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Targeted Audience

Manufacturers launch ad campaigns to get their message to Trump
A group of American manufacturers has developed a new strategy to get their message to President Trump. Knowing that the president regularly watches a handful of programs on Fox, a trade organization has bought airtime for 30-second ads during the president's favorite shows to promote the group's messages. Bloomberg reported on a campaign from the Association of Equipment Manufacturers (AEM) that debuted this month and encourages Trump to follow through on his campaign promise to create a massive national infrastructure spending program. The ad plays a clip of Trump's campaign victory speech when he said, "We’re going to rebuild our infrastructure." Another AEM ad from earlier this year encouraged the president and congressional leaders to reject steel tariffs, saying that they would harm equipment manufacturers. The clips show blue-collar workers speaking directly to the camera, often explicitly addressing the president. The steel tariff ad begins with a worker saying, "Mr. President, thanks to you, equipment manufacturing right here in Illinois is growing stronger." After a bit more ego-boosting, the workers then say that tariffs would undo the support that the president has shown industrial workers. Trump is known to be an avid television-watcher and reportedly insists on watching several Fox programs every day. The spots will run during programs like Fox and Friends, The Sean Hannity Show, and Tucker Carlson Tonight. According to Bloomberg, AEM plans to spend $250,000 on the infrastructure campaign.
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Making a List

Alternative Grenfell Tower memorial design calls out those responsible
British architecture organization Architects for Social Housing (ASH) has published an alternative take on the Grenfell Tower memorial proposed by architecture studio JAA earlier this month. While JAA's proposal covered the shell of the burned-out building in slabs of black concrete, ASH's vision covers JAA's design with the names of public and private officials ostensibly responsible for the disaster. JAA's design was put forward by the architects as a conceptual exercise that had no backing from the government. As the architects said in Dezeen, the intent for such a design was to give enduring visibility to the tragedy and to encapsulate the event in public memory so that its lessons would not be forgotten. Reactions were mixed; one minister of parliament scorned it as "misery porn." The ASH proposal taps into public outrage surrounding the event. In its aftermath, many of those affected and others across the U.K. accused the local authorities and Prime Minister Theresa May of being insufficiently concerned about the wellbeing of the residents of public housing projects like Grenfell. A public inquiry into the causes of the 2017 disaster, in which 71 people died, started this summer, but no one has been held responsible.
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Looking for a Fight

White supremacists are haunting traditionalist architecture Twitter accounts
British magazine New Statesman recently published an article on the troubling links that tie Twitter accounts that cover traditional architecture to racist and xenophobic figures from across the web. As the article describes, some social media accounts that at first seem to simply celebrate historic structures have a tendency to veer into rhetoric that praises European culture over others and aggressively denies the impact of non-white or non-Christian people on Western design. One of the accounts profiled in the piece follows many ethnocentrist figures and has a followership that sharply denounces any attempts to include or even acknowledge global influences. This is not the first time that neo-traditionalist architects have been tied to fascists. The accounts frequently post drawings from Leon Krier, the traditionalist architect who studies the work Albert Speer, the chief architect of the Nazi Regime. Philip Johnson was famously a Nazi sympathizer, despite being openly gay, something that would have gotten him sent to a concentration camp in Hitler's Germany. Even Le Corbusier, that icon of modernism, apparently did not see much wrong with fascist regimes—they may have appealed to his desire for an authoritarian, top-down remake of society. The accounts covered by the Statesman piece emphasize a division between historical and modern architecture, pitting the former against the latter to argue for the humanity and timelessness of the styles of yesteryear. This division is increasingly out of step with the contemporary architecture world where firms like Tod Williams Billie Tsien borrow from traditional compositions and materials to create innovative designs. Contemporary architecture critics get as riled up by decadent modernist design fails as they do by traditionalist debacles. Post-modernism is being preserved and lauded around the world, and modern and traditional designs are not stylistically at war anymore. Ultimately, it may be the conflict that these accounts are nostalgic for, not the architecture.
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Tearin' Up His Heart

