Mark Pimlott: I thought we might begin with some questions about your pictures, and how they come... more Mark Pimlott: I thought we might begin with some questions about your pictures, and how they come into being. You seem to go to places that are at the margins of our imaginations, at the edges of the world: but when you get there, you find that they are centres of all kinds of human invention. I suppose the first pictures I saw of yours were of places that people found to pursue special forms of recreation. Those activities seem to charge or focus places that did not really seem to be places at all. Now, I see that you make pictures of environments and objects that are in the midst of the developing city, all over the world: but their strangeness makes them seem as if they have somehow fallen out of what is known. There continue to be pictures of places that are isolated but bear the marks of large-scale human intervention. What is it that you are looking for? Or what is it that you discover?
Marjolein van Eig, ed. Het Detail (Amsterdam: De Architect), 2021
It is always so: one can assess the quality of a manufactured artefact, whether it is a piece of ... more It is always so: one can assess the quality of a manufactured artefact, whether it is a piece of clothing, a bicycle or a building, by the way it has been put together. This can be simple, sophisticated, or simply intelligent. Or-and this possibility is always greeted with a dismissive frown-it can be a shoddy and disappointing affair. It is all in the detail. The same may be said of building, and, of building conscious of itself as an artefact in the world among other buildings, namely, architecture.
Thank you very much for downloading painting with architecture in mind. As you may know, people h... more Thank you very much for downloading painting with architecture in mind. As you may know, people have search numerous times for their chosen novels like this painting with architecture in mind, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they are facing with some malicious virus inside their desktop computer. painting with architecture in mind is available in our book collection an online access to it is set as public so you can get it instantly. Our books collection hosts in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the painting with architecture in mind is universally compatible with any devices to read.
Thank you very much for downloading painting with architecture in mind. As you may know, people h... more Thank you very much for downloading painting with architecture in mind. As you may know, people have search numerous times for their chosen novels like this painting with architecture in mind, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they are facing with some malicious virus inside their desktop computer. painting with architecture in mind is available in our book collection an online access to it is set as public so you can get it instantly. Our books collection hosts in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the painting with architecture in mind is universally compatible with any devices to read.
En última instancia HildundK pretenden que su arquitectura sea entendida por los usuarios, que su... more En última instancia HildundK pretenden que su arquitectura sea entendida por los usuarios, que sus contenidos culturales comuniquen y vinculen al público con la disciplina arquitectónica, dando respuesta a sus requerimientos. Citando a Mechthild Stuhlmacher, ...
To the architect who knows of Phyllis Lambert but knows very little about her, two facts are like... more To the architect who knows of Phyllis Lambert but knows very little about her, two facts are likely to serve as outlines of a character sketch: first, that she was instrumental in commissioning Ludwig Mies van der Rohe to design the Seagram Building, the enormously influential icon of modern architecture; second, that she was the driving force behind the Canadian Centre for Architecture, one of architecture's most important institutions. This outline is not inaccurate but falls very short of describing either her achievements or her contributions to culture. They are but convenient landmarks in a life and love of architecture. That life has been complex: her activities have included advocacy, practice, activism, patronage, intervention and collaboration. She is an entrepreneur, a collector, a scholar, a connoisseur and a steward of buildings and urban districts. She is furthermore, and foremost, an architect. This essay will turn to this simple fact-one that tends to be obscured by the cumulative perceptions of her myriad activities-to demonstrate that her efforts are fuelled by an understanding of the architect as a responsible, moral citizen. Landmarks: from the Seagram Building to the Canadian Centre for Architecture Phyllis Lambert was born Phyllis Barbara Bronfman, the second of four children to Samuel Bronfman and Saidye Rosner in Montreal in 1927. She studied at Vassar, moved to Paris, married, divorced, and moved to New York in 1954, when her life in architecture and her impact upon it began. Her father, the president of Joseph E. Seagram and Sons, was planning to build an office building in New York, acquiring a site at 375 Park Avenue in 1951. Upon being shown a rendering of the preliminary scheme prepared for the building by Pereira & Luckman architects by her father, she prevailed upon him to embark on another path, 1 encouraging him to regard the commissioning of the architect as a matter of cultural and civic responsibility. Her letter dated 28 June 1954 perfectly represents the germ of her idea of architecture's importance to the life of the city and its citizens: The philosophy that a building expresses seeps into a society and helps to mold [sic] it at the same time as it expresses it. Now in putting up a building in NY you have two choices-first, you are erecting a building which is just 1 Phyllis Lambert, Farnsworth on Mars? or, On the Commissioning and Stewardship of Buildings, in
Mark Pimlott: I thought we might begin with some questions about your pictures, and how they come... more Mark Pimlott: I thought we might begin with some questions about your pictures, and how they come into being. You seem to go to places that are at the margins of our imaginations, at the edges of the world: but when you get there, you find that they are centres of all kinds of human invention. I suppose the first pictures I saw of yours were of places that people found to pursue special forms of recreation. Those activities seem to charge or focus places that did not really seem to be places at all. Now, I see that you make pictures of environments and objects that are in the midst of the developing city, all over the world: but their strangeness makes them seem as if they have somehow fallen out of what is known. There continue to be pictures of places that are isolated but bear the marks of large-scale human intervention. What is it that you are looking for? Or what is it that you discover?
