“Carlo Scarpa, Berkeley, California, 1969,” photo courtesy of the University of California Berkeley Art Museum and Pacific Film Archive.
When one turns the page of an architecture magazine and the work of Carlo Scarpa appears unexpectedly, a quiet inner thrill is felt. Since his passing in 1978, we seem increasingly moved by Scarpa’s caress of material, his strange but faultless sense of placement and proportion, the contemplative nature of his details. These appreciations are heightened by the knowledge that his output was relatively limited. > Read More
Spanish art & architecture collective Todo Por La Praxis is seeking collaborators and participants for their experimental research on activating the urban void. > Read More
Joseph Kosuth reviewing plans for the art installations at the Dog House. Photo by pm cook.
“Get out at the Sakuragaoka post office. Turn around and you’ll see a Lawson’s. Walk to it and then turn left. Walk up that street and you’ll see the Dog House on the right.” Typical Tokyo directions from the art impresario and entrepreneur Joni Waka. > Read More
Delacroix’s “Liberty Leading the People” at the terminus of the Louvre-Lens’ grand gallery. (Photo by Richard Ingersoll.)
Just before Christmas a superb new museum—a subsidiary of the Louvre in Paris—opened in the ex-coal mining city of Lens in northern France. To promote this breakthrough in museology, the curators chose the familiar icon of revolution, Eugène Delacroix’s “Liberty Leading the People,” one of some 200 artworks on loan from the parent institution, the world’s most popular museum. Richard Ingersoll paid a visit. > Read More
The future of opera may soon arrive at the 16th Street Station in Oakland. Photo by Christopher Hall.
Opera is a child of the city. It was born in 1600 in Florence, the cradle of civic humanism, in the homes of a wealthy group of intellectuals who were investigating Greek drama. With its agglomeration of poetry, drama, music, costume, sets and stagecraft, opera became a popular entertainment that spread to other urban centers with a supply of musicians and artisans large enough to create and articulate the spectacle. > Read More
For the past few decades, Market Street has been an illogical disconnect in San Francisco, where the confluence of its not-quite-intersecting streets and abrupt diagonal grid shifts have evolved radically different but adjacent streetscapes. > Read More
Photo by Cesar Rubio Photography.
The view walking along Bush Street towards downtown San Francisco recalls the exaggerated perspective of a Wayne Thiebaud painting. The sharp crest of the hill forces the gaze forward and down, revealing the urban fabric below where Manifest Destiny! — a19th-century, smaller than life-size cabin—adheres like a barnacle to the blank façade of 453 Bush Street, three and one half stories up. > Read More
Photo by Yuki Bowman
Co-curated and designed by CCA’s Ila Berman and Douglas Burnham, ‘Architecture in the Expanded Field’ is an Herculean and painstakingly crafted 3-dimensional exhibit that indexes some 75 works of ‘installation architecture’—an experimental terrain of practice explored by Erin Hyman for this magazine. > Read More
Gerhard Richter. Atlas. Tafel 5. Albumfotos 1962-1968. ©Gerhard Richter 2011.
The creative process is an intriguing design problem of its own: how should you craft the method used to craft other things? This is the second in a series of essays exploring this topic through the lens of strange atlas, an interpretive creative process. Although this approach applies beyond narrow disciplinary boundaries, the essays focus on its application for designing the built environment.
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Costantino Nivola at his farmhouse, Dicomano, Italy, 1981. Photo courtesy of Richard Ingersoll.
Memories of the sculptor and painter Constantino Nivola, a friend of Corbu, a neighbor of Jackson Pollock, and in the 1970s a lecturer at Berkeley CED.
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