Articles
Articles
Saarinen’s caliginous Crystal Palace is the ideal headquarters for Severance’s vision of corporate supremacy.
Laura Owens has long held an interest in the possibilities of installation. But what did she do with that here?
This is diet Debord, a sort of scrollable Situationism delivered through Canva slides with the nasty political economy taken off.
It’s the bulky geometry of a more anatomical kind, revealed on page 193, that proves especially memorable.
The image of CECOT tempts critique only to anesthetize it.
If you throw a coin in the Trevi fountain, you will return to Rome. If you rub the testicles of this giant steer or, more specifically, if you are photographed doing so, you will become rich.
Koolhaas writes himself into the canon of information visualization.
This wasn’t a luxury condo viewing, but rather an “art show celebrating insurrectionary urban development.”
The Westbethians will turn the lights off on Village bohemia.
Shifting her focus away from the French capital, Kristin Ross dares her readers to look anew at the capital-E Event we tropify as May ’68.
Wood’s wall-to-wall chronicle of New York’s building booms exposes the limits of an architectural history focused solely on architects.
According to Julian Rose, art museums today “effectively enjoy a monopoly on aura.”
