Podcast appearances and mentions of Denise Scott Brown

Na een periode waarin het vooral aan tijdelijke en kleinere projecten werkte, is Monadnock een nieuwe fase ingegaan waarin het ook veel aan woningbouw werkt. Zo heeft het bureau ondertussen woongebouwen ontworpen in Nijmegen, Hilversum, Utrecht en Hannover. Daarbij slaagt het erin om de gelaagde architectuur uit het vroege werk door te zetten in zijn woningbouwprojecten. In gesprek met architect Job Floris over de benadering van het bureau en enkele recente projecten.Links naar de besproken projecten:Woongebouw Crevas in Nijmegen (Architectenweb)Woontoren in Nijmegen (Instagram)Park Paviljoen in Nationaal Park De Hoge Veluwe (Architectenweb)Landmark gebouw in Nieuw-Bergen (Architectenweb)Woongebouw Volante in Hilversum (Instagram)Binnen de plannen voor Hart van de Waalsprong is Monadnock gevraagd om drie belangrijke plekken in het stedelijk weefsel van een hoekaccent te voorzien. Zo wordt de belangrijkste invalsweg gemarkeerd met een ontwerp van Monadnock, krijgt het belangrijkste plein in het centrumgebied een woontoren naar ontwerp van het bureau en wordt straks de entree vanaf het oeverpark tot Hart van de Waalsprong benadrukt door een ontwerp van ze.In de podcast bespreken we de eerste twee projecten. Aan de invalsweg kondigt woongebouw Crevas het centrumgebied als een soort billboard aan. Het gebouw heeft twee heel verschillende gevels gekregen, die via een hoekaccent met elkaar zijn verbonden. De woontoren die Monadnock verderop in de buurt heeft ontworpen, richt zich in zijn architectuur nadrukkelijk op het centrale plein, geeft dat een richting. De andere zijden van de woontoren zijn eenvoudiger gelaten.Als de stedelijke situatie daarom vraagt, vindt architect Job Floris het heel logisch om een gebouw er aan de ene zijde anders uit te laten zien dan aan de andere kanten. Hij verwijst daarvoor naar de premoderne architectuur, waarin het heel gebruikelijk was om dat te doen, en heeft bijvoorbeeld van Asnago e Vender, dat in de jaren vijftig van de vorige eeuw veel realiseerde in Milaan, ook geleerd dat een ontwerp ook een assemblage kan zijn.In de podcast bespreken we verder wat hij geleerd heeft van Denise Scott Brown en Robert Venturi, van Mathias Ungers, en van Christian Rapp in de periode dat hij daar werkte. Met zijn bureau haalt Job uiteindelijk inspiratie uit architectuur van alle tijden: van de klassieke oudheid via Britse landhuizen tot het Scandinavische modernisme. De culturele dimensie van architectuur moeten we blijven doorvertellen, vindt hij, en dat kan bijvoorbeeld door ideeën, motieven of elementen uit het verleden in nieuwe ontwerpen opnieuw te interpreteren.Over de gelaagde architectuur die hij met zijn bureau nastreeft, geeft hij aan dat hij het zelf het interessantste vindt om te kijken naar iets dat zich langzaam aan je ontvouwt. Hij voegt eraan toe dat hij denkt dat gebouwen met een gelaagde architectuur langer gewaardeerd blijven.Na een kortere bespreking van het landmark gebouwtje in Nieuw-Bergen, dat het bureau ruim tien jaar geleden ontwierp, besluiten we de podcast met een gesprek over woongebouw Volante dat Monadnock in Hilversum Nieuw-Zuid heeft ontworpen.Deze podcast is mede mogelijk gemaakt door AGC.

It's another exciting edition of our Children of Genius show, with guests Jim Venturi, son of Denise Scott Brown and Robert Venturi; Peter Nowicki, son of Matthew and Siasia Nowicki; and Sue Ann Kahn, daughter of Lou Kahn. 

Replaying our special episode featuring Denise Scott Brown. Denise Scott Brown is an architect; planner & urban designer; and a theorist, writer and educator whose projects, research, and writing have influenced designers and architects since the 1960s. Her writings have changed the practice of architecture as we know it and her built work spans several continents. Some of her notable writings include Learning from Las Vegas, Having Words, and Architecture as Signs and Systems. She was a long-standing principal of the firm Venturi, Scott Brown and Associates. Many of the topics we cover are influenced from the recently published book, ⁠Denise Scott Brown in Other Eyes: Portraits of an Architect⁠ edited by Frida Grahn.   I had the pleasure of chatting with Denise for two and a half hours (please remember, Denise is in her 90s!) - so this conversation will be divided into two episodes. In part 1 we talk about:  - We start with the iconic theory: Duck vs Decorated Shed. How did Denise come up with the idea? Why a duck? And did she anticipate her theories' on academia?  - We next explore Denise's early teaching days. She shares stories from Penn, UCLA, and Berkeley and we walk about late-night crits and ‘Functions of a Table'.  - We dive into the origin story of Learning from Las Vegas and then hear some stories you might not read in your history books: how Denise met Robert Venturi and started working with him and I also ask where she got her bold, graphic wedding dress (see an image in Grahn's book!) - Next, we cover the political and social complexities of growing up as a Jewish immigrant in Africa and draw parallels to her teaching during the free speech movement and more recent eras of social reform. - Denise expresses the importance of creativity in childhood and she shares her earliest memory- from age two! - If you're listening closely, you'll also hear a few shoutouts to the Drexel Community- Paul Hirshorn and John Fry and more unexpectedly, Denise draws a few parallels to Trevor Noah. 