Marjolein van Eig, ed. Het Detail (Amsterdam: De Architect), 2021
It is always so: one can assess the quality of a manufactured artefact, whether it is a piece of ... more It is always so: one can assess the quality of a manufactured artefact, whether it is a piece of clothing, a bicycle or a building, by the way it has been put together. This can be simple, sophisticated, or simply intelligent. Or-and this possibility is always greeted with a dismissive frown-it can be a shoddy and disappointing affair. It is all in the detail. The same may be said of building, and, of building conscious of itself as an artefact in the world among other buildings, namely, architecture.
Thank you very much for downloading painting with architecture in mind. As you may know, people h... more Thank you very much for downloading painting with architecture in mind. As you may know, people have search numerous times for their chosen novels like this painting with architecture in mind, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they are facing with some malicious virus inside their desktop computer. painting with architecture in mind is available in our book collection an online access to it is set as public so you can get it instantly. Our books collection hosts in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the painting with architecture in mind is universally compatible with any devices to read.
Thank you very much for downloading painting with architecture in mind. As you may know, people h... more Thank you very much for downloading painting with architecture in mind. As you may know, people have search numerous times for their chosen novels like this painting with architecture in mind, but end up in harmful downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they are facing with some malicious virus inside their desktop computer. painting with architecture in mind is available in our book collection an online access to it is set as public so you can get it instantly. Our books collection hosts in multiple locations, allowing you to get the most less latency time to download any of our books like this one. Merely said, the painting with architecture in mind is universally compatible with any devices to read.
En última instancia HildundK pretenden que su arquitectura sea entendida por los usuarios, que su... more En última instancia HildundK pretenden que su arquitectura sea entendida por los usuarios, que sus contenidos culturales comuniquen y vinculen al público con la disciplina arquitectónica, dando respuesta a sus requerimientos. Citando a Mechthild Stuhlmacher, ...
To the architect who knows of Phyllis Lambert but knows very little about her, two facts are like... more To the architect who knows of Phyllis Lambert but knows very little about her, two facts are likely to serve as outlines of a character sketch: first, that she was instrumental in commissioning Ludwig Mies van der Rohe to design the Seagram Building, the enormously influential icon of modern architecture; second, that she was the driving force behind the Canadian Centre for Architecture, one of architecture's most important institutions. This outline is not inaccurate but falls very short of describing either her achievements or her contributions to culture. They are but convenient landmarks in a life and love of architecture. That life has been complex: her activities have included advocacy, practice, activism, patronage, intervention and collaboration. She is an entrepreneur, a collector, a scholar, a connoisseur and a steward of buildings and urban districts. She is furthermore, and foremost, an architect. This essay will turn to this simple fact-one that tends to be obscured by the cumulative perceptions of her myriad activities-to demonstrate that her efforts are fuelled by an understanding of the architect as a responsible, moral citizen. Landmarks: from the Seagram Building to the Canadian Centre for Architecture Phyllis Lambert was born Phyllis Barbara Bronfman, the second of four children to Samuel Bronfman and Saidye Rosner in Montreal in 1927. She studied at Vassar, moved to Paris, married, divorced, and moved to New York in 1954, when her life in architecture and her impact upon it began. Her father, the president of Joseph E. Seagram and Sons, was planning to build an office building in New York, acquiring a site at 375 Park Avenue in 1951. Upon being shown a rendering of the preliminary scheme prepared for the building by Pereira & Luckman architects by her father, she prevailed upon him to embark on another path, 1 encouraging him to regard the commissioning of the architect as a matter of cultural and civic responsibility. Her letter dated 28 June 1954 perfectly represents the germ of her idea of architecture's importance to the life of the city and its citizens: The philosophy that a building expresses seeps into a society and helps to mold [sic] it at the same time as it expresses it. Now in putting up a building in NY you have two choices-first, you are erecting a building which is just 1 Phyllis Lambert, Farnsworth on Mars? or, On the Commissioning and Stewardship of Buildings, in
Without and Within: essays on territory and the interior, 2007
This essay, the second in the book 'Without and within' (Rotterdam: episode publishers, 2007), co... more This essay, the second in the book 'Without and within' (Rotterdam: episode publishers, 2007), concerns beginnings, concepts of settlement, projective systems used to establish what is now the United States as an ideological interior, and systems of representation, especially photography, that imagined its space as a Western possession.
