Like most other architecture critics, I’m often asked to write essays for monographs on living architects. However, unlike some of my colleagues — especially the king of introductions, whom I dub the Grand Old Laureate and Dispenser of Bland Encomiums, Ramblings, and Gallingly Equivocal Reviews — I always decline such requests, even from those whose work I admire and despite the temptingly high honorariums. My blanket excuse is that if I agree to one I’d have to say yes to all, and because the requisite positive introduction is tantamount to a wholesale endorsement, my objectivity would be suspect when assessing
Retro-American fantasies furnished by Ralph and Barbra. America — land of the free and home of self-actualization — remains unsurpassed for the license we grant to wholesale personal reinvention, a transformative process perhaps most tellingly revealed in people’s homes. Our ingrained national penchant for imagining whom you want to be and then becoming it grew to unprecedented proportions during the Golden Age of Hollywood. Photo courtesy Polo Ralph Lauren (top); courtesy Barbra Streisand from My Passion for Design (Viking) (above) The new Ralph Lauren store at 888 Madison in New York looks like a Parisian maison particulier (top). Barbra Streisand’s
Each year, countless migrant laborers travel from Mexico, Honduras, Haiti and other economically challenged countries to rural areas in the Southeastern U.S. to harvest fruits and vegetables, often with children in tow.
In 2001, while still a student at Dano, Burkina Faso the Berlin Technical University, Diébédo Francis Kéré completed his first project: a small primary school in Gando, his native village in Burkina Faso.
The massive, 7.0-magnitude earthquake that struck Haiti one year ago, on January 12, killed an estimated 230,000 people and left more than 1.5 million homeless.
A Vision by Peter Greenaway at the Park Avenue Armory You had to be there. A hyperbolic production that fuses the hokey theatricality of “son et lumière” (sound and light) tourist attractions with the razzle-dazzle antics of Cirque du Soleil was on view at the Park Avenue Armory in New York City until January 6, 2011. Leonardo’s Last Supper: A Vision by Peter Greenaway, a kitschy, multimedia spectacular (kitschtacular?), is basically a photographic reconstitution of da Vinci’s famous fresco, punched up by films, lighting, music, and voice-overs. Masterminded by Greenaway, the Welsh-born impresario, filmmaker, and artist (with a strong interest
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