Welcome to a very special Part 2 Episode of Architectette! We continue our conversation with Denise Scott Brown. Denise Scott Brown is an architect; planner & urban designer; and a theorist, writer and educator whose projects, research, and writing have influenced designers and architects since the 1960s. Her writings have changed the practice of architecture as we know it and her built work spans several continents. Some of her notable writings include Learning from Las Vegas, Having Words, and Architecture as Signs and Systems. She was a long-standing principal of the firm Venturi, Scott Brown and Associates. Many of the topics we cover are influenced from the recently published book, ⁠Denise Scott Brown in Other Eyes: Portraits of an Architect⁠ edited by Frida Grahn.   Check out our social media @architectette on Instagram, the Architectette Podcast Page on LinkedIn, and our newsletter at architectette.com for behind the scenes exclusives and clips from the recording.  We talk about: - The challenges of balancing community and developer needs for Philadelphia's South Street and how racial politics influenced the process.  - Denise's design process for the Provincial Capitol Building in Toulouse. She explains her inspiration for the building's iconic diagonal and other aesthetic elements. - Inspiration for her article: Sexism and the Star System which talks about gender and architecture. We hear from her first hand what it was like to be seen as a lesser partner to Robert Venturi and how she dealt with being overlooked, rejected from the Pritzker Prize, or not acknowledged for her significant contributions.  - In addition to her illustrious career, Denise was a mom! She shares about her son, Jimmy, and the realities of balancing career and parenthood. - How Denise became interested in photography to document and study urban conditions and she shares the influences and experience behind that ICONIC photo of her and Bob (Venturi) with the Las Vegas Strip in the background. - We end with the National Gallery- sign the petition to save the building! I hope you enjoy this episode as much as I enjoyed interviewing Denise. (Denise, Emma, and Nyma - THANK YOU!) Links: ⁠Studio Architecture's Gift to Academe⁠ ⁠Denise Scott Brown in Other Eyes: Portraits of an Architect⁠ ⁠Venturi Scott Brown Website⁠ ⁠Learning from Las Vegas⁠ (article summary) Aperture Article (Photos of Denise's Home) ⁠Stop Current Sainsbury Wing Renovation⁠ Photo: Denise Scott Brown, 2023, photograph by Nyamsuren Erdenebayar  Architectette Podcast Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.architectette.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect with the pod on ⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Instagram (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@architectette⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and TikTok (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@architectette⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) Exclusive Content on our Newsletter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.architectette.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AlexGrohl⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pixabay⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/architectette/support

We have a very special guest on today's episode of Architectette, Denise Scott Brown. Denise Scott Brown is an architect; planner & urban designer; and a theorist, writer and educator whose projects, research, and writing have influenced designers and architects since the 1960s. Her writings have changed the practice of architecture as we know it and her built work spans several continents. Some of her notable writings include Learning from Las Vegas, Having Words, and Architecture as Signs and Systems. She was a long-standing principal of the firm Venturi, Scott Brown and Associates. Many of the topics we cover are influenced from the recently published book, Denise Scott Brown in Other Eyes: Portraits of an Architect edited by Frida Grahn.   I had the pleasure of chatting with Denise for two and a half hours (please remember, Denise is in her 90s!) - so this conversation will be divided into two episodes. In part 1 we talk about:  - We start with the iconic theory: Duck vs Decorated Shed. How did Denise come up with the idea? Why a duck? And did she anticipate her theories' on academia?  - We next explore Denise's early teaching days. She shares stories from Penn, UCLA, and Berkeley and we walk about late-night crits and ‘Functions of a Table'.  - We dive into the origin story of Learning from Las Vegas and then hear some stories you might not read in your history books: how Denise met Robert Venturi and started working with him and I also ask where she got her bold, graphic wedding dress (see an image in Grahn's book!) - Next, we cover the political and social complexities of growing up as a Jewish immigrant in Africa and draw parallels to her teaching during the free speech movement and more recent eras of social reform. - Denise expresses the importance of creativity in childhood and she shares her earliest memory- from age two! - If you're listening closely, you'll also hear a few shoutouts to the Drexel Community- Paul Hirshorn and John Fry and more unexpectedly, Denise draws a few parallels to Trevor Noah.  I hope you enjoy this episode as much as I enjoyed interviewing Denise. (Denise, Emma, and Nyma - THANK YOU!) Please join us for next week's Part 2 episode where we will discuss Sexism and the Star System, Philadelphia's South Street, the Provincial Capitol Building in Toulouse, and more! Links: Studio Architecture's Gift to Academe Denise Scott Brown in Other Eyes: Portraits of an Architect Venturi Scott Brown Website Learning from Las Vegas (article summary) Photo: Denise Scott Brown, 2023, photograph by Nyamsuren Erdenebayar  Architectette Podcast Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.architectette.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect with the pod on ⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, Instagram (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@architectette⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and TikTok (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@architectette⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠) Exclusive Content on our Newsletter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.architectette.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AlexGrohl⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ from ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pixabay⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. --- Support this podcast: https://podcasters.spotify.com/pod/show/architectette/support