Lance Bass loses bid to buy original Brady Bunch home
It’s been a tough week for Lance Bass. On Friday, the former NSYNC bassist tweeted that he was overjoyed when he thought that his offer had been accepted on the original Brady Bunch house, made famous by the hit ‘70s show. Almost immediately, he was as low as he had been high—he was informed that a “Hollywood studio” was willing to pay anything to claim the house and that they would be the new owners. Bass narrated the drama as it unfolded over various social media accounts: This morning the LA Times reported that Discovery Inc. Chief Executive David Zaslav broke the news on an earnings report conference call that the company had bought the house and was planning a project involving it with HGTV, one of their subsidiaries. Details about the project have yet to emerge. According to the Times, the show was shot on a studio lot, not in the Studio City, California, house. Only the exterior was actually used. In what may come as a disappointment, the interiors never resembled those depicted on the show, but, according to photos on the realtor Douglas Elliman's site, they have been maintained in period style. The sellers apparently wanted to find a buyer who would maintain and preserve the iconic house in lieu of developing the 12,500-square-foot lot. According to CNN, the sale price has not been announced, but the starting price is listed by Douglas Elliman as $1.885 million.
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Diversifying Design Reporting

New Architecture Writers program raises underrepresented voices
New Architecture Writers (NAW), a London-based program for emerging journalists and curators, was established last year to produce new critical voices within the industry. Dedicated to enhancing the skills of black and minority ethnic (BAME) writers and diversifying the field of design journalism, it’s helped educate its inaugural members through a year-long series of free evening workshops, talks, assignments, and one-on-one mentoring. As NAW reaches the end of its first year in October, The Architect’s Newspaper spoke with founder Phineas Harper on the lessons the members have learned so far, what’s next for the program, and why there’s a newfound sense of urgency to build a more equitable profession within architecture writing. The Architect's Newspaper: Can you reflect on a few key learnings NAW members have been exposed to?  Phineas Harper: The program has packed a lot into a fairly small time. It’s been a crash course in various forms of architectural writing from straight-up journalism to interview technique and writing opinion columns. There is no single way to write, but through testing out some basic principles and practice we’re hoping to build up the skills of all the NAW members. What have you personally learned from creating this program? A key lesson that I’ve learned through the project is that the industry of architectural writing is far from a meritocracy. It’s a cliche but it’s true—in this world, who you know counts for more than what you know. When we’re talking about widening access to architecture or design journalism, we need to frankly acknowledge the reality that personal networks count for a lot, and work within that reality rather than pretending we are capable of being truly meritocratic. NAW, therefore, is not just about expanding the skills of our members but expanding their constellation of connections. How are you approaching the second year now that the first year is nearly complete? NAW is currently possible because of the generosity of some key partners and the incredible contribution of all our workshop leaders, lecturers, and tutors. The course is free to attend but obviously requires a great deal of time, energy, and space to run. I’m actively seeking ways to make the course self-sustaining such as grants, sponsorship, and patrons. We hope there will be future years that will build on the successes of year one and take the program to another level in year two, but to make that dream a reality we need architects and editors to step-up and help us. Why do you think it’s important to help educate minority writers in design and architecture? Design writing in the U.K. has made some awesome strides in recent decades. It is highly diverse in its mix of straight and LGBT writers and until recently almost all the editors of the major architecture magazines were women. Yet, like many professions, design writing in the U.K. remains largely white with very few critics, graphic designers, editors, publishers, or journalists from BAME backgrounds. Systemic racism in the distribution of wealth, education, and opportunities inhibits new voices from a wider variety of backgrounds breaking through and depletes architectural publishing in the process with a knock-on impact on the culture of architecture itself. Addressing this situation is not a question of just ticking boxes to hit quotas. The question of diversity is a means, rather than an end. Currently, we are cutting out a huge proportion of the population from contributing to architectural discourse and in doing so locking out critical perspectives. It is not simply about who has access to platforms, but how those platforms will fundamentally change once they are no longer controlled by a self-selecting elite. To learn more about the New Architecture Writers program, apply, volunteer as an editor or teacher, email Phineas Harper at  
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The Future (of Design) is Female

