Category Archives: writing

NOT A STYLE, BUT A STANCE: text on #bauhaus in the Age of Social Media for Eye on Design

“Is the Bauhaus spirit now rendered at best irrelevant, at worst completely expired? It’s tempting to say yes on both counts—and to level a large part of the blame at platforms like Instagram that often divorce content from context.”

NOT A STYLE, BUT A STANCE: text on #bauhaus in the Age of Social Media for Eye on Design

“Is the Bauhaus spirit now rendered at best irrelevant, at worst completely expired? It’s tempting to say yes on both counts—and to level a large part of the blame at platforms like Instagram that often divorce content from context.”

CHURCHES OF CHATTER: text Eye on Design #3 GOSSIP

“In public space, the precise arrangement of bodies within the solar system of gossip—inner orbit: the talkers and listeners; secondary orbit: the onlookers and eavesdroppers—is largely determined by the backdrop. The physical architecture of a space molds the social architecture of gossip. Take, for example, the salon, the nail salon, and the office watercooler. Subconsciously or not, we use these spaces for chatter, and we preserve their gossip-facilitating designs when we build them anew.”

CHURCHES OF CHATTER: text Eye on Design #3 GOSSIP

“In public space, the precise arrangement of bodies within the solar system of gossip—inner orbit: the talkers and listeners; secondary orbit: the onlookers and eavesdroppers—is largely determined by the backdrop. The physical architecture of a space molds the social architecture of gossip. Take, for example, the salon, the nail salon, and the office watercooler. Subconsciously or not, we use these spaces for chatter, and we preserve their gossip-facilitating designs when we build them anew.”

MONO.KULTUR #46: Francis Kéré – Of Clay and Community

“This whirlwind of a welcome – the zeal, the readiness to adapt, the emphasis on the social – might also describe Kéré’s particularly grounded approach to architecture and life in general. The trajectory that led him from Gando, a village in his native Burkina Faso, to Germany is an extraordinary one; and yet, while not denying its importance and singularity, the architect prefers to view it as the result of luck, hard graft, and his own stubbornly-held brand of optimism.”

MONO.KULTUR #46: Francis Kéré – Of Clay and Community

“This whirlwind of a welcome – the zeal, the readiness to adapt, the emphasis on the social – might also describe Kéré’s particularly grounded approach to architecture and life in general. The trajectory that led him from Gando, a village in his native Burkina Faso, to Germany is an extraordinary one; and yet, while not denying its importance and singularity, the architect prefers to view it as the result of luck, hard graft, and his own stubbornly-held brand of optimism.”

ARCHIFUTURES Volume 5: Apocalypse

“We live in challenging times. There is no denying that portents pertaining to the “end of the world” are writ large all around. Yet despite the implied drama of “apocalypse”, the reality is actually far more mundane and surviving it

ARCHIFUTURES Volume 5: Apocalypse

“We live in challenging times. There is no denying that portents pertaining to the “end of the world” are writ large all around. Yet despite the implied drama of “apocalypse”, the reality is actually far more mundane and surviving it

MAGIC, MYTHOLOGY AND THE NEW DARK AGE: Interview with curator James Bridle about the exhibition AGENCY

“An augmented reality app reveals an added text layer of email correspondence with personal subject lines like “mwwah” and “I wuv you”, which are not the usual diplomatic cable fare. Instead, the artist showcases the metanarrative of a workplace affair, another form of ‘revelation’ that lies, along with so many bigger secrets, among the 10,000+ documents. ”

MAGIC, MYTHOLOGY AND THE NEW DARK AGE: Interview with curator James Bridle about the exhibition AGENCY

“An augmented reality app reveals an added text layer of email correspondence with personal subject lines like “mwwah” and “I wuv you”, which are not the usual diplomatic cable fare. Instead, the artist showcases the metanarrative of a workplace affair, another form of ‘revelation’ that lies, along with so many bigger secrets, among the 10,000+ documents. ”

BERLIN SONIC PLACES: Book Review

“Cusak’s description of his own Hinterhof (courtyard), where the quotidian rhythms of neighbours-never-met ricochet off the walls will be familiar to residents and AirBnB guests alike. Describing Maybachufer’s bustling market, Udo Noll cites similarities in a 1929 Franz Hessel text about the same spot, revealing the capacity for soundscapes, and the human routine that informs them, to endure beyond their associated landscapes – even in this city.”

BERLIN SONIC PLACES: Book Review

“Cusak’s description of his own Hinterhof (courtyard), where the quotidian rhythms of neighbours-never-met ricochet off the walls will be familiar to residents and AirBnB guests alike. Describing Maybachufer’s bustling market, Udo Noll cites similarities in a 1929 Franz Hessel text about the same spot, revealing the capacity for soundscapes, and the human routine that informs them, to endure beyond their associated landscapes – even in this city.”

FROM LA TO KOLKATA, THERE IS NO PLACE LIKE HOME: text on two Art Basel Statements artists

“Both artists explore these inherent tensions against the backdrop of regeneration and consumerism in Kolkata and Los Angeles – two urban centres whose boundaries are continually rendered obsolete by the processes of sprawl and migration. […] In both projects, the architecture of the artists’ respective locations is heavily referenced, both in terms of their materiality and the imaginaries they serve.”

FROM LA TO KOLKATA, THERE IS NO PLACE LIKE HOME: text on two Art Basel Statements artists

“Both artists explore these inherent tensions against the backdrop of regeneration and consumerism in Kolkata and Los Angeles – two urban centres whose boundaries are continually rendered obsolete by the processes of sprawl and migration. […] In both projects, the architecture of the artists’ respective locations is heavily referenced, both in terms of their materiality and the imaginaries they serve.”