture, consumerism, or corporate interests. This was the case in Europe as it was in US. As Le Corbusier’s Plan Voisin or various Reynolds Aluminum ads that would appear in US in 1940s demonstrate, corporate interests sometimes found an unlikely alliance w/ avant-garde. But with Bel Geddes & “The City of Tomorrow,” something slightly different was in order. The author of Horizons did see himself primarily as artist, but never in the same vein as would Le Corbusier, Frank Lloyd Wright, or Erich Mendelsohn. As a person who always wore his commercial aspirations on his sleeve, Bel Geddes became a figure willing to leverage artistic inclinations not only as a kind of expertise, but as vehicle for transmitting ideas about contemporary urbanism to mass audiences. He was…person who popularized utopia by giving it its most tangible & visibly-appealing manifestation…"]]></description>
<dc:subject>design culture politics history theory streamlining stanleyrestor henrydreyfuss modernism raymondloewy walterdorwinteague nomanbelgeddes advertising lecorbusier thecityoftomorrow architecture art commercialism shelloil gm pedestrians utopia utopian transportation cars broadacre millermcclintock</dc:subject>
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</item>
<item rdf:about="http://cheerfulsw.com/2010/dont-listen-to-le-corbusier%E2%80%94or-jakob-nielsen/">
    <title>Don’t listen to Le Corbusier—or Jakob Nielsen : Cheerful Sofware Manifesto</title>
    <dc:date>2010-11-22T06:21:14+00:00</dc:date>
    <link>http://cheerfulsw.com/2010/dont-listen-to-le-corbusier%E2%80%94or-jakob-nielsen/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cheerful software, above all, honors the truth about humanity:

Humans are not rational beings.

A human is a walking sack of squishy meat and liquids, awash in chemicals.

We laugh. We cry. Sometimes we laugh while crying. We love, and hate, and dream about tomorrow while paying no attention to today. We do ridiculous things in pursuit of love or happiness or self-esteem. We sabotage ourselves. We see faces in inanimate objects, clouds, rock formations, and unevenly toasted bread. Then we sell them on eBay.

We pray to giant humans up in the sky. We think that a fly could be our grandmother. We work for free because we’re bored. We create art, dance, and sing even if we are starving. We give to others when we have little, or we give none when we have a lot, even if we gain no clear survival benefit either way."

[via: http://twitter.com/jeeves/status/6585252130594816 ]]]></description>
<dc:subject>architecture software lecorbusier interactiondesign jakobnielsen emotion love usability ui soul psychology philosophy webdesign ux manifesto interaction advice design manifestos webdev</dc:subject>
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    <title>When Buildings Stopped Making Sense - WSJ.com</title>
    <dc:date>2007-11-28T05:41:44+00:00</dc:date>
    <link>http://online.wsj.com/article/SB119578134568501693.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["a thoughtful argument against the excesses of "designer" architects and urban-planning utopians." "Pei's pyramid at the Louvre...was a deliberate act of cultural vandalism"
]]></description>
<dc:subject>books design architecture failure frankgehry controversy impei franklloydwright lecorbusier daniellibeskind starchitects risk</dc:subject>
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