Making Madame Architect: How Julia Gamolina is documenting the dames of design
At 27 years old, New York City-based editor Julia Gamolina has created a space for women to tell their stories about working in architecture in real time with her new online platform, Madame Architect. The site, which launched in May, is home to Q&A-style features focused on the lives of the leading ladies of design. Gamolina began interviewing women and publishing these conversations on Sub_teXXt, the journal aligned with Nina Freedman and Lori Brown’s non-profit for gender equity, ArchiteXX. For several years, she's written these articles intermittently for the site, but the series truly started taking off in January when she began a 16-story series as a guest editor. By the time the idea for her own site came around this spring, she had a firm following and a growing list of ladies to meet.  So far Gamolina has put out 30 interviews with female movers and shakers in architecture. She’s profiled veteran architects like Snøhetta's Elaine Molinar and Richard Meier & Partners's Vivian Lee—her first interviewee whom Gamolina serendipitously met at an ArchiteXX event—as well as rising stars such as Jenny Sabin, Danei Cesario, and Jessica Myers. Her goal is to unveil the value each of these women possesses in their current career stages. She's found that the newcomers to the working world express uncertainty on finding work they'll love, while those in their mid-career are starting to see the impact of their gender as they assume more leadership roles and become mothers. "While everyone is different and has unique experiences, these themes tend to pop up over and over again," she said. "Those further along in their careers are so inspiring because they talk about integrating all the things they do. Their lives are really full and now they're saying, 'I've built in the world do I keep it all running?'" Not all of these women are strictly architects, either—some work in strategy, public relations, and management. She says feedback on the first wave of published pieces has been astonishing. “One thing that’s surprised me—and this should not be surprising,” she said, “is that many men have not only made recommendations to me on women I should interview, but many have contacted me telling me they love the site and are learning a lot.” Gamolina wants Madame Architect to be for women primarily, but helpful to men as well, from students to seasoned architects. She aims to show, from a fresh and positive perspective, that these women are relatable.

Today’s radiant #MadameArchitect: Elease Samms, @lc4508. Link in bio!Elease Samms is a Louisiana native but grew up in Central Florida. She was one of the first graduates from Orlando's @supportourscholars program, from which she headed to @cornellaap‘s Architecture Program on a full scholarship. Elease is now a Project Designer at @ktharchitectsinc. Her primary interests in the field of Healthcare Architecture stem from growing up as a daughter of an Orlando Health, Pediatric Level 2 Registered Nurse, and from a desire to work primarily with local communities. In her conversation with Julia Gamolina, Elease speaks about filling gaps, giving back, and increasing representation, encouraging anyone interested in architecture to know that the field is always open to them. #madamearchitect #architexx #womeninarchitecture #shedesigns #wia #shebuilds #architect #architecture #femalearchitect #interview #career #inspiration #series #florida #supportourscholars

