Search results for "denise scott brown"
Second Time's the Charm
Rejected spotlights denied, trashed, and half-conceived architectural ideas
Humanity… All of my suffering on this world has been at the hands of humanity, particularly women. It has made me realize just how brutal and twisted humanity is as a species. All I ever wanted was to fit in and live a happy life amongst humanity, but I was cast out and rejected, forced to endure an existence of loneliness and insignificance, all because the females of the human species were incapable of seeing the value in me...My life didn’t start out dark and twisted. I started out as a happy and blissful child, living my life to the fullest in a world I thought was good and pure.[vi]Rather than a violent band of murderous incels, Team B is more aligned with the original incels, a benevolent and supportive sexless bunch. [Redacted][vii] Ironically, for Rodger, the incel community also did not start out as a twisted, sick group of internet creeps who threaten violence against people who are sexually active, which they call "Chads and Stacys." [Redacted][viii] The incel group was founded in 1993 by a Canadian student named Alana. "Alana's Involuntary Celibacy Project" was a sincere community for "anybody of any gender who was lonely, had never had sex or who hadn't had a relationship in a long time." Alana eventually abandoned the project and handed it off to another user, but the group slowly devolved into the radicalized, misogynistic group we know today. Rejection at its best becomes a rallying cry for a group or an ideology. Denise Scott Brown, in the Rejected show, describes how the rejection of three Venturi Scott Brown & Associates' projects was a systematic disavowal of the postmodern architecture style.
We feel that renovation of Franklin Court and the planned renovation of the San Diego Museum of Contemporary Art exemplify a rejection not only of design but of a whole style. The renovations of these two landmark designs demonstrates a dismissal of the fun and playful spirit of postmodernism in favor of the minimalistic look of contemporary design.[ix]Philip Johnson also used rejection as a positive as he needled the Architectural League of New York, which eventually led to the International Style show at MoMA. According to Robert A.M. Stern,
In 1931 he co-curated (with [Alfred E.] Barr and Julian Levy) the independent show Rejected Architects, which created a public furor and paved the way for the International Style exhibit. It featured work by young architects that didn’t meet the requirements of the conservative Architectural League. The show was staged in a rented storefront and Johnson hired a sandwich-board man to parade in front of the League’s offices with the message “See Really Modern Architecture Rejected by the League.” The League was outraged and tried to have the man arrested, but the attendant front-page publicity insured the show’s success and brought modern architecture to the public’s attention for the first time in the United States.[x]In the Rejected show, there is no stylistic agenda, because architecture today has no singular, dominant ideology. Rather, the exhibition is a performative rejection of the culture of neoliberal psychopolitical acceptance. While some more conventional commercially successful architects actively rejected the invitation to be in the Rejected show, many of the participants proudly flaunt being rejected by the arbiters of institutional taste and the decision-makers of the capitalist development community. Who has the power to accept being a reject? For many of the participants in the show, the academic backdrop allows rejection to be taken as a positive, a wink-and-nod, that it is ok to fail. Outside of the capitalist modes of production, it is a much-needed respite and represents a strong bond between practitioners, if not stylistically, then in a way of operating within a certain lane of the current context. Instead of an architectural act of violence, what we have here is a group therapy session for the happy-go-lucky rejects who take pride in their status as architectural incels. [i] Urban Dictionary. “Reject”. Urbandictonary.com. https://www.urbandictionary.com/define.php?term=reject (accessed August 5, 2019). [ii] This sentence was rejected for being insulting to the curators. [iii] 2knowmyself. “Does rejection mean you are ugly”. 2knowmyself.com. <https://www.2knowmyself.com/does_rejection_mean_you_are_ugly (accessed August 5, 2019). [iv] Byung-Chul Han. Psychopolitics: Neoliberalism and New Technologies of Power. Brooklyn, NY : Verso, 2017 [v] This sentence was rejected for being too offensive in general. [vi] Elliot Rodger. My Twisted World The Story of Elliot Rodger. <https://www.documentcloud.org/documents/1173808-elliot-rodger-manifesto.html> (accessed August 5, 2019). [vii] This sentence was rejected for being too offensive in general. [viii] ibid. [ix] Denise Scott Brown, email message to John Stoughton. July 1, 2019. [x] Robert A.M. Stern. “Philip Cortelyou Johnson (1906-2005).” The Architect’s Newspaper. <https://archpaper.com/2005/02/philip-courtelyou-johnson> (accessed August 5, 2019).
I Was a Circus Horse Rider
Denise Scott Brown reflects on balancing architecture and urbanism
I have been a circus horse rider between architecture and urbanism most of my life. But reining together animals that have been tugging apart over five decades has made for a bumpy ride. My role as an architect and planner takes in more than physical planning or urban design. I have also penetrated beyond both architecture and planning toward the social sciences at one end and art and iconography at the other. When you have all these systems and all their functions and all their rules, it helps to understand Mannerism. Because these systems have to bend, some more and some less, to get something that works—but it’s also a way to look for beauty. That’s my view of functionalism. It has a moral component I uphold but an aesthetic component I love.
