Architectural Criticism: The Latest Architecture and News

The Jane Drew Prize for Architecture 2024 and the Ada Louise Huxtable Prize for Contribution to Architecture 2024 have been awarded to Polish-French architect Iwona Buczkowska and American political activist and author Angela Davis, respectively. Honoring their work and commitment to their practices, the awards highlight their efforts to raise the profile of women in architecture. The Jane Drew Prize celebrates Buczkowska’s innovative approach to social housing and public buildings in France. Meanwhile, the Ada Louise Huxtable Prize recognizes Angela Davis’s leadership in the movement to abolish the prison system.

In 1999, Birgit Lohmann and Massimo Mini co-founded designboom, self-proclaimed as the "first online architecture and design magazine." Seven years later, Facebook transitioned from Ivy League universities to massive audiences, while the first tweet was posted on formerly-known Twitter. Sixteen years have passed since these milestones.

While 16 years may be a short period in architecture, digital media and social networks are far from being considered emergent in the history of the internet. In fact, they form the core of the current Web 2.0 model, characterized by a dual interaction between content producers and consumers: sharing, liking, remixing, and reposting.

Indeed, the speed and magnitude of the transformations that digital media have undergone, and in turn, driven, provide the opportunity to begin documenting the history of the digital era and its impact on architecture.

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Koolhaas' journalism work won him fame in architecture before he completed a single building. The switch from storyteller to architect was more a change in the script than a professional shift. He pointed out that "[architecture] is a form of scriptwriting that implicitly describes human and spatial relationships." Restating the role of architecture in defining daily life beyond buildings and cities' construction, architecture is also a written and spoken tool capable of explaining daily worldwide events, giving voices to unspoken projects, and actively shaping the future of the architect's role. 

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Rahul Mehrotra is a practicing architect based in Boston and Mumbai and he has been teaching at Harvard’s GSD where he is currently Chair of the Department of Urban Planning and Design and Director of the Master in Architecture in Urban Design Degree Program. Born in 1959, Mehrotra grew up in Lucknow, a city in Northern India and an important cultural and artistic hub. His father was a manager at a large machine tool company. The family moved a lot following Mehrotra senior’s frequent promotions, which led to changing residences owned by his company. Besides a few years in Lucknow and Delhi, they lived in different neighborhoods within Mumbai.

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The philosopher and sociologist Henri Lefebvre coined the notion of "production of space" in 1974, breaking with the vision of space as a container or scenario of objects and social relations, to move towards space understood as a process. From this vision based on the Marxist tradition, space is a product and a producer of social relations and processes.

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SANAA co-founder Kazuyo Sejima and influential Canadian architect Phyllis Lambert have been awarded the Jane Drew and Ada Louise Huxtable prizes, respectively, as a recognition of their work and commitment to design excellence and for raising the profile of women in architecture. The Jane Drew Prize for Architecture commends Kazuyo Sejima for her achievements as an architect, while the Ada Louise Huxtable Prize recognizes Phyllis Lamber’s contribution to the wider architectural industry. The two awards are presented by UK-based publications Architects’ Journal and The Architectural Review.

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This article was originally published on Common Edge.

Witold Rybczynski’s latest book—he’s written 22 now, at last count—is The Story of Architecture (Yale University Press), and it’s as comprehensive as the title implies. The author of Home and A Clearing in the Distance starts with the ancients, works his way chronologically through the movements, buildings, and architects, and into the present day. It’s done, he concedes, through his own prism. “I have not given equal attention to all parts of the world,” he writes in the book’s Note to the Reader. “This is primarily although not exclusively the story of the Western canon. That is not to slight regions that often have their own unique architectural accomplishments … but I have chosen examples that best convey the principal thrust of the strain of architectural thought that has most influenced me.” Recently I talked with Rybczynski about the genesis for the book, what architecture lost when it abandoned ornamentation, and where we are today.

The Westminister City Council adopted a resolution to grant planning permission to the National Gallery for a series of adaptations, including Selldorf Architects’ restoration proposal for the Sainsbury Wing, originally designed by Robert Venturi and Denise Scott Brown. The plans to remodel were revealed earlier this year as part of the NG200 Project to celebrate the National Gallery’s bicentennial in 2024. The first intervention proposal for the Sainsbury Wing was met with widespread criticism, which led to a revision of the plans, released in October this year.

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This article was originally published on Common Edge.