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Madame Architect was born out of Gamolina’s desire to find female mentors within the male-dominated profession. After graduating from Cornell University with an undergraduate degree in architecture, she dove into design with stints at Studio V and A+I, but soon found herself attracted to the art of crafting narratives around projects. “As a designer, I felt I wasn’t using all parts of my brain,” she said. “I wanted to research, develop a concept, create imagery, talk, and write about these projects—all things I love and that coexist within the profession—but I was only doing the drafting part. I found myself wanting to get out and talk to people more than refine the same drawings for months on end.” When Gamolina started at her first job she was one of the few women in her office, so she set out to find other women who could help her navigate her new career. At Studio V she also helped select students for the firm’s internship program, interviewing the potential candidates and mentoring those that were chosen. This lit a spark in her, pushing her to explore her interest in the more human-centric, one-on-one aspect of firm life.  When she finally moved away from designing and started working alongside A+I’s newly appointed director of communications, Aurelia Rauch, she found her footing and the woman-to-woman guidance she was personally looking for.   “Once I realized my job could actually be to write and conceptualize the story of a project, I thought to myself, ‘What have I been doing this whole time?’” she said.   Currently in a new role as a business development coordinator with FX Collaborative, Gamolina seeks out projects and partnerships that match the firm’s mission. Her favorite part of the job is meeting with and learning from all the different stakeholders involved in a project. This curiosity for people is what drives her with Madame Architect. Nicole Dosso, director of SOM’s technical department, interviewed Gamolina herself for the site. Dosso imagines Madame Architect as having a huge impact on the next generation of not only females in the field, but helping push forward the women’s movement and beyond. “I see these interviews getting a lot of traction already,” Dosso said. “There is power in repetition, with Julia putting them out month after month. She could potentially make a career out of this or put the stories in a book. In time, she could reach out to people in different countries. I could see this extending outside the field of architecture too. The greater volume and quantity, the more it could do.” Gamolina is currently looking for contributing writers for the site. She’s just brought on two new writers, but with a backlog of 50 women to highlight on her list, she’s hoping to publish new pieces more frequently in order to get them up by the end of the year.
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Pioneering architectural journalist Mildred Schmertz passes away
The Architect’s Newspaper wants to note the passing of architectural journalist Mildred Schmertz, who was a contributor to the paper. Suzanne Stephens, deputy editor of Architectural Record, has written a respectful obituary of Schmertz, who spent the entirety of her professional career at Architectural Record. She was 92. Schmertz was Record’s first female editor-in-chief, and as Stephens points out, the first woman to lead “any American professional architectural magazine.” She came late to our publication, where she wrote several reviews ("Critical Condition," "The Architecture Monograph Reinvented," "Museums Expand Their Habitats") and articles on New York architecture ("The Worthy Client"). Though she had been retired from Record for many years, she clearly was still engaged with architecture and continued to work as a journalist, making her way to our downtown office to pitch stories and book reviews. We were thrilled to have her on our masthead. Every time we met, even as recently as a month ago, she was full of gossip and ideas for stories. Mildred defined what it meant to be a professional architecture journalist, and our field owes her a debt of gratitude for her passion and intelligence.
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Building Equity

This site showcases achievements of pioneering women in American architecture
A new site started by a nonprofit architecture advocacy group is championing women's contributions to American architecture and design. This week the Beverly Willis Architecture Foundation (BWAF) launched Pioneering Women of American Architecture, a site that documents and disseminates women's contributions to American architecture from 1880 to 1980. In collaboration with a jury of architectural historians, the site's co-directors, Mary McLeod and Victoria Rosner, picked five dozen women for the initial launch, all of whom were born before 1940. Those practitioners, many of them still alive or only recently deceased, entered the field when it was even harder for women to practice, curate, and write about architecture. The time parameters exclude the Jeannie Gangs and Liz Dillers of the world, but highlight the often-forgotten work of their predecessors. These include people like architect and city planner Blanche Lemco van Ginkel, whose Montreal firm Van Ginkel Associates proposed an orange minibus (the Ginkelvan) for easier midtown Manhattan transit. A 1972 New York Times article on the bus described the motive behind the project: "Van Ginkel's study proposed a network of pedestrian streets in the midtown area closed to all traffic except for some form of public transport 'that would zip people in style, comfort and elegance the short distances they might not wish to walk.'" Familiar names like critic Ada Louise Huxtable, as well as designers like Florence Knoll Bassett and Ray Kaiser Eames, round out the list. The Pioneering Women project arose from the BWAF's mission to elevate women in architecture and AEC industries. For the online project, the team logged hundreds of hours digging through archives, conducting interviews, and fact-checking their work, and this is just the beginning. McLeod and Rosner hope to expand the compendium, with an eye towards enticing more young women to join the field. Right now, 24 of the 50 planned profiles are up online, and so far the profiles of white women vastly outnumber those of women of color. The site was designed by Los Angeles's Yay Brigade, and its funding comes from design firms, developer Forest City, private donations, and the National Endowment for the Arts.
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Beginning 2018

