Articles
Care after Covid
New York’s landmarks legislation is more invested in preserving a particular image of the city than the possibility of life within it.
My longing for LOMEX occupies a kind of double counterfactual—what if, but what if not in that way—not wholly dissimilar from Rudolph’s own.
If we want to understand today’s prevailing ideas in design, we should look, not up at buildings, but down at our feet.
An Anarchitectural Body of Work: Suzanne Harris and the Downtown New York Artists’ Community in the 1970s by Friederike Schäfer. De Gruyter, 400 pp. $76.
Sifting through the spoofable pedantry of An Anarchitectural Body of Work reveals Suzanne Harris, intrepid multipotentialite.
Assembly by Design: The United Nations and Its Global Interior by Olga Touloumi. University of Minnesota Press, 312 pp., $35.
Sensitive to the subtle interplay of sound and space, Olga Touloumi’s self-consciously novel study of the United Nations offers an unintended material history of internationalism’s hollow performance.
Luna Luna: Forgotten Fantasy was on view at The Shed from November 20, 2024, to March 16 in Hudson Yards.
Audiences expected the Drake-sired respawn of Luna Luna to be fun. In fact, it was a memorial to fun.
Walking the Streets/Walking the Projects: Adventures in Social Democracy in NYC and DC by Owen Hatherley. Repeater, 218 pp., $17.
An attack on New York’s city planning orthodoxy, in the guise of a guidebook
Georgia O’Keeffe: “My New Yorks,” curated Sarah Kelly Oehler and Annelise K. Madsen, was on view at the Art Institute of Chicago from June 2 to September 22, 2024.
O’Keeffe’s New Yorks did not exist in an artistic vacuum; they live within an entire tradition of experimental art about modern architecture.
“What would happen if we foregrounded human values in the creation of our systems?”
A crucial part of the Israeli state project is about leaving Palestinians with no physical place to call home.
Think about the climate crisis long enough, and the problem appears so vast as to be unthinkable. And yet, that’s what we must do.
New York is a city of exhibitionists. Documentary filmmaker John Wilson is happy to oblige.
Where ideas hit money and materials and space itself.
If nature takes its revenge but no one is around to witness it, will it be beautiful?
Maligned and condemned, the Port Authority Bus Terminal will be missed after it’s gone.
Once a sparkling fixture of New York high society, the Plaza Hotel has lost its fizz.
Van Nuys Government Center is a stand-in for downtown democracy flung out to the suburban hinterlands.
Big money and anodyne architecture are poised to take over South Ozone Park’s legendary Aqueduct Racetrack.
The Star Wars–esque modular bathrooms have been kissed by a gentle coat of rust, from their corrugated metal facades to their tinny hand dryers.
On January 5, Doctor Kathy Hochul finally gave New York its gogo juice, prescribing a bitter pill known as congestion pricing to clear its clogged passages and stimulate its mass transit system.
Suddenly, the beaver cosplay is feeling very real.
With his lease as his leash, caged in this giant city-cum-dog park, our columnist roams the streets as a stray, guided by unseemly scents.
To have Jane Jacobs, we need to go beyond Jane Jacobs.
The Tenement Museum memorializes working-class families even as it evicts them.
The higher the New York observatory experience climbs, the dumber it gets.
New York University’s John A. Paulson Center announces the triumph of a new civilization: thrusting, dismissive, cruel.
The Brooklyn Tower is less a menacing monument to imminent doom than a superfluous by-product of capitalism gone awry.
