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To many observers, theory in architecture persists only in a zombified form. Some aren’t so sure.

We can’t wait around for a spark, Mike Davis always seemed to be saying.

Whether minimalist or maximalist, the designer-y vessels of luxe living are little but financial instruments.

In wishing to communicate the totality of Blackness, Reconstructions forgoes the tools and signifiers of conventional architectural production in favor of world building.

Unlike the trains now operating at austerity levels of service, Moynihan Train Hall has arrived exactly on time, ready to uplift.

Bjarke Ingels’s further adventures in technological determinism

We’re accustomed to thinking about the US-Mexico border as an abstraction. A new book tries to find intimacy in it.

  • University of Virginia Memorial to Enslaved Laborers

Walking toward its rising and falling wall, the memorial appears understated, generously inviting life to register against it.

Not all cities have private bike share systems, but New York’s proudly bears the logo of a bank.

  • Unorthodox, Netflix, March 2020, 4 episodes

Heroics are for Speer, and “there are no heroes in music.”

  • Dogma, The Room of One’s Own, Milan: Black Square Press, 2017

Upon what possessions, relations, and places do we build stability in our lives?

  • Countryside, The Future, curated by Rem Koolhaas and Samir Bantal, was on view at the Guggenheim Museum from February 20, 2020, to February 15, 2021.

With Countryside, The Future, Rem Koolhaas and the Guggenheim offer a foie-gras approach of feeding the arts establishment uncomfortable, seemingly indigestible content.

A predilection for Palladio, for Russian Orthodox churches, for vernacular architecture, for medieval urbanism, for counterculture development…

Lairs are kingdoms for one, perfectly designed to each villain’s dystopian vision. Or utopian, depending on how you slice it.

Zachary Violette’s insistence on the relevance of the norm over the exception leads to a more synchronic mode of analysis.