Domus launches new editorial direction with Michele De Lucchi as editor-in-chief
Italian designer Michele De Lucchi will lead Domus as editor-in-chief starting next year. De Lucchi designs both objects and buildings. He is perhaps best known for designing the Tolomeo lamp with Giancarlo Fassina for Artemide Lighting, as well as the First Chair for Memphis in 1983. He founded his architecture and design studio, aMDL, in the early 1980s. The move is the centerpiece of a leadership shake-up that puts a different architect in charge of the publication annually until Domus's 2028 centennial. According to Domus, De Lucchi's ten issues for 2018 will focus on concepts such as emotion, rebellion, and silence, approached through architecture and design, but also through other fields like anthropology and meteorology. "Domus's evolution is part of the evolution of the world's most innovative magazines," said Editorial Director Walter Mariotti, who has held the post since September 2017. "These are publications that have become engagement-driven platforms, distinguishing themselves from the available information on the Web by taking up reciprocal exchange. Domus will become an increasingly pluriform and independent system, offering individual architects a tool to diffuse their vision." The magazine's design will change, too. Mark Porter Associates, the same firm behind Domus's website, is heading up the publication's new look for print. The contents will be rearranged and the magazine will have more space for images. De Lucchi's first issue hits newsstands on January 8, 2018.
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Image of the City

Archive of historic architectural photos displayed on Chicago’s largest screen
The Chicago History Museum has opened up its extensive architectural photography archive for a new exhibition. Chicago 00: Spaces brings together thousands of images produced by Hedrich Blessing, the famed Chicago architectural photography firm, from 1929 through 1979. Displayed on the 89 LED blades that make up the 150-foot-long and 22-foot-high display at the 150 Media Stream in the 150 North Riverside Plaza, the exhibit is part of the larger Chicago 00 initiative. Chicago 00 is a collaboration between the museum and filmmaker Geoffrey Alan Rhodes, with the intent “to create new media experiences with the Museum’s extensive archive of historical imagery.” The exhibit merges the thousands of images together into thematic groupings, morphing them into an ever-changing composition using algorithmic image processing. Hedrich Blessing, a photography firm responsible for some of Modernism's most iconic images, entrusted its first 50 years of negatives to the History Museum for safekeeping and to support the museum’s research goals. The works of Mies van der Rohe, Frank Lloyd Wright, and SOM are often remembered through the work of Hedrick Blessing, with images such as those of Falling Water and the Farnsworth house becoming iconic in their own right. Hedrich Blessing closed its doors earlier this year after nearly 90 years of continuous practice. Chicago 00: Spaces will be open to the public through January 31, on Friday evenings from 6 to 8pm, and from 1 to 5pm on Saturdays and Sundays. Other portions of the Chicago 00 initiative include free virtual tours of the SS Eastland Disaster along the Chicago River, the St. Valentine’s Day massacre, and the 1933 Century of Progress World’s Fair.
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AA Tragedy