This is a lecture, given at lunchtime some time in 2015, for students and visitors to the Chair o... more This is a lecture, given at lunchtime some time in 2015, for students and visitors to the Chair of Interiors Buildings Cities at TU Delft. The pictures are missing but they can be imagined. It concerns the window as a medium for engaging with or retreating from the world, as a figure of the interior, as a mechanism of power, as a possible surface for the consciousness of inter-subjectivity. The window is considered in various representational presentations: in architecture, painting, film and sculpture.
Tom Avermaete, Salomon Frousto, Max Risselada, eds. Twelve Institutional and Public Buildings Revisited , 2021
The Trades Union Congress Memorial Building in London, designed by David du Rieu Aberdeen, is an ... more The Trades Union Congress Memorial Building in London, designed by David du Rieu Aberdeen, is an anomaly: a building that bears homage to the forms of Heroic Modernism, tucked within a fabric of brick and mortar and sash windows at the southern edge of London’s Bloomsbury, a district built by Thomas Cubitt (1788-1855) dotted with green squares and monumental institutions; the district of London favoured most by Steen Eiler Rasmussen for its pragmatic gentility, and by the literary set of the early twentieth century (the ‘Bloomsbury Group’) for its character as an urban backwater. In this context, it is a building that is both hidden and exceptional. One’s first impression is that the building offers re-presentations of the domestic and institutional forms of the early work of Le Corbusier, particularly those of the Villa La Roche-Jeanneret (1923-1925), Villa Savoye (1928-1931), and the Palais Centrosoyuz (1928-1935), and mixes these with the material and proportional nuances of Swedish architecture of the 1930s, particularly that of Gunnar Asplund. None of these influences could be seen as strange in the context of architecture produced in Britain in the years immediately following the end of the Second World War, but no building, save the South Bank’s Festival Hall by Sir Leslie Martin, Robert Matthew and Peter Moro, could be said to be so deeply marked by them. Yet, like the Festival Hall, Aberdeen’s building wore the mantle of light-hearted Scandinavian Modernism long after its currency expired, and so was both a nostalgic fragment and an anachronism from the moment it was completed. It was also a rarity: Aberdeen completed relatively few buildings, and this can be regarded as his masterpiece.
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One’s first impression is that the building offers re-presentations of the domestic and institutional forms of the early work of Le Corbusier, particularly those of the Villa La Roche-Jeanneret (1923-1925), Villa Savoye (1928-1931), and the Palais Centrosoyuz (1928-1935), and mixes these with the material and proportional nuances of Swedish architecture of the 1930s, particularly that of Gunnar Asplund.
None of these influences could be seen as strange in the context of architecture produced in Britain in the years immediately following the end of the Second World War, but no building, save the South Bank’s Festival Hall by Sir Leslie Martin, Robert Matthew and Peter Moro, could be said to be so deeply marked by them. Yet, like the Festival Hall, Aberdeen’s building wore the mantle of light-hearted Scandinavian Modernism long after its currency expired, and so was both a nostalgic fragment and an anachronism from the moment it was completed. It was also a rarity: Aberdeen completed relatively few buildings, and this can be regarded as his masterpiece.