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「我要用自己的头脑做武器，在这艰难的世间开辟出一条路来。」在伍尔夫写于上世纪20年代的女性主义名作《一间自己的房间》中，拥有空间是女性实现自主独立的前提，也寄托着性别间社会经济地位平等的理想。时光荏苒，从拥有空间到建造空间，女性建筑师们的出现象征着壁垒的突破。然而，去年10月，关于宾夕法尼亚大学追授林徽因女士建筑学学位的新闻，让这位中国著名建筑家是因身为女性而被宾大建筑系拒绝的过往受到关注，也让我们意识到，这条突破之路远比我们想象得艰难。有更多的杰出女建筑师遭受着偏见，甚至于她们的贡献被忽视，她们存在的痕迹被淡化。 这些女建筑师们是如何被隐没的？本期节目的嘉宾殷宝宁教授正是这样一位去发掘被忽视的女性建筑师历史的人。在她看来，女性主义建筑史不仅是还予被隐没者以公道；重塑过去的意义，也在于能更好地改变现在与想象未来。建筑设计塑造了我们的生活空间，参与了我们的生活活动，也影响了我们对于生活意义的思考。而女性主义的建筑观指向的是一种以人为本的视角，女性建筑师关注细节、重视连结，看见日常生活的具体需要。因此，谈论女性与建筑的意义，不仅是质疑根深蒂固的偏见与不平等、为一种被隐没的性别正名，还在于去实现值得共同追求的价值：关心他者、关心生活的细节，让每一个人都能够平等、有尊严而富足地生活。 这条路向来艰难，但也向来有人为彼此指引，步履不停。 本期的 shownotes 保留了节目中提到的每一位女性建筑师的名字，她们中的一些人在历史长河中或被一笔带过、或完全被隐没。当然，她们需要留下的，不仅只有名字。 本期人物 徐涛，声动活泼联合创始人 殷宝宁，台湾艺术大学艺术管理与文化政策研究所教授兼所长 主要话题 [01:37] 建筑界有变得更平等吗？从林徽因的求学经历聊起 [06:41] 作为历史上第一个室内设计师的女性：Elsie De Wolfe [12:16] 照顾的伦理与阴性思考：女性生命经验在建筑界为何重要？ [14:35] 世界遗产萨伏伊别墅：天才的创意还是灵感的抄袭？（Eileen Gray） [25:52] Julia Morgan，沉默的先锋：用800多栋建筑打破限制的女建筑师 [34:48] 号称「走向共和」的德国建筑名校包豪斯为何限制女生入学 [38:06] Lilly Reich：一把传世之椅背后，是又一位贡献被高度抹煞的女性 [42:44] 建筑界大奖有一双性别偏见的眼（Denise Scott Brown） [44:19] 当下被反复删除的女性建筑师词条 [47:57] 反思建筑界的「造星」传统：是否能用女性主义关怀替代个人英雄叙事？ 相关资料 殷宝宁：《性别与设计——建筑与女性主义的邂逅》 (https://book.douban.com/subject/26299867/) 宾夕法尼亚大学将向林徽因颁发迟到的建筑学学士学位 (https://www.thepaper.cn/newsDetail_forward_24958218) Elsie De Wolfe 介绍 (https://www.sohu.com/a/33986507_235091) 《为什么没有伟大的女艺术家？》 (https://book.douban.com/subject/36183953/?icn=index-latestbook-subject) Eileen Gray 介绍 (https://m.thepaper.cn/baijiahao_8318116) Eileen Gray 的海边小屋「E-1027」以及与柯布西耶的故事 (http://www.iarch.cn/thread-46358-1-1.html) Julia Morgan 介绍 (https://pioneeringwomen.bwaf.org/julia-morgan/) 包豪斯学校的对女性学生的边缘化 (https://www.bbc.com/ukchina/simp/vert-cul-47565461) Lilly Reich 介绍 (https://baijiahao.baidu.com/s?id=1627333813252546496) 有关 Lilly Reich 设计家具的历史的书籍 (https://assets.moma.org/documents/moma_catalogue_278_300199443.pdf) Denise Scott Brown 介绍 (https://www.jiemian.com/article/2549468.html) 女性建筑师维基百科词条被反复删除的事件 (https://placesjournal.org/article/unforgetting-women-architects-from-the-pritzker-to-wikipedia/?cn-reloaded=1) 有关维基百科不公平对待女性建筑师资料的相关书籍 (https://www.jstor.org/stable/j.ctvct00dx) 扎哈·哈迪德介绍 (https://www.archdaily.cn/cn/798527/ju-jiao-jian-zhu-xi-nu-mo-tou-zha-ha-star-ha-di-de) 张锦秋介绍 (https://mp.weixin.qq.com/s/Mo5LO4fIOVdjrLJFcvTeUQ) 妹岛和世介绍 (http://www.archcollege.com/archcollege/2018/03/39421.html) 中国建筑中女性的声音 (https://www.archdaily.cn/cn/991885/zhong-guo-jian-zhu-zhong-nu-xing-de-sheng-yin) 群访 | 「女性建筑师」是一个需要被讨论的议题吗？ (https://www.archiposition.com/items/54fe57ce11) 幕后制作 监制：Kiki、六工 后期：赛德 运营：瑞涵 设计：饭团 商务合作 声动活泼商务合作咨询 (https://sourl.cn/6vdmQT) 支持我们，加入新一年的播客创新 2021 年我们发起了「声动胡同会员计划」，这是一个纯支持项目，支持「声动活泼」在播客内容上不断探索和创新。回顾 2023 年，得益于这些支持，「声动活泼」的每档节目都不断突破，不仅荣登苹果中国的年度热门节目榜单，还在 CPA 和喜马拉雅等平台都榜上有名。2024 年，我们也会继续创新，一档全新的投资类节目即将和大家见面，同时也会用更加创新的方式制作新一季「声音特稿」节目。 欢迎 点击链接 (https://sourl.cn/iPpsuJ) 查看我们 2023 年收获和 2024 年内容计划。如果你认同或喜欢我们做的事情，也期待我们不断尝试并产生好内容，欢迎付费支持。 胡同 https://files.fireside.fm/file/fireside-uploads/images/8/8dd8a56f-9636-415a-8c00-f9ca6778e511/JhkPvKIa.png 关于声动活泼 「用声音碰撞世界」，声动活泼致力于为人们提供源源不断的思考养料。 我们还有这些播客：声东击西 (https://etw.fm/episodes)、声动早咖啡 (https://sheng-espresso.fireside.fm/)、What's Next｜科技早知道 (https://guiguzaozhidao.fireside.fm/episodes)、反潮流俱乐部 (https://fanchaoliuclub.fireside.fm/)、泡腾 VC (https://popvc.fireside.fm/)、商业WHY酱 (https://msbussinesswhy.fireside.fm/)、跳进兔子洞 (https://therabbithole.fireside.fm/) 欢迎在即刻 (https://okjk.co/Qd43ia)、微博等社交媒体上与我们互动，搜索 声动活泼 即可找到我们。 期待你给我们写邮件，邮箱地址是：ting@sheng.fm 欢迎扫码添加声小音，在节目之外和我们保持联系！ 声小音 (https://files.fireside.fm/file/fireside-uploads/images/8/8dd8a56f-9636-415a-8c00-f9ca6778e511/hdvzQQ2r.png) Special Guest: 殷宝宁.

Learn more about the life, work, struggles, and achievements of Denise Scott Brown. For show notes and more information check out our website https://www.shebuildspodcast.com/episodes/denisescottbrown2Mentioned in this episode:UnstructJoin our Live Recording on March 2nd!Have you listened to a She Builds Podcast episode and thought "it's like I'm in the room with them? " Now is your chance to join the party! We will do a live recording of our 100th episode and everyone is invited! On March 2nd at 2 pm EST - Lizi Raar, Norgerie Rivas, and me Jessica Rogers - will live record our 100th episode. Join us as we record the wrap-up of our season and reflect on the past ten - we play our typical games and share some of our favorite moments. Here is the link: https://riverside.fm/studio/she-builds-podcast see you there!ArchITCVGSpeak PipeWe're planning something special and we need your help. Please go to THIS LINK (https://www.speakpipe.com/SheBuildsPodcast) and leave us a 10-30 second voice note about your favorite episode, caryatid, or any lady in the AEC profession who inspires your career and life. You might hear yourself on a future episode. Stay tuned!CoDesign

Learn about the life, work, struggles, and achievements of Denise Scott Brown. For show notes and more information check out our website https://www.shebuildspodcast.com/episodes/denisescottbrownMentioned in this episode:UnstructArchIT

