Posts tagged with "public space":
Zaha Hadid Architects and Patrik Schumacher openly feud over public housing and privatizing public space
Open letter from Zaha Hadid Architects November 29, 2016 Patrik Schumacher’s ‘urban policy manifesto’ does not reflect Zaha Hadid Architects’ past—and will not be our future. Zaha Hadid did not write manifestos. She built them. Zaha Hadid Architects has delivered 56 projects for all members of the community in 45 cities around the world. Refusing to be confined by limitations or boundaries, Zaha did not reserve her ideology for the lecture hall. She lived it. She deeply believed in the strongest international collaboration and we are very proud to have a hugely talented team of 50 different nationalities in our London office, including those from almost every EU country. 43% of architects at ZHA are of an ethnic minority and 40% of our architects are women. Zaha Hadid didn’t just break glass ceilings and pull down barriers; she shattered them—inviting everyone of any race, gender, creed or orientation to join her on the journey. Embedding a collective research culture into every aspect of our work, Zaha has built a team of many diverse talents and disciplines—and we will continue to innovate towards an architecture of inclusivity. Architects around the world are calling for the profession to become more inclusive. The national and international press have also done a very good job highlighting the critical issues of housing and the threats to vital public spaces. Through determination and sheer hard work, Zaha showed us all that architecture can be diverse and democratic. She inspired a whole new generation around the world to engage with their environment, to never stop questioning and never—ever—stop imagining. Collaborating with clients, communities and specialists around the world who share this vision, everyone at Zaha Hadid Architects is dedicated to honouring Zaha’s legacy, working with passion and commitment to design and deliver the most transformational projects for all. Zaha Hadid Architects (Copyright © Zaha Hadid Architects)It remains unclear exactly who authored the piece, or who among the firm's members, trustees, partners, etc. pushed for its publication. AN will continue to cover this story as it evolves. UPDATE: Oliver Wainwright of the The Guardian has tweeted this:
UPDATE: “Come out Patrik, come out from under that table!” cry protesters at Zaha Hadid Architects’ London office
Executors of Zaha Hadid's estate come out all guns blazing against Patrik Schumacher's comments. How much longer will he be in his job? pic.twitter.com/FVHA9yqOfr— Olly Wainwright (@ollywainwright) November 29, 2016
The following essay is an excerpt from the forthcoming book, Solid Objectives... Order, Edge, Aura, to be published in early 2017 by Lars Muller Publishers. For more on the The Jan Shrem and Maria Manetti Shrem Museum of Art, see here.The design of interiors has come to embody a line of egocentric thoughts. It purports to put our body—and possibly even our soul and individualistic existence—at its center. Womb-like sensations arise, promising warmth, safety, and other prenatal comforts. How do we sufficiently swaddle or cushion the self for it to survive our savage reality? The interior becomes a pure haven for the spirit, something that seems increasingly public. We create mobile cocoons, shielding ourselves with screens, headsets, and blank stares. We eschew or minimize contact with others. Absurdly, even though technology has seemingly brought the outside world in, our devices have diminished points of contact with it. The public realm is contained, compressed, and trapped behind thinner and thinner layers of glass. The exterior is powered up or down with the swipe of a finger. While this notion of interior design evokes thoughts of monastic disconnection, of dwelling in a shielded totality, we would like to consider its opposite: the interior as a locus for a new collective condition, an inside that fosters exchange. After all, it is mostly in the perceived comfort of our interiors that we let our guards down and allow for connections to occur. Up until modernity, humanity experienced its interiors—even those of the dwelling—as a public domain. The living room was a place for conflict and exchange. Even our beds were shared. Given this, let us regard the interior not as a space created by protective surfaces and moods, but rather as a porous field defined by realms and structures. Otherness will trickle in and a productive contamination will ensue. Beyond mere spatial definition, a new exchange must be fueled by content. This collective interior demands activation by things: Volumes and objects, elements that supersede their functional obligations to play suggestive and symbolic roles—think of the Kaaba, the Butsudan, the kitchen table, and the parliamentary mace. We see this as the vivid place that sociologist Bruno Latour depicts wherein “each object gathers around itself a different assembly of relevant parties. Each object triggers new occasions to passionately differ and dispute. Each object may also offer new ways of achieving closure without having to agree on much else.” In the place of comfort, the new interior instead offers devices of contestation and the promise of an active public. In order to accommodate differences, an architecture of the interior will be assembled with character-filled structures and objects that trigger discursiveness, to fuel the fire, the textures taking on qualities of the outside, rupturing and destabilizing. Think of sublime volumes, endless depths, infinity pools, and fillets. Think of Andrei Tarkovsky, the rain inside, cobblestones in the living room, and sand in the bathtub. The interior as a space of contestation might recoup some of the scope architecture has forfeited to the creators of soothing mood boards and Pinterest boards. As layered and fleeting realities of the exterior return indoors, condensed and redirected, they might unsettle the insulated, comfortable individual in pursuit of a more vital collective interiority.
A healthy, dynamic, and inclusive city depends on the protection and promotion of what is collectively ours—parks, open space, libraries, museums, streetscapes, infrastructure, views, and other intangible resources—upon which our quality of life depends. We will be asking the questions: “What are public assets? Why do they matter? Who decides?”The day-long event, which is open to all MAS members, features several of the city’s most important urban thinkers including Adam Gopnik, Michael Sorkin, Fran Lebowitz, architecture professor Diane Lewis, and many more. This the first major initiative of the Society’s new director Gina Pollara and as she strives to make it once again a relevant public voice for the city.
The project meanwhile states that: "It is one of the few opportunities to use this prime location for cultural activity, and we are confident that there will be enough people who share Paul Smith and the London Design Festival's enthusiasm to enable its success."