Blair Kamin stepped down as architecture critic for the Chicago Tribune in January 2021, after a nearly 30-year run in the post. He won a Pulitzer Prize in 1999 for a body of work highlighted by a series on Chicago’s lakefront, including a story that documented the race- and class-based disparity between the city’s north and south lakefronts. He has previously published two collections of his work: Why Architecture Matters (2001) and Terror and Wonder (2010), both from the University of Chicago Press. His third collection, Who is the City For? Architecture, Equity, and the Public Realm in Chicago, was released last week. Recently I talked to Kamin about the new book, the state of post-pandemic Chicago, and the need for more mainstream architecture criticism. I will post the second of our conversations tomorrow, in which the critic pushes the need for a redefinition of the phrase “design equity.”

Selldorf Architects have released a revised version of the plans to remodel the National Gallery and the Sainsbury Wing, both classified as Grade-I-listed monuments. Sainsbury Wing is also the recipient of the 2019 AIA Twenty-five Year Award. The plans for the Sainsbury Wing, designed by Robert Venturi and Denise Scott Brown and opened in 1991, have faced intense criticism, with former RIBA Journal editor Hugh Pearman calling the remodeling plans “unnecessarily destructive”. The plans to remodel were first revealed earlier this year as part of the NG200 Project to celebrate the National Gallery’s bicentennial in 2024. The project proposes the remodeling of the Sainsbury Wing’s front gates, ground-floor entrance sequence, lobby, and first-floor spaces.

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This article was originally published on Common Edge.

Writer Eva Hagberg and I have known each other for a long time. Way back, in a year I can’t remember, I assigned her one of her first magazine assignments. Literally, dozens of other assignments followed. So it was with some anticipation, and a bit of surprise, that I received her new book When Eero Met His Match: Aline Louchheim Saarinen and the Making of an Architect (Princeton University Press), an intriguing hybrid text, one-part Aline and Eero biography, one part memoir of Hagberg’s experiences as a design writer and publicist. (I am briefly mentioned in the book.) The book’s main argument is that Aline Saarinen largely invented the role of the architectural publicist. Recently I traveled out to the Brooklyn Navy Yard to talk to a very pregnant Eva about the impetus for her new book, its dual structure, and the journalistic ethics of Aline Saarinen.

This article was originally published on Common Edge.

When the estimable Blair Kamin stepped down as architecture critic of the Chicago Tribune in early 2021, it left the city without a daily critic at any of the local news outlets. That sad state of affairs was partially corrected recently, when the Chicago Sun-Times announced that Lee Bey would begin a monthly architecture column. The writer, historian, photographer, and critic brings a wealth of experience to the task: he was architecture critic for the Sun-Times for five years in the late 1990s, served as deputy chief of staff for planning and design in Mayor Richard M. Daley’s administration, directed governmental affairs at SOM, and taught at IIT. His most recent book is Southern Exposure: The Overlooked Architecture of Chicago’s South Side. Last week I talked to Bey about the new role, how the city has changed since his last stint as a critic, and the unique importance of architecture to the city.

This article was originally published on Common Edge.

What, exactly, is the point of architecture criticism? The word “criticism” is derived from the Greek term krinein, meaning to separate, to sift, to make distinctions, to discern, to examine, or to judge. According to Wayne Attoe, an architect and educator who writes about architecture criticism in his book Architecture and Critical Imagination (now sadly out of print), this does not necessarily mean to disapprove of, or to find fault with. It can be favorable or unfavorable; it can praise or condemn.

Setting the Table is an illustrated reflection by architects Florencia Köncke and Paula Olea Fonti. In the following paragraphs, the authors develop a first approach to the study of the table as "the centre of our notion of domesticity"(1). In the relationship between space, objects and people and as a social catalyst for gathering and exchange.

This article was originally published on Common Edge as "Kate Wagner on McMansion Hell, Criticism, and Her Love of Cycling."

Contrary to movie myth, there is no such thing as an overnight sensation. The moment when a cultural presence bursts upon the scene, seemingly fully formed, is almost always preceded by unwitnessed years of DIY training and single-minded obsession. Such is the case for Kate Wagner, who broke the architectural internet in 2016 with the introduction of McMansion Hell, a sharp and hilarious skewering of the bloated American home, in all its garish and desperate striving. A year later, the real estate listing site Zillow served the then-23-year-old Wagner with a cease-and-desist letter, claiming that her use of photographs violated copyright (even though they didn’t own the photographs either!). It was a clumsy move, resulting in an eventual corporate about-face and scads of free publicity for McMansion Hell.