In this episode of The Unfinished Print, I speak with Henry Smith, Professor Emeritus in the Dept. of East Asian Languages & Cultures at Columbia University.  Together we delve into the scientific aspects of Meiji woodblock prints, exploring the trajectory of Nishiki-e during the late Edo and Meiji eras. Additionally, we examine the significance of cochineal and naphthol dyes, and scrutinize particle sizes. Henry's scholarly contributions include groundbreaking articles on subjects such as Hokusai and the Blue Revolution, with the introduction of Prussian Blue to the Japanese woodblock aesthetic during the mid to late Edo Period.  Join me in discovering how Henry's passion drew him into the enchanting world of Meiji woodblock prints, as we navigate the influence of Western collectors in Meiji Japan, exemplified by figures like English s urgeon William Anderson. Henry helps me in understanding the rich palette and the science behind Meiji prints, shaped by the infusion of imported dyes and pigments. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Publishers are given if known. The funeral procession of Meiji Emperor at Nijubashi designed by Yasuda Hanpo (1889-1947) Columbia Academic Commons  Professor Henry Smith's article on the Japanese Student movement, here. Peter Gluck - is an American architect who has won multiple awards and has designed buildings all over the world. He is the principal of GLUCK+, an architecture firm based in New York City.  Professor Carol Gluck - is a Special Research Scholar and George Sansom Professor Emerita of History, Department of History at Columbia University. She has written multiple books and articles on Japanese history.  Jane Jacobs (1916-2006) - an American-Canadian journalist, activist who had written extensively on the life and death of North American cities such as New York City, and Toronto. Her book The Death And Life Of Great American Cities, is considered a classic in urban planning for the modern city and its subsequent decline.  Robert Venturi (1925-2018) -  was an American architect and theorist known for his contributions to postmodern architecture. He, along with his partner and wife Denise Scott Brown, played a key role in shaping architectural discourse in the late 20th century. Venturi challenged the modernist principles that dominated architecture at the time, advocating for a more inclusive and eclectic approach. His book, Complexity and Contradiction in Architecture (1966) was where he critiqued the rigidity of modernist architecture and championed a more diverse and contextual approach to architecture.  Metabolism (Japan) - The Metabolism movement was characterized by a group of young Japanese architects and designers who sought to address the challenges of rapid urbanization and rebuilding after World War II. Key principles and concepts of Metabolism in Japanese architecture are megastructures, prefabrication and modularity, biology and organic growth, and technological innovation. One special notable example of Metabolist architecture was the now demolished Kisho Kurokawa's Nakagin Capsule Tower in Tōkyō. Shinjuku: The Phenomenal City - was the exhibition Henry Smith discussed in this episode. It was exhibited December 16, 1975 to March 7, 1976 at the Museum of Modern Art, New York City. More info, here. a+u magazine - also known as architecture and urbanism magazine, is a Japanese/English architecture magazine first published in 1971. More info, here.  Kōji Taki (1928-2011) - was a Japanese author, architectural critic, editor, and key figure in the Metabolist movement. He played a significant role in shaping the discourse of contemporary architecture in Japan and was instrumental in promoting the ideas of the Metabolists. Kappabashi - located in Tōkyō's Asakusa district, is a renowned destination for kitchenware and restaurant supplies. The street is lined with stores offering a diverse range of products, including traditional Japanese knives, sushi-making equipment, and unique culinary gadgets. Kappabashi is especially popular for its sampuru shops, where visitors can buy realistic food replicas commonly displayed outside restaurants. The area features a mix of large retailers and specialty stores, creating a charming atmosphere with its traditional Japanese architecture. It's easily accessible from Tawaramachi Station on the Tokyo Metro Ginza Line. fūkei hanga - are landscape images. These paintings and prints represent the natural world such as mountains, rivers, waterfalls. You can find these types of prints from the golden age of nishiki-e to shin-hanga, to today.  Sunset at Tomonotsu (1940, 9"x14") by Tsuchiya Koitsu (1879-1942) and published by Watanabe.  Mitaka - is a city located in the western part of Tōkyō, Japan. A very pretty and quiet part of the city it is famous for the Ghibli Museum, and Inokashira Park. 100 Views of Edo (名所江戸百景) - is a series of nishiki-e prints designed by Utagawa Hiroshige (1797-1858). It was published between 1856 and 1859 and consists of 118 or 119 prints, each depicting various scenes of Edo (Tōkyō). The prints show the beauty, diversity, and everyday life of Edo, capturing different seasons, landscapes, landmarks, and activities. Hiroshige's use of color, composition, and atmospheric effects contributes to the series' enduring popularity. The scenes range from bustling urban areas and landscapes to rural views, often incorporating elements of nature and traditional Japanese culture. Suruga-chō (1885) Thirty Six Views of Mount Fuji - one of Hokusai's most iconic series, known for its various depictions of Mount Fuji in different seasons, weather conditions, and different vantage points. The series includes "The Great Wave off Kanagawa." Published between 1830-1832 the series portrays Mount Fuji in different perspectives, everyday life, as well as the special importance of Mount Fuji in Edo culture. The series had a large impact on Western artists and thinkers, including the Impressionists and Post-Impressionists. Umezawa Hamlet-fields in Sagami Province (1830-31) Santa Barbara Museum of Art - is an art museum located in Santa Barbara, California, USA. Its collection contains art works from all over the world, focusing on paintings, sculpture, and paper works. More info, here.  Kobayashi Kiyochika (1847-1915) - was a painter and woodblock print designer famous for his war prints on the First Sino-Japanese War (July 25, 1894- April 17, 1895). Kiyochika captured the transitional period in Japanese history as the country underwent rapid modernization and Westernization during the late 19th and early 20th centuries. Onoguchi Tokuji Destroying The Gate at Jinzhoucheng (1895 14 3/4" x 28 9/16") published by Daikokuya. Utagawa School - was a school of print designers starting with Utagawa Toyoharu (1735-1814). He employed one point perspective (vanishing point) in his print designs, being influenced by Western perspective. The influence of the Utagawa school goes far in Japanese print history and one of its most successful. This schools print designs of kabuki portraits, beautiful women (bijin-ga), and landscapes are excellent. Some famous names attributed to the Utagawa school are Utamaro (1753-1806), Utagawa Kunisada (1786-1865), and Ando Hiroshige (1797-1858). A fine description of this school can be found, here at Artelino.  Newly Published Picture of the Battle of Jiuzan-shan in China (9 3/16" x 13 1/8") attributed to Utagawa Toyoharu Okumura Masanobu (1686-1784) - was a Japanese nishiki-e artist and print designer who lived during the Edo period. He is credited with pioneering the use of full-color printing and is considered one of the early masters of the art form. Okumura Masanobu was known for his contributions to bijin-ga and yakusha-e (actor prints). He played a role in the development of nishiki-e as a popular art form. More information can be found at Viewing Japanese Prints, here.  Large Perspective Picture of Evening Cool by Ryōgoku Bridge (ca. 1748) hand coloured Sumida River - is a major river that flows through Tōkyō, Japan. It plays a significant role in the history, culture, and landscape of the city. The Sumida River flows for approximately 27 kilometers (about 17 miles) through Tokyo, originating from Kita City and flowing into Tōkyō Bay. It passes through several wards, including Kita, Adachi, Sumida, Taito, Koto, and Chuo. The river has been portrayed in nishiki-e prints for generations, along with its bridges.  Kobayashi Kiyochika the Sumida River at Night (9.76"x14" - est. 1881) Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs. Yamayoshi Genba no jō Chikafusa (14 5/16" x 9 15/16" - 1848/49) published by Sumiyoshiya Ike no Taiga (1723-1776) - was a Japanese painter of the mid-Edo period, known for his skill in the Nanga style, which was influenced by Chinese literati painting. He is best remembered for his role in promoting a cross-cultural exchange of ideas between Japan and China in the realm of art and aesthetics during the Edo Period. Landscape with Pavilion (1750) Akita ranga painting - a style of Japanese painting that emerged in the late Edo period, particularly during the 19th century, in the region of Akita in northern Japan. The term "ranga" literally translates to "Dutch painting" and reflects the influence of European painting styles, particularly Dutch and Western techniques, which were introduced to Japan through trade with the Dutch during the Edo Period. More info, here.  Satake Shozan (1748-1785) - Pine Tree and Parakeet (68.11" x 22.83") est 1700's, painting. Shinobazu Pond - is a large pond located within Ueno Park in Tōkyō, Japan. Ueno Park is a spacious public park that is home to several museums, a zoo, temples, and beautiful green spaces. Shinobazu Pond is one of the central features of Ueno Park, and it is renowned for its scenic beauty and historical significance. hanmoto system - is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer. William Anderson (1842–1900) was an English surgeon and collector with a significant impact on the appreciation and understanding of Japanese art in the late 19th century. Anderson became a passionate collector of Japanese art, amassing a vast and diverse collection that included nishiki-e, ceramics, textiles, and other traditional artworks. His collection grew to be one of the most significant and comprehensive of its time. His bequest laid the foundation for the development of Japanese art studies in the West, influencing subsequent generations of scholars, collectors, and enthusiasts. ezōshiya - is a type of Japanese bookstore that specializes in selling "ehon" or picture books. Ehon are valued not only for their storytelling but also for the quality of illustrations. These books played a role in promoting visual literacy and appreciation of art in Japan. Nishiki-e had been sold at these book stores during the Edo Period.  Utagawa Kunisada (1786-1865) is widely regarded as one of the most significant woodblock print designers in Japanese history. His diverse portfolio includes prints ranging from landscapes and books to erotica and sumo. Kunisada worked during the vibrant era of nishiki-e alongside notable artists such as Andō Hiroshige (1797-1858), Katsushika Hokusai (1760-1849), and the aforementioned Kuniyoshi. This period represents a rich and abundant chapter in Japanese woodblock print history. Ichikawa Danjurō VIII as Hanzaemon published by Tamaya Sōsuke (1852) 13 9/16" x 9 3/16" cochineal - known as yōko in Japanese, is a red dye taken from the dried bodies of female cochineal insects. These insects are native to Central and South America, where they feed on the sap of prickly pear cacti. Cochineal has been used for centuries as a natural dye, valued for its vibrant red color. An article about synthetic pigments and cochineal in Japanese woodblock prints and co-written by Henry Smith can be found, here.  William Sturgis Bigelow (1850-1926) - was an avid collector of Japanese art. His extensive travels to Japan from 1882 to 1889, coupled with a close friendship with Ernest Fenollosa, enabled him to amass a remarkable collection. Bigelow's acquisitions played a pivotal role in promoting Japanese art in the Western world. World Of The Meiji Print - is a book published by Weatherhill in 1991 and written by Julia Meech-Pekarik. It describes how nishiki-e developed and evolved during the Meiji period.  Roger Keyes (1942-2020) - was a distinguished scholar of Japanese woodblock prints. His expertise was showcased in his 1982 dissertation, a comprehensive study of Tsukioka Yoshitoshi (1839-1892). Additionally, Keyes authored the book 'Ehon: The Artists and the Book in Japan' in 2006, further solidifying his significant contributions to the understanding of Japanese printmaking. Amy Reigle Newland - is a Japanese print scholar who has written various articles and books upon the subject. One of my favourite books by Newland is her book about Toyohara Kunichika, Time Present and Past: Images of A Forgotten Master (1999).  Bruce Coats - is Professor of Art History and the Humanities at Scripps College, Claremont, California. He has contributed to several books on Japanese woodblock prints, one of my favourites is Chikanobu: Modernity and Nostalgia in Japanese Prints (2006).  James A Michener (1907-1997) - was a Pulitzer Prize-winning writer, scholar, and esteemed academic known for his extensive contributions to various literary genres. Beyond his celebrated literary achievements, Michener also delved into the world of Japanese prints, demonstrating a multifaceted curiosity and intellectual versatility. His exploration of Japanese prints added another layer to his diverse body of work, reflecting a deep appreciation for Japanese art and culture. Honolulu Academy of Arts - founded in 1922 by Anna Rice Cooke, evolved into the Honolulu Museum of Art (HoMA) in 2012. Rice-Cooke's vision for a multicultural art space led to its creation, with an endowment and land donated by the Cooke family. The museum's architectural style blends Hawaiian, Chinese, and Spanish influences. Over the years, HoMA expanded, adding educational wings, a cafe, and more, while its permanent collection grew to over 50,000 pieces. In 2011, The Contemporary Museum merged with HoMA, unifying as the Honolulu Museum of Art. More info, here.  shinbun nishiki-e - the Meiji Restoration of 1868 marked a pivotal moment in Japan's history, prompting significant societal upheavals. Tōkyō, formerly Edo, became the new centre of Imperial Japan, and by 1871, the traditional feudal class system had been abolished, accompanied by compulsory education laws. This era of profound change spurred creative responses to economic challenges. Starting in the summer of 1874, innovative individuals introduced shimbun nishikie, vibrant single-sheet woodblock prints that served as colorful souvenirs. These prints, produced until 1876, were not just visually striking but also narratively engaging, recounting news articles in a format ideal for oral storytelling. Renowned artists like Ochiai Yoshiiku and Tsukioka Yoshitoshi, both students of the celebrated Utagawa Kuniyoshi, played a key role in illustrating these captivating snapshots of an evolving Japan. An excellent article on shinbun nishiki-e can be found here, from All About Japan.  Fighting Off A Wolf by Sadanobu II (1848-1940) from the Nichinichi Shinbun (9 1/2" x 6 3/4")  Satsuma Rebellion -  occurring in 1877, was a last stand against the modernization policies of the Meiji government by disaffected samurai from the Satsuma domain. Led by Saigō Takamori (1828-1877), a key figure in the Meiji Restoration. The rebellion sought to restore imperial power and resist the centralization efforts of the government. The conflict ended in a decisive government victory at the Battle of Shiroyama, where Saigō met his end, marking one of the final samurai-led uprisings in Japan's history. Suzuki Harunobu (1725-1770) -pioneered the art of nishiki-e, becoming the first to craft multi-color woodblock prints. Renowned for his exquisite designs, Harunobu's subjects often revolved around the portrayal of beautiful women, shunga (erotic art), and classical poetry. His innovative techniques and thematic choices significantly influenced the genre during the Edo period in Japan. Lovers Walking In The Snow (1764-1772) (11 1/4"x8 1/8") Emperor Meiji born Mutsuhito (1852 – 1912), was the 122nd Emperor of Japan, reigning from 1867 until his death in 1912. His reign, known as the Meiji Era, marked a transformative period in Japanese history. The Meiji Restoration of 1868 saw the end of the Tokugawa shogunate and the restoration of imperial rule, with Emperor Meiji playing a central role in Japan's modernization and westernization efforts. During his era, Japan underwent significant political, social, and economic reforms, propelling the country into the ranks of major world powers. Emperor Meiji's reign is often associated with Japan's rapid modernization and emergence onto the global stage. sōsaku-hanga -  also known as creative prints, is a printmaking style primarily, though not exclusively, characterized by prints created by a single artist. Originating in early twentieth-century Japan, alongside the shin-hanga movement, this style emphasizes the artist's direct involvement in the entire printmaking process — from design and carving to printing. While the designs, especially in the early stages, may appear rudimentary, the concept of artists producing their own prints marked a significant departure from the traditional model where a select group of carvers, printers, and publishers collaborated in the creation of woodblock prints. shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). fan print (uchiwa-e) - are crafted in the form of flat, oval fans using materials such as rice paper or silk. These prints are designed to be functional fans, allowing for practical use while showcasing artistic designs. Amy Poster - is the curator emerita of Asian Art at the Brooklyn Museum. aizuri-e - are woodblock prints made entirely with shades of blue. This style gained popularity during the Edo Period.  Keisai Eisen (1790-1848) - was a nishiki-e print designer and author during the Edo Period. His print designs are famous for beautiful women and large head prints (ōkubi-e).   surimono (date unknown - Edo Period) Hiraga Gennai (1729-1779/80) - was a versatile Japanese polymath and rōnin during the Edo period. His diverse talents spanned pharmacology, rangaku (Dutch learning), medicine, literature, painting, and invention. Notable creations include the erekiteru (electrostatic generator), kankanpu (asbestos cloth). Gennai authored satirical works such as Fūryū Shidōken den (1763) and Nenashigusa (1763), along with essays like On Farting and A Lousy Journey of Love. He also wrote guidebooks on male prostitutes, including the Kiku no en (1764) and San no asa (1768). Employing various pen names like Kyūkei and Fūrai Sanjin, he is most recognized by the name Hiraga Gennai. Yokohama-e -refers to a genre of Japanese woodblock prints depicting scenes from Yokohama, a pivotal port city during the late Edo and Meiji periods. These prints showcase the influx of international influences, featuring foreign ships, traders, and cultural exchanges. Yokohama-e captures the dynamic transformation of Japan as it opened to the world, portraying a vivid visual narrative of the city's bustling trade and encounters between Japanese and Western cultures. View of Foreigners' Houses on the Beach Street Seen From Yokohama Port (ca. 1873) by Hiroshige III (1842-1894) Sadahide Utagawa (1807-1878/79) - was a designer of nishiki-e during the late Edo and early Meiji Periods. He trained under Utagawa Kunisada and depicted medieval Japanese scenes, collaborating on the 53 Stations of the Tōkaidō, and prints related to Yokohama-e.   Battle of Ōei (ca.1848) Sir William Henry Perkin (1838–1907) was a British chemist who is renowned for his accidental discovery of the first synthetic dye, known as mauveine or mauve. This significant breakthrough occurred in 1856 when Perkin was attempting to synthesize quinine, a treatment for malaria, from coal tar derivatives. Instead, he obtained a purple-colored substance while working with aniline, leading to the creation of the vibrant purple dye. napthols - are special dyes used in making colourful fabrics on handlooms. They get their name from a specific part in their makeup called an azo group. These dyes are known for making colors really bright and long-lasting on fabrics. They help create fabrics in lots of different colors, like orange, brown, yellow, scarlet, golden yellow, black, red, violet, and more.  orpiment -  sekiō in Japanese, is a bright yellow to orange-yellow mineral composed of arsenic trisulfide (As2S3). It has been historically used as a pigment in painting and for other decorative purposes due to its vibrant color. Often found in association with realgar, another arsenic sulfide mineral, orpiment has also been employed in traditional medicine and alchemy. However, its toxic nature limits such applications, and it's crucial to note that handling orpiment, especially in powdered form, poses health risks due to the presence of arsenic. Marco Leona PhD - is the David H. Koch Scientist at Large at the Metropolitan Museum of Art. He has written several articles on Spectroscopy and art.  Estée Lauder (1906-2004) - was a pioneering American businesswoman and the co-founder of the renowned cosmetics company Estée Lauder Companies. Alongside her husband Joseph Lauder, she established the company in 1946, starting with a few skincare products she developed herself. Estée Lauder's hands-on approach to marketing and emphasis on quality turned her brand into a symbol of luxury. Initially selling to friends, she built a global beauty empire with a diverse product line including skincare, makeup, and fragrances. Today, the Estée Lauder Companies remain influential in the beauty industry, with a portfolio of well-known brands. Estée Lauder's legacy is marked by her significant contributions to the cosmetics world and her establishment of an enduring and iconic beauty brand. The Adachi Institute of Woodblock Prints - is a print studio located in Tōkyō. Established in 1994 in order to promote and preserve the colour woodblock print of Japan. More information, in English and in Japanese.  The 47 Rōnin of Akō - were a group of samurai who sought revenge for the unjust death of their master, Lord Asano Naganori, in 1701. After Asano was forced to commit seppuku (a form of ritual suicide), his loyal retainers, the 47 Ronin, meticulously planned and executed the revenge, successfully avenging their lord's honor. The story is a celebrated example of bushido (samurai code) and loyalty in Japanese history and folklore. smalt - is a deep blue pigment that has been historically used in art and ceramics. It is composed of finely powdered glass, often colored with cobalt oxide to achieve its distinctive blue hue. Smalt was popular during the Renaissance and Baroque periods as a substitute for expensive blue pigments like lapis lazuli. Artists would mix smalt with binders to create blue paint for their artworks. Smalt has some drawbacks, including a tendency to fade over time and a vulnerability to darkening when exposed to certain environmental conditions. Keiji Shinohara - is a Japanese mokuhanga printmaker who apprenticed under Uesugi Keiichiro in Ōsaka. He is the artist-in-residence at Wesleyan University in Connecticut. More info about Keiji can be found here, and here. Yamado-ike from the series Eight Views of Hirakata (2006) 11"x15": gum arabic - is a sap from two types of Acacia tree. In art it is used as a binder for pigments which creates viscosity (depending on how much or little is applied to your pigments) for your watercolours and oils. Rachel Levitas has a fine description on how she uses gum arabic in her work, here.  Bakumatsu Period -  refers to the final years of the Edo period, specifically from the mid-19th century to the early 1860s. The term "Bakumatsu" can be translated as "end of the shogunate." This era was characterized by significant political, social, and economic changes that eventually led to the overthrow of the Tokugawa shogunate and the restoration of imperial rule in the Meiji period. Bunsei Period - was a period in Japanese history which lasted from April 1818 - December 1830 CE © Popular Wheat Productions opening and closing musical credit - The Shadow of Your Smile by Dominic Farinacci, G@ Records (2023)  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                          

