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Posts Tagged ‘architecture’

Make Your Dream City a Reality, and Other News

October 6, 2014 | by

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A seventeenth-century map of Palmanova, Italy, a medieval star fort.

  • Wyatt Mason profiles Marilynne Robinson: “Somebody who had read Lila asked me, ‘Why do you write about the problem of loneliness?’ I said: ‘It’s not a problem. It’s a condition. It’s a passion of a kind. It’s not a problem. I think that people make it a problem by interpreting it that way.’ ”
  • How do outlandish ideas in architecture become reality? “The cities we live in need not have been as they are. In fact, they aren’t as they are. There’s a strange desperate hope in realizing how much of life is fiction.”
  • Lyudmila Ulitskaya’s novels—her latest, The Big Green Tent, appears in the U.S. next year—challenge the Russian state, taking on subjects that make many readers uncomfortable. “A book can be an inspiration or a murder weapon. Ulitskaya is fascinated by these transformations, but even more so by the peculiar trajectories that create fate—the travels of a person, a picture, a book. If there is a strange journey to be traced, she cannot resist the retelling.”
  • The e-book is an unstable medium: in a given edition, publishers are always swapping out advertisements, modifying content, rescinding access, or upgrading technology. So how do libraries preserve e-books? “Everyone knows that if we don’t do something now, we’ll be in big trouble later.”
  • Manufacturing stardom, then and now: “Trying to create a coherent image is always going to be the same, no matter if the star is from the 1930s or 2010s … Beyonce is producing an image using Tumblr and Instagram, which obviously stars in the thirties didn’t have, but she’s still trying to create a very specific understanding of the type of woman that she is. She’s trying to also make it seem like there isn’t a publicity campaign and that she’s not doing that, which was also done in the 1930s.”

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Inside Albertine

September 26, 2014 | by

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Nations of the world, take note: there are a number of benefits to running an embassy out of an historic mansion on Fifth Avenue. First, look around: you’re in an historic mansion on Fifth Avenue! Second, go upstairs: you’re still in that same historic mansion, on the same Fifth Avenue! Third, take stock of the fact that, because you don’t pay rent, you can kiss off market forces and open any business you’d like … in your historic mansion on Fifth Avenue!

Antonin Baudry, the cultural counselor for the French Embassy, had such a realization a few years ago. For more than sixty years, the embassy has made use of the Payne Whitney House, an opulent Italian Renaissance–style home erected from 1902 to 1906 at Fifth Ave. and 79th St. It seemed a shame, he thought, to deny passersby the chance to see its tongue-lollingly gorgeous interior. It also seemed a shame that New York had lost its last French bookstore, the Librairie de France, in 2009 …

You may see where this is headed. Baudry and his staff are at this moment putting the finishing touches on Albertine, a new French bookstore housed in the embassy—it opens Saturday at eleven A.M. When I visited yesterday, Baudry showed me around its impressive two floors, which had already achieved—though the ladders and drop clothes were still in evidence, and the painters were still painting, the burnishers still burnishing—an enviable blend of new bookstore smell and old building smell. It resembles a magnificent private library of the sort you’d expect to find in a turn-of-the-century estate. Read More »

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Raiding Updike’s Garbage Cans, and Other News

September 2, 2014 | by

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Paul Moran took these address labels, among many other discarded items, from Updike’s trash. Image via the Atlantic

  • In the years before John Updike died, a man began to steal a lot of his garbage—thousands of pieces, actually, including “photographs, discarded drafts of stories, canceled checks, White House invitations, Christmas cards, love letters, floppy disks, a Mickey Mouse flip book, and a pair of brown tasseled loafers.” Taken as a whole, the collection amounts to a kind of secret history, a trash biography. (“My life is, in a sense, trash,” Updike said in his Art of Fiction interview.)
  • How does one choose books that one knows one is going to enjoy? The obvious answer is that you can’t … Think of all the times we start a book that we think we should be reading—because everyone else is reading it, because it’s won a prize, because our book group has chosen it, despite our misgivings. And think of all the times we refuse to abandon a book we are not enjoying—because we are peculiarly puritanical about literature—thus creating an antagonism and a reluctance that must damage our relationship with reading.”
  • This year’s Venice Biennale, an architecture show, “reveals that modernism was never a style. It was a cultural, political, and social practice: the practice of making buildings suited to certain exigencies of life in a rapidly changing and developing world. And since, by definition, the question of how and what it meant to ‘make something modern’ changed over time and space—different in Finland than in Morocco—so also did the design of the buildings that emerged from it.”
  • In which the keening of a single blue whale teaches us something about loneliness.
  • What kind of worker is a writer? On Tillie Olsen, who wrote in dribs and drabs while holding down menial jobs and raising four children: “Writing, Olsen reminded her readers, takes time, education, energy, and resources, and these things are unevenly distributed. She encouraged us to attend to unorthodox writing produced in unfavorable circumstances—letters, diaries, scrapbooks like her own—and, in doing so, to question what counts as literature.”

