Letter to the Editor> Francois Roche responds to Patrik Schumacher’s reproach of the Chicago Architecture Biennial

(Courtesy City of Chicago)

(Courtesy City of Chicago)

[Editor’s Note: Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email editor@archpaper.com]

The Architect’s Newspaper recently published an excerpt from Patrik Schumacher’s now-infamous Facebook post which he also sent to AN. In response, Thailand-based architect Francois Roche sent us the following letter from his Facebook page; an edited version was also posted on Dezeen.

Read Roche’s unedited comments after the jump.

Letter> State of what art? Patrik Schumacher rails against the Chicago Architecture Biennial

Amanda Williams’ Color(ed) Theory. (Courtesy Chicago Architecture Biennial)

Amanda Williams’ Color(ed) Theory. (Courtesy Chicago Architecture Biennial)

[Editor’s Note: Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email editor@archpaper.com]

The State of the Art of Architecture, delivered by the Chicago Architecture Biennial Exhibition, must leave lay-visitors bewildered by one overwhelming subliminal message: Contemporary architecture has ceased to exist, the discipline’s guilt and bad conscience has sapped its vitality, driven it to self-annihilation, and architects have now en masse dedicated themselves to doing good via basic social work.

Continue reading after the jump.

Zaha Hadid unveils these icicle-inspired chandeliers made from light-catching, curvy fins

"Aria Transparent." (Courtesy ZAHA HADID ARCHITECTS & SLAMP)

“Aria Transparent.” (Courtesy ZAHA HADID ARCHITECTS & SLAMP)

Zaha Hadid, the starchitect behind this sand-dune inspired headquarters in the United Arab Emirates, a high-design billboard in London, a parametric casino in China, and these uncomfortable-looking high heels, has introduced a new line of lighting fixtures for the Italian lighting company SLAMP.

Continue reading after the jump.

Review> The New Normal: Penn Symposium Explores Generative Digital Design

Review
Monday, December 16, 2013
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Interior rendering of Neil M. Denari Architects' competition-winning design for the Keelung Harbor Service Building, Taiwan. (Courtesy NMDA)

Interior rendering of Neil M. Denari Architects’ competition-winning design for the Keelung Harbor Service Building, Taiwan. (Courtesy NMDA)

[Editor’s Note: The following review was authored by Gideon Fink Shapiro and Phillip M. Crosby.]

A generation’s worth of experimentation with generative digital design techniques has seemingly created a “new normal” for architecture. But what exactly are the parameters of this “normal” condition? On November 14th and 15th Winka Dubbeldam, principal of Archi-Tectonics and the new Chair of the Department of Architecture at the University of Pennsylvania, called together some of contemporary architecture’s most prominent proponents of generative digital design techniques for a symposium, The New Normal, examining how these techniques have transformed the field over the past twenty years. According to Ms. Dubbeldam and her colleagues in Penn’s post-professional program who organized the symposium, digital tools have “fundamentally altered the way in which we conceptualize, design, and fabricate architecture.” Participants were asked not only to reflect upon the recent past, but also to speculate on future possibilities.

Continue reading after the jump.

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