On today's episode, BJ talks with Peter and Sharon Exley, Founders of Architecture Is Fun. Peter and Sharon discuss their career path, where the philosophy of Architecture Is Fun originated, and how they are continuing to evolve and develop this philosophy throughout their continued endeavors. Resources mentioned: For information about Peter & Sharons publications, please visit: https://www.architectureisfun.com/architecture-is-funs-publications-and-research/“Having Words” by Denise Scott Brown: https://www.amazon.com/AA-WORDS-Having-Words/dp/190290270XCalls-to-action: Inspiring People and Places is brought to you by MCFA. Visit our website www.MCFAglobal.com and sign up for our weekly newsletter where we curate some of the top industry articles of the week and give you a dose of inspiration as you head into the weekend!  MCFA IS HIRING!!  If you or anyone you know are looking to work in the Planning, Project Development, Project Management, or Construction Management field, contact us through our website. Interns to Executives...we need great people to help us innovate and inspire, plan, develop and build our nation's infrastructure.  Check out our MUST FILL positions here https://mcfaglobal.com/careers/.  We reward the bold and the action oriented so if you don't see a position but think you are a fit...send us an email!  Learn more at www.MCFAGlobal.comAuthor: BJ Kraemer, MCFAKeywords: MCFA, Architecture, Construction, Engineering, Public Engineers, Military Engineers, United States Military Academy, Veteran Affairs, Development, Veteran, Military, SEC