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The Erotics of Architecture, and Other News

August 18, 2014 | by

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Dig those curves: the Museu de Arte Contemporânea de Niterói, in Rio de Janeiro. Photo: Rodrigo Soldon

  • In the summer of 2011, Phyllis Rose went to the New York Society Library and read one entire shelf of fiction—specifically, the shelf marked LEQ-LES. “In their obscurity, these books might be dull, bad or even unreadable; they might, in fact, be a total waste of her time. But she also felt certain that, should she embark on such a scheme, she would find herself on the readerly equivalent of virgin snow, for who else would have read this precise sequence of novels? … What followed was sometimes hard work and sometimes great fun. It was exasperating but also invigorating; deeply boring and yet surprisingly exciting.”
  • Congratulations to Louise Erdrich, who’s won the Dayton Literary Peace Prize’s distinguished achievement award. “The Dayton prizes are meant to recognize literature’s power to foster peace, social justice, and global understanding, and the distinguished achievement award is given for body of work.”
  • “You can’t kill e-mail! It’s the cockroach of the Internet, and I mean that as a compliment. This resilience is a good thing … E-mail is actually a tremendous, decentralized, open platform on which new, innovative things can and have been built … Yes, e-mail is exciting. Get excited!
  • From “a guide to the sexual understanding of great buildings”: “Right an­gles don’t attract me. Nor straight, hard and inflexible lines created by man. What attracts me are free and sensual curves. The curves we find … in the body of the woman we love.”
  • It’s a radical act of self-reference. It’s a paradigm-shattering instance of recursion. It’s … the world’s most profoundly stupid sign, a sign whose sole purpose is to warn you against hitting your head on it.

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Alfabeto Pittorico

August 5, 2014 | by

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Sploid, “a new blog about awesome stuff” (as opposed to the many blogs about unawesome stuff), drew my attention to Antonio Basoli’s Alfabeto Pittorico, a series of architectural-alphabetical engravings from 1839—twenty-four letters and an ampersand. (Sorry, J and W.) These are works of pure fabulism—Basoli, a painter and designer from Bologna, created sets and curtains for the theater, and his alphabet has a lot of stagecraft to it. Every letter looks like a scene from another play. Part of the fun is in wondering what compelled him to make these engravings at all: Was he on some kind of precursor to LSD? Had he been dissed by an illiterate architect, against whom he sought fanciful revenge? Did he need a novel pedagogical device to teach the ABC’s to his distracted children? Whatever his motive, he brought an impressive imagination to the table. His G, for instance, is built on a Viking ship with a rabbit at its bow; K appears to be in some sort of mosque, with people in prayer all around; S is carved into a treacherous cliff, at the foot of which is a grave with a mourner. S—the cruelest letter.

You can see the whole series here; if you’re thinking there’s an Alphabet City joke to be made, I regret to inform you that the editors at Sploid have beat you to it. I thought about closing this post by spelling out PARIS REVIEW in Basoli’s letters, but life is short, and I, like you, tire of clicking. So here’s TPR: Read More »

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Goodnight House?

July 29, 2014 | by

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121 Charles Street, in Greenwich Village.

The optimists among us may think we’re okay: the world will sort itself out, the climate will stabilize, young people will always read and dream and give us hope for the future. And yet, sometimes you see something so objectively depressing that it’s hard not to feel we’re doomed. Case in point: 121 Charles Street, in Manhattan, also known as Cobble Court.

The property, an eighteenth-century farmhouse, is noteworthy for its charm—it’s surrounded by a pretty yard on a picturesque Greenwich Village street. Peep through the fence and you can see the little white birdhouse made in the larger house’s image. Not original to the neighborhood, in 1967, it was moved from York Ave. and 71st Street to avoid demolition.

Horribly enough, it is imperiled again: a broker recently listed it as a “development site” for $20 million. Quoth they,

ERG Property Advisors is pleased to exclusively offer for sale a West Village development site located at 121 Charles Street on the corner of Charles and Greenwich. The property is directly situated in arguably the most desirable enclave in all of Manhattan, the West Village. The property’s corner location benefits from significant frontage along both Charles and Greenwich Street … creating tremendous street presence. The property consists of a 4,868 square foot corner lot in the Greenwich Village Historic District. The offering would allow a developer or user to execute a wide variety of potential visions, from boutique condominiums, apartments or a one-of-a-kind townhouse.

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