Theory and History: The Latest Architecture and News

This article was originally published on Common Edge.

This year marks the centennial of the first edition of Vers Une Architecture, Le Corbusier’s epoch-making book. Though a new English translation appeared in 2007 to much acclaim, most other practicing architects read the first English edition that appeared in 1928, entitled Towards a New Architecture. Comparing the three editions is instructive, particularly in one crucial respect: the insertion of the word “new” in the title. The book wasn’t really about new architecture, because very little of it showed buildings in the International Style. Instead, it was in many respects a clever diatribe intended to convince Europeans that they had no choice but to renounce every kind of architecture that had been built before the Great War and begin anew. It was remarkably successful in fulfilling that aim.

Ambitious and diverse, models are representative tools non-exclusive to architects. Peculiar fascination with miniatures – and what they tell us about our larger world- extends to all ages, cultures, and purposes. From scaled temples of clay from 200 B.C. found in Mexico, ceramic models carried during medieval Islamic journeys, Victorian doll houses, and LEGOS, models are more than baby buildings. Miniatures unveil the essentials, explain much larger concepts, contain intimate and historical data, and invite us to challenge our known selves and perspective.

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Sometimes sculptural and expressive, sometimes monolithic and monotonous, the Brutalist architectural style is equal parts diverse and divisive. From its origins as a by-product of the Modernism movement in the 1950s to today, Brutalist buildings, in architectural discourse, remain a popular point of discussion. A likely reason for this endurance is — with their raw concrete textures and dramatic shadows, brutalist buildings commonly photograph really well.

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This article was originally published on Common Edge.

Today we know R. Buckminster Fuller primarily through his oeuvre of iconic objects and ideas created over the arc of a nearly 90-year life. Born in the last decade of the 19th century, Fuller lived long enough to hang out with Steve Jobs. He’s variously described as a “systems thinker,” perhaps the first “futurist,” a visionary, engineer, geometer, and architect (he won the AIA Gold Medal in 1970). But “inventor” is probably the most accurate description. Historian and writer Alec Nevala-Lee’s 2022 biography, aptly titled Inventor of the Future: The Visionary Life of Buckminster Fuller (Dey St. Books), tells a nuanced story of the man known for geodesic domes; space frames; “Spaceship Earth”; the Dymaxion map, house, and car; and concepts such as tensegrity, synergy, and “ephemeralization” (“doing everything with nothing at all,” as he described it).

In 1950, the famous Le Corbusier was asked to design the new state capital of Chandigarh for Punjab following its separation and recent independence. The opportunity to create a new utopia was unparalleled- and is now seen as one of the greatest urban experiments in the history of planning and architecture. The city employed grid street patterns, European-style thoroughfares, and raw concrete buildings- the zenith of Corbusier’s ideals throughout his career. But what is lesser known about the ideation and realization of Chandigarh, was the woman who brought her experience of designing social housing across Africa to the project. For three years, working alongside Corbusier, and helping him design some of the best-known buildings in Chandigarh, was Jane Drew.

Imagine if light would not only provide optimum visibility for tasks but convey meanings as well. Standards with recommended lux levels for various visual tasks have led to a quantitative understanding of lighting. However, lighting can also be used to contribute to emotion in rooms and to structure architecture. Would it be adequate to regard lighting as language sent by architects or interior designers and being received by inhabitants and citizens? Adding a semiotic perspective can help to recognize how light and shadow contributes to the meaning of the built environment.

When people describe the modernist movement as a whole, they broadly reference the steel and glass skyscrapers which dot many of our cities’ skylines, or more specifically, the International Style that once emerged from Europe after World War I. The International Style represented technological and industrial progress and a renaissance of social constructs that would forever influence the way that we think about the use of space across all scales. Often designed as politically charged buildings seeking to make a statement towards totalitarian governments, many architects who influenced the style moved to the United States after World War II, paving the way for some of the most iconic buildings and skyscrapers to be built in the 20th century.

The hosts and producers of the Uncertain Things podcast, Adaam James Levin-Areddy, and Vanessa M. Quirk, conduct interviews with experts with a variety of experiences to answer the question, “Now what? How did we get here and what is next?”. In this episode with Michael Kimmelman, they touch upon many interesting subjects, namely, The New York Times institution and its evolution, Kimmelman’s new book the Intimate City, and our overall understanding of communities in cities.

This article was originally published on Common Edge.

In the late 1960s, Ben Bradlee, the storied executive editor of The Washington Post from 1965 until 1991, confronted making the paper more appealing to younger readers. He ditched Lifestyle as the name of a new, updated section, which he found irksome; instead, he chose Style. As he explained in his memoir: “I liked the word ‘Style’ … I like people with style, with flair, with signature qualities.” After 50 years as Style, and nine years after Bradlee’s death, the section has been renamed Lifestyles. The editorial change notwithstanding, Bradlee used “style” as most non-architects think of it and much in keeping with how Duo Dickinson seems to frame it in a recent Common Edge piece: “Wrestling With Architectural Style in a Post-Style World.” Yet in matters architectural, at least historically, it’s long been another thing altogether.

A24 and Atomic Monster have recently confirmed a movie adaptation of The Backrooms, a Youtube short horror film (expanded to a series) created by 17-year-old director and VFX artist Kane Parsons.

Based on the namesake creepypasta, The Backrooms is set in a seemingly infinite labyrinth of yellow-tinted, carpeted office spaces, bathed in fluorescent indoor lighting, like an abandoned building, in 1996. Its kitsch corporate aesthetic is reinforced by the imitation of the VHS tape recording style that allows Parsons to hide imperfections (or avoid an uncanny valley effect) of a simple 3D scenario created in Blender and edited in Adobe After Effects during the post-production stage.

Contemporary architecture's approach to space is fairly linear: enveloping a specified volume within some form of material construct. But if we take a look at humanity's first intentional dwellings, it becomes clear that they were much less premeditated.

Rather than manmade areas to be furnished with pride, our earliest homes were naturally occurring cave lairs that offered hunter-gatherers temporary protection from the elements and potential predators. It wasn't until the appearance of agriculture that our ancestors took permanent, built residences. To this day, troglodytism — or cave living — continues to be connected to ideas of societal disassociation and a hermetic desire to exist outside of orthodox architectural norms. And yet, from Northern China to Western France and Central Turkey, hundreds of millions of people still choose to spend their lives at least partially underground.

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The Second Studio (formerly The Midnight Charette) is an explicit podcast about design, architecture, and the everyday. Hosted by Architects David Lee and Marina Bourderonnet, it features different creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions.

A variety of subjects are covered with honesty and humor: some episodes are interviews, while others are tips for fellow designers, reviews of buildings and other projects, or casual explorations of everyday life and design. The Second Studio is also available on iTunes, Spotify, and YouTube.