In the first episode of A is for Architecture's third series, the effervescent Denise Scott Brown talks about her journey to and through architecture, as a designer, writer, planner, urbanist, theorist and teacher. It is a wonderful, remarkable story, told with great eloquence and elegance, and one which deserves continued attention. Denise's work with her practice Venturi Scott Brown has inspired a great many people, with buildings including Franklin Court, Philadelphia (1976), the Children's Museum, Houston, Texas (1992), the Sainsbury Wing, National Gallery, London (1991), the Seattle Art Museum (1991) and the Museum of Contemporary Art in San Diego (1996). Her and Robert Venturi's written work has been hugely impactful too, and includes the totemic Learning from Las Vegas: The Forgotten Symbolism of Architectural Form, (1972, with Robert Venturi and Steven Izenour), Architecture as Signs and Systems: for a Mannerist Time (2004, with Robert Venturi), the significant essay Room at the top? Sexism and the Star System in Architecture (1989), and Studio, Architecture's offering to academe (2016). Threaded through it all is a genuine belief in the value of ordinary and everyday ways of being and doing the built environment. There is a huge amount of material online, in libraries (in real books!), in magazines and journals, and to listen to about or featuring Denise. Go find a book, and think about it all. As she said, ‘People have learnt from Las Vegas, but they haven't learnt the half of it yet'. It was an extraordinary sensation speaking with Denise, like swimming in very deep waters. Available on Spotify, iTunes, Google Podcasts and Amazon Music.   Thanks for listening. + + + + + + + + + + + + + + + Music credits: Bruno Gillick + + + + + + + + + + + + + + + aisforarchitecture.org Apple: podcasts.apple.com Spotify: open.spotify.com Google: podcasts.google.com Amazon: music.amazon.co.uk