Architectural Association threatens to slash staff, publications to cut costs
The prestigious Architectural Association (AA) has sent letters to 16 staff warning that a consultation period had begun and that they were at risk of being fired to cut costs. The London-based school notified two employees in the membership department, two in exhibitions, two in HR, four in development and six members of the publications department. While the AA has not come to a final decision, critics of the move fear that this will spell the end of the much-lauded AA Files, the school’s journal of record. Founded in 1981 by Alvin Boyarsky, director of the AA at the time, the AA Files have grown to become what some consider one of the best architectural magazines in print today. Featuring essays, criticism, and writing that conveys original ideas with a sense of wit, the journal frequently featured articles unlikely to be found in any other publication. Speaking to the The Architect’s Journal, Architecture Foundation Director Ellis Woodman lamented the AA Files’ possible demise. "Under Tom Weaver’s editorship, they’ve been enjoying a golden period producing the best long­form writing about architecture in the world," he said. Woodman also called the dissolution of AA exhibitions a "tragic diminution of architectural discourse in London." Interim director Samantha Hardingham announced the cuts as the AA continues to search for a new director after the departure of 11 year veteran Brett Steele in 2016. An AA spokesperson issued a statement to the Journal, saying that the non-academic restructuring was done in such a way as to minimize the impact to the school’s operations or academic programming. "The AA is founded on the idea that it must know when to change. This restructuring is being undertaken in the best interests of the AA, and is necessary to support its sustainable future," the spokesperson added.
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Instagram Eavesdrop

Bone-inspired buildings, MVRDV’s grass carpet rooms, and other updates from the architects of Instagram
At The Architect’s Newspaper, we’re plain addicted to Instagram. Sure, we love seeing Brutalist concrete through “Inkwell” or “Ludwig” filters, but there’s also no better place to see where architects are getting their inspiration, how they’re documenting the built environment, and where they’ve traveled of late. Below, we bring you some of the best Instagrams of this past week! (Also, don’t forget to check out our Instagram account here.) Today, the modular design-build company Cover revealed its first unit designed, manufactured, and installed in L.A. The backyard studio is kind of a tiny home and definitely modernist, a fusion of two design trends that define the internet.
Out in Norway, Snøhetta has designed a new building for the Faculty of Fine Art, Music and Design (UiB) at Bergen with a glimmering metal cassette facade that changes with the light. It's all flash, in a good way.
While Snøhetta's newest project sparkles from the outside, Foster + Partners is looking deep within the body for architectural inspiration. The firm has partnered with a PhD candidate at the Royal Veterinary College, London, to "study the relationship between structure and function in bone biology and architectural design at various scales." To achieve this, Foster + Partners developed a Grasshopper plugin that helps designers create 3D space frames within almost any shape.
Despite all the talk that digital technologies have killed architectural drawing, there are still many designers who love to render spaces by hand (with a computer assist). KoozA/rch just featured Challenging The Threshold Between Image and Space, a eerily calming pastel computer collage by architect Sven Jansse, founder of Rotterdam's Image & Space, in collaboration with Alexandra Sonnemans.

Challenging The Threshold Between Image and Space by Sven Jansse in collaboration with Alexandra Sonnemans#art #artitecture #architecture #koozarch To what extent do you agree with the medium is the message – how does the use of collage reinforce the concept behind fragments? Probably the most fundamental concept behind the current work done by Image & Space, is that each visualisation should be able to generate its own value, independently of what they (appear to) represent. They are designed to tell their own story, establish a new truth and present it to the audience to evaluate. The medium is thus even more than the message; the visualisations become the project. They are no longer bound by the physical or economical limits of what they have to make understandable or try to sell, and by presenting the images without their expected context of drawings or a presentation, the spectator gains the freedom to interpret them in a very personal way. In order to stimulate people’s imagination, it’s important that one visualisation never shows the whole building, because it’s up to the audience to connect the different ‘fragments’. In this way, each visitor will ‘build’ a different building, and curate their own spatial experience.

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In meatspace, there's nothing better than plonking yourself down onto a thick carpet. For a lecture hall at Taipei's Jut Foundation for Arts and Architecture, MVRDV teamed up with Argentine rug maker Alexandra Kehayoglou to create a verdant greenscape that covers the stepped floors, creeps up the walls, and conceals an exit door.

Jut Group Lecture Hall by MVRDV and @alexkeha #mvrdv #greenliving #landscape

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