AD Round Up: Smiljan Radic

Copper House 2 / . Image © Cristobal Palma / Estudio Palma

Although previously unknown except in his native Chile, architect Smiljan Radic has recently received international attention for his design of this year’s pavilion for London’s Serpentine Galleries. His latest and largest undertaking yet, a winery outside of Santiago, has been featured in this article by the New York Times. And now, his Mestizo Restaurant has been named one of the seven most outstanding 21st century projects in the Americas. If you’re unfamiliar with Radic’s unique works, we’ve compiled a round-up of some of our favorites for you to explore, including his Serpentine PavilionCopper House 2, the Mestizo Restaurant, a bus stop for the town of Krumbach, Austria, and his renovation of the Chilean Museum for Pre-Columbian Art. Enjoy!

“Design Mind” Witold Rybczynski Discusses His Latest Work

Photo by Michael Cooper

While most of the profession looks forward, author Witold Rybczynski is focused on the past. Named 2014′s “Design Mind” by the Cooper-Hewitt National Design Museum earlier this month, Rybczynski writes about historical buildings to give a better understanding of modern architecture. In a recent with the New York Times, Rybczynski talks about his latest book “How Architecture Works: A Humanist’s Toolkit,” the dangers of “celebrity” architecture, and his favorite non-designer chair. Check out the full interview here.

The Architect Critic Is Dead (just not for the reason you think)

Arlington National Cemetery. Courtesy of Flickr user CC Stuck in Customs

As you may have heard,The New Yorker’s Architect Critic, Paul Goldberger, is leaving for .

If this registers no reaction from you, let me explain why it should. Paul Goldberger is the crowned prince of criticism. He began his career at in 1972, where he worked under Ada Louise Huxtable, our reigning critical queen, and where he won a Pulitzer Prize. In 1997, he switched media empires:

“I thought it was as perfect a life as you could have,” Goldberger told The Observer, “to spend half your career at The Times, half at The New Yorker.”

But, after years of “fighting for adequate space” in an increasingly shrinking column, Goldberger won’t be finishing his writing days as Architect Critic of The New Yorker, but as Contributing Editor of Vanity Fair.

Many will conclude that this is a death knell for architecture; that if architecture cannot justify its own column at The New Yorker, one of the most influential publications in the world, then it must no longer be deemed relevant. This is what happened when Michael Kimmelman, an Arts reporter with no architectural training was appointed to cover architecture at The Times. Critics tweeted: “NYT to Architecture of NYC: Drop Dead” and “Architecture: you’ve been demoted.”

I too will add a cry to the din: “The Architecture Critic is Dead!” But you know what? Good riddance. Because criticism hasn’t died the way you think. It’s just been changed beyond recognition. And frankly, for the better.

Read more on the transformation of architecture & its criticism after the break…