This week David and Marina of FAME Architecture & Design are joined by Denise Scott Brown, architect, planner and urban designer, theorist, writer, educator to discuss her background and upbringing in South Africa; her beginnings in architecture; traveling the world; how teaching impacted her life and career; the National Gallery and other of her projects being remodeled; and much more! This episode is supported by Monograph • Enscape • Programa • Sky-Frame • Graphisoft SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Instagram • Facebook  • Call or text questions to 213-222-6950 SUPPORT Leave a review  EPISODE CATEGORIES  •  Interviews: Interviews with industry leaders.  •  Project Companion: Informative talks for clients.    •  Fellow Designer: Tips for designers.  •  After Hours: Casual conversations about everyday life. •  Design Reviews: Reviews of creative projects and buildings.

As you move about myriad city spaces, you will probably recognise the regularity and intensity with which you are being exposed to a whole plethora of brands. Perhaps most noticeable will be all manner of advertising display. Ads plastered across roadside billboards or building walls, integrated into street furniture, consuming an entire section of a metro station, on – or even entirely covering – a bus or a tram, or spotted on private motor vehicles with no other apparent purpose but pulling around a hoarding boasting ad display. But brands appear in the city not only in advertising. Urban environments are increasingly understood as key venues of ‘brand building' and ‘brand management'. These emerging techniques are often highly multisensory, involving the more general construction of brands through a combination of visuality, tactility, taste and smell. They are being applied to everything from large-scale urban events, to architectural design, to retail shops, to ordinary consumer objects. Altogether, the proliferation of brands raises questions about the highly commoditised nature of the cities we live in, not to mention how we might respond politically. In this episode, we explore different dimensions of what we will call ‘urban brandscapes': how urban environments more generally are infused with branded character, feel and atmospheres. Thinkers discussed: David Henkin (City Reading: Written Words and Public Spaces in Antebellum New York); Anne Cronin (Advertising, Commercial Spaces and the Urban / Calculative Spaces: Cities, Market Relations and the Commercial Vitalism of the Outdoor Advertising Industry / Advertising and the Metabolism of the City: Urban Space, Commodity Rhythms); Emma Arnold (Sexualised Advertising and the Production of Space in the City); Iain Borden (Hoardings); Kurt Iveson (Branded Cities: Outdoor Advertising, Urban Governance, and the Outdoor Media Landscape); Marc Gobé (Emotional Branding: A New Paradigm for Connecting Brands to People); Liz Moor (The Rise of Brands); Van Troi Tran (Thirst in the Global Brandscape: Water, Milk and Coke at the Shanghai World Expo); Robert Venturi, Denise Scott Brown and Steven Izenour (Learning from Las Vegas: The Forgotten Symbolism of Architectural Form); Scott Lash and Celia Lury (Global Culture Industry: The Mediation of Things) Music: ‘The Mediated City Theme' by Scott Rodgers License: CC BY-NC (https://creativecommons.org/licenses/by-nc/4.0/)