Denise Scott Brown dubs herself "architecture's grandmother"
What’s just as pressing as the little building’s demolition is the fact it could potentially be the second project by Hirsh Fleisher to see the wrecking ball. In 2014, her Queen Lane Apartments, a post-war public housing project, was demolished by the Philadelphia Housing Authority to make way for a series of low-lying affordable housing units. That building started suffering serious structural problems only decades after its completion, but the Columbus Square pavilion is forcefully sound; it’s largely built from stone. In a time where projects by prominent female architects are more appreciated than ever, there’s much attention being paid to those that are being taken down by redevelopment and in some cases, capitalism. Last month, JP Morgan Chase filed for the demolition of its headquarters in New York, the Natalie Griffin de Blois–designed Union Carbide Building. The site, 270 Park Avenue, will feature a replacement structure by Foster + Partners. Bringing down Griffin de Blois’s 52-story Manhattan tower—whether you believe it should live on or not—distinctly diminishes the already-small footprint that female architects made on New York during the 1900s. Getting rid of Hirsh Fleisher’s tiny building would do the same in Philadelphia. Luckily, today there is a slew of women-powered practices that are following in her footsteps, such as OLIN, the landscape studio, as well as KSS Architects, a multidisciplinary firm also based out of Princeton, New Jersey. While many Philadelphia firms have significantly more men in leadership positions compared to women, the women are there. Award-winning practice Interface Studio Architects (ISA), along with DIGSAU, EwingCole, and KieranTimberlake have women in top-ranking positions or more women than men on staff.
@PhillyMayor Pls STOP destruction of #PhiladelphiaLandmark, one of the few surviving bldgs of 1st licensed woman architect in Philly.#ElizabethHirshFleisher. Architecture matters! Architectural history matters! Honour the work of #Women! #womenarchitectshttps://t.co/Jm1vMx7Al4— dale b. cohen (@dcdesignstudio) March 11, 2019
Take a Look, Read a Book
Art gallery book fair this weekend
All Fuksas Up
Architects rally behind Doriana Fuksas after prize snub
Dear Amedeo Schiattarella, President of the Istituto Nazionale di Architettura Region Lazio, and Andrea Margaritelli, President of the Istituto Nazionale di Architettura, We are writing on behalf of Doriana Fuksas, as we understand that she was overlooked in the selection process of the Premio alla Carriera Architettura. Doriana and Massimiliano are equal partners. We are calling for equal recognition for equal work. We are a diverse group from around the world. We lead our own firms, are directors of schools, are award-winning architects, journalists, and professors. This past May at the Venice Biennale of Architecture, some of us came together as a Flash Mob in the Giardini during the preview days of the Venice Biennale as part of Voices of Women Architects -- VOW Architects. The Flash Mob is a peaceful gathering of individuals asking for a common goal. In this case it’s equal rights and respect for all members of our community. Organizers included Martha Thorne, Louise Braverman, Francesca Perani, Farshid Moussavi, Toshiko Mori, Caroline Bos, Benedetta Tagliabue, Odile Decq, Caroline James and Atxu Amann. We read a manifesto in the Giardini to hundreds of men and women who were there to rally in support towards a change in the Architecture profession. The work continues. Today, with other groups, we are supporting the initiative of RebelArchitette: "Time for 50" - Time for Equality. We are looking at the United Nations Sustainable Development Goals 2030 for gender equality and empowerment of women and girls. When we read last week in the news that Massimiliano Fuksas has received the Premio alla Carriera Architettura, we were stunned that the prize did not include Doriana Fuksas. Doriana and Massimiliano are equal partners. It's important to correct the record now so that young architects can look up to their incredible work and know the whole story -- that the work is strong because of joint creativity and collaboration. We are signing in solidarity to show our support for the tremendous achievements of Doriana and Massimiliano, and ask that you amend the Premio alla Carriera Architettura now to recognize Doriana and Massimiliano, together. Thank you for your attention to this important matter.Doriana and Massimiliano launched Fuksas in 1985. Recently, the duo worked on the New Milan Trade Fair, a convention center, as well as an eyepopping bi-conical theater and exhibition hall in Tbilisi, Georgia. In the age of #MeToo and growing acknowledgment of entrenched sexism in architecture, the petition stands on the shoulders of recent attempts to dismantle structural barriers women in the field face at all levels. Attention to women's recognition in architecture's stratosphere extends back decades: Architectural Record reported that two of the Fuksa petition organizers, James and Assouline-Lichten, led a campaign to get the Pritzker Architecture Prize jury to give Scott Brown an equal share of the 1991 Pritzker awarded to her late husband and professional partner Robert Venturi.