Recently in e-flux;

In October of last year, Brian Holmes dug into “a condition of relational awareness” aka “Anthropocene public space“. Concluding with this challenge

For artists and activists seeking to transform the conclusions of climate science into the convictions of embodied experience, the golden spike is each local place and singular moment in time when a group of people is able to come to grips with their own implication in earth-system processes. Because abstract knowledge is always intertwined with embodied experience, such places and moments in time are never purely local or singular. To take form and consistency as a widely sharable practice of perception/expression, Anthropocene public space must seek the correlation of situated knowledges and experiences.

Then in November, Nicholas Korody penned Mere Decorating. As he explains

While the work of the architect ends with construction, the inhabitant-cum-decorator must continuously maintain the home, adjusting it to suit new tastes. Decorating is the under-recognized labor that constitutes the interior as such through the placement and upkeep of objects and things, such as bibelots, carpets, and houseplants, within pre-existing built space.

He goes on to review the history of 19th century pteridomania, and the contemporary Millennial interest in houseplants (aka phytomania or “fern-fever“).

Finally later that same month, Peggy Dreamer offered some criticism of “Typical American Institute of Architects (AIA) ‘design-bid-build’ contracts“, National AIA and “relational contract theory” as it might apply to ideas of class, labor and architectural praxis.

Advertisements

re: what it means to be a citizen architect

Dean Milton Curry at the University of Southern California

‘Design thinking’ is, for me, the instrumentalization of methods of design for profit. “Architectural thinking” is understanding that the role of the designer, within the context of architecture, always incorporates the public good no matter if you are you doing a private or public building. The notion of public good is embedded within the DNA of architecture period. That has to be and has to remain in the DNA of architecture and architecture schools.That’s what I call “architectural thinking”. 

via Archinect

re: a “Trivial Profession”

Places Journal published, ‘Jane Jacobs and the Death and Life of American Planning‘, an essay by Associate Professor Thomas J. Campanella.

Therein he explains why;

To understand the roots of this sense of impotence requires us to dial back to the great cultural shift that occurred in planning beginning in the 1960s. The seeds of discontent sown then brought forth new and needed growth, which nonetheless choked out three vital aspects of the profession — its disciplinary identity, professional authority and visionary capacity.”

Curious Methods: re: a “Theory of Mud”

Collage of various living and non-living actors on the mud, a study of vectors and trajectories. [Karen Lutsky and Sean Burkholder]

On the need for “grounded reports“. The difference between a Proving vs Probing praxis. Not “Methodolatry“, but perhaps a small “p“, pedagogy? Which seeks to ask/answer the “loveliest“, not the “best” questions.

Via Karen Lutsky and Sean Burkholder, over at Places Journal

Issue 21: of the Avery Review

Because here’s the thing—architecture is always complicit, Trump or no Trump. It always has been. Architecture coordinates colossal expenditures (of material, of energy); it scripts forms of labor (in its construction, in its operation, and in the programs it houses); it is both a repository and generator of capital. Architecture participates, centrally, in defining modes of life, whether for the privileged or the dispossessed—designing and building the boundaries between the “haves” and the “have-nots,” sometimes subtly. Recognizing these complicities need not inspire either nihilism (“Well, what can I do about it?”) or defensiveness (“What am I supposed to do about it?”), but should rather be understood, quite simply, as the terrain we navigate. Naming these complicities and the injustices they perpetuate is a first step toward addressing them.

In which Manuel Shvartzberg CarrióTeddy Cruz and Fonna Forman, Anna Lui and Ananya Roy argue why “understanding Trump requires understanding Schumacher” and further, the importance of “understanding of the hegemonic articulations of infrastructure“, or how “managerialism is hegemonic because modern infrastructures operationalize, pre-empt, co-opt, channel, and distribute—that is, they manage power—by design“. Plus, praise for Keller Easterling’s ‘Extrastatecraft: The Power of Infrastructure Space’.  A call for “Unwalling Citizenship” and a reading of the catalog/book of the exhibition ‘After Belonging‘. Also, reflections on #NotMyAIA, “ontologies of professional expertise“, normalization, the “infrastructure of assent“, “logics of white supremacy and patriarchy…“, the “politics of divestment“.

roy02

Jacob Lawrence, The Migration of the Negro, panel no. 15, 1940–41. © The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society [ARS], New York.

Interview(s) with Quentin Tarantino

In light of the recently released film Django Unchained Charles McGrath sat down for a conversation with Mr. Tarantino published last Sunday in NYT as Quentin’s World.

I have been a longtime fan of Mr. Tarantino’s work but never really read up on his background or his oeuvre, other than the occasional review.

It was probably for that reason more than any other that a couple of facts/passages from the piece really stood out.

First, that Mr. Tarantino was a middle-school dropout who educated himself on films by working at a video store. He explains “In a weird way my working at the video store, a minimum-wage job with a bunch of other people working a minimum wage job, all of us around the same age, hanging out together — that’s kind of what you get when you go to college, along with the education“.

Then there was this nugget regarding his screen-writing process and the importance of music.

I’ve got a huge record collection, and I have a record room off of my bedroom. It looks just like a used-record store, with record posters and bins of records broken down into genres. That’s a big part of my think tank. When I’m getting ready to write a new movie, or thinking of the story and starting to zero in on it, I’ll go in the record room and start trying to find music for the movie — other soundtracks, songs, whatever. When I do find a couple of pieces, that’s two or three steps closer to actually being a movie. Now who knows if those three songs will end up being in the finished movie? But it gets me a little further along.

Finally in a discussion about the re-occurrence throughout his films of a singular theme, of performance, of the “idea of acting or performing” he notes “Probably the one recurring line in all my movies is when at some point somebody says to somebody else, ‘We gotta stay in character’.” This running theme is also I think at least one of the reasons why his films always feel like there is a breaking of the fourth-wall, a knowingness and sense of referentiality, whether to a certain genre or film history at large.

On a related note over at The Root (a daily online magazine that provides thought-provoking commentary on today’s news from a variety of black perspectives) Henry Louis Gates Jr. editor-in-chief, published a three part interview with Quentin Tarantino; PT 1, PT 2, PT 3 in which he labels the film “a postmodern, slave-narrative Western“. In the first part, Mr. Tarantino explains how Django Unchained was a reaction to or deconstruction of The Birth of a Nation. In the second, Mr. Tarantino responds to those who criticize his heavy use of the n-word, in Django Unchained and his other films. In the third, Tarantino explains Django’s character arc and why his film isn’t your typical “white savior” story.

Koolhaas on why OMA enters competitions

Unlike most architects of his stature, Koolhaas participates in many competitions. The process allows for creative freedom, since a client isn’t hovering, but it’s also risky. The firm invests an enormous amount of time and money in projects that will never get built. To Koolhaas, this seems to be an acceptable trade-off. “I’ve absolutely never thought about money or economic issues,” Koolhaas said. “But as an architect I think this is a strength. It allows me to be irresponsible and to invest in my work.

Via Nicolai Ouroussoff essay on Rem Koolhaas for Smithsonian Magazine. Earlier in the piece Ouroussoff contends that “Koolhaas works like a conceptual artist—able to draw on a seemingly endless reservoir of ideas” a fact directly linked to OMA’s engagement with competition as praxis. Chiefly by providing a “bank” of ideas as it were.