This week: uproar over the National Gallery in London's building plans—is it a sensitive makeover or like “an airport lounge”? We talk to the director of the National Gallery, Gabriele Finaldi, about the gallery's controversial plans for changes to its Sainsbury Wing, and to Rowan Moore, architecture critic at the Observer, about his views on the designs by the architect Annabel Selldorf, and how they respond to Robert Venturi and Denise Scott Brown's original Post-Modern building. Tokini Peterside-Schwebig, the director of Art X Lagos, tells us about the contemporary art scene in Nigeria's most populous city, and how the fair is addressing the climate emergency, as devastating floods wreak havoc in West Africa. And this episode's Work of the Week is Marc Chagall's The Falling Angel (1923/1933/1947), the centrepiece of a new exhibition at the Schirn Kunsthalle in Frankfurt, Germany.Art X Lagos, Federal Palace, Lagos, Nigeria, 5-6 NovemberChagall: World in Turmoil, Schirn Kunsthalle, Frankfurt, Germany, until 19 February 2023 Hosted on Acast. See acast.com/privacy for more information.

Az évad harmadik, egyben karácsonyi epizódjában Sudár Orsolyával és Takács Ákossal beszélgettünk, akik ismerősek lehetnek a hallgatók számára, hiszen egy másik Partizán podcast, A Város Másik Oldalán szerkesztői. A karácsonyi forgatag első számú helyszínei a plázák és bevásárlóközpontok. A plázák világa pont akkor kezdi meghódítani a magyar képzeletet, és egyben köztereinket is, mikor a fogyasztói utópia kitüntetett terei egymás után húzzák le a rolót a hanyatló Nyugaton. Utánajárunk, hogy milyen politikai gazdaságtani folyamatok játszódhatnak le ezek mögött, és feltesszük azt a kérdést, hogy mit kezdhet a baloldal a gigantikus fogyasztói monstrumokkal. A szakmázás mellett pedig gyakran nosztalgikus mosollyal tekintünk vissza egykét személyes történetre, hiszen ezek a terek nem csupán a fogyasztói társadalom templomai, hanem sokszor közösségi életünk központjai is egyben.A Város Másik Oldalán Facebook oldala: https://www.facebook.com/avarosmasikoldalanAz adásban említett tartalmak: Rajk László - A tér tágassága (életútinterjú), Tények és Tanúk sorozat Rajk László - Radikális eklektikaRem Koolhaas - JunkspaceRobert Venturi, Denise Scott Brown, Steven Izenour - Learning from Las VegasA beszélgetésben elhangzó irodalom és nevek: Victor Gruen, Finta József, Rajk László, Demszky Gábor, Rem KoolhaasVárjuk visszajelzéseiteket a belepesikuszob@gmail.com címen vagy a Facebookon: https://www.facebook.com/kuszobpodcast, és Instagramon: @belepesi_kuszobEz itt a Partizán Podcast csatornája.A Partizán Podcast Facebook oldalát itt találod:https://www.facebook.com/profile.php?id=100087436092000A Partizán oldalát és a videóit itt tudod megnézni:Youtube-on: https://www.youtube.com/c/Partiz%C3%A1nm%C3%A9diaFacebookon: https://facebook.com/partizanpolitika/Iratkozz fel a Partizán hírlevelére:https://csapat.partizanmedia.hu/forms/partizan-feliratkozasTámogasd te is a Partizán munkáját!https://csapat.partizanmedia.hu/fundraising/partizan/Extra tartalmak, vágatlan videók:https://www.patreon.com/partizanpolitika

Architektinnen Inken Bühring und Dagmar Jäger im Gespräch mit Friederike Landau-DonnellyÜber das Thema Architektur und (Aus-)Bildung spricht Kulturgeografin Dr. Friederike Landau-Donnelly mit den Architektinnen Inken Bühring und Prof. Dr. Dagmar Jäger. Inken ist Ministerialrätin a.D. aus dem Bundesamt für Bauwesen und Raumordnung. Dagmar hat eine Professur für Architektur an der Internationalen Hochschule mit dem Schwerpunkt Entwerfen und Bauen im Bestand inne und führt mit ihrem Partner Christian Pieper das Architekturstudio jp3.Weitere Informationen zu Inken Bühring, Dagmar Jäger und den Themen der Episode:Inken Bühring und Dagmar JägerBerliner Architekt*innen. Oral History: Interview INKEN BÜHRING (www.youtube.com)Architekturstudio von Dagmar Jäger und Christian Pieper: jp3_Architektur + Gestaltung (www.jp3.de)Dagmars interdisziplinäres Forschungsnetzwerk REISEUNIlab (www.reiseuni.eu)Dagmar erwähnt die Bücher von Ulrike Eichhorn, Architektinnen. Ihr Beruf. Ihr Leben., und Ursula Schwitalla, Frauen in der Architektur – Rückblicke, Positionen, Ausblicke.Inken erwähnt das Festival Women in Architecture, das 2021 in Berlin stattgefunden hat (wia-berlin.de).Grundriss für die HausfrauUlla Terlinden und Susanna von Oertzen, Die Wohnungsfrage ist Frauensache! – Frauenbewegung und Wohnreform 1870 bis 1933 (Buch)Zum Thema Wohnungsarchitektur und offene Wohnkonzepte spricht Friederike auch mit der Architektin Johanna Meyer-Grohbrügge (stadt-raum-frau.podigee.io).Lucy HillebrandLucy Hillebrand, Bauen als Impuls und Dialog (Buch, hrsg. von Christian Grohn)Modelle und Projekte von Lucy Hillebrand (archiv.dam-online.de)Lucy Hillebrand, Transformatorenstation Architekt (Vortrag)Lucy Hillebrand – Die sozial engagierte Architektin (www.goethe.de)Videoportrait Lucy Hillebrand (www.hs-mainz.de)Edeltraud Haselsteiner, DIE ARCHITEKTIN Lucy Hillebrand – Ein interdisziplinärer Dialog über RAUMSCHRIFTEN als Weg zur sozialen Gestaltung von Räumen (Exposé)Inken BallerPolicy of Geometry (Dagmars Interview mit Inken Baller in mama)Beitrag über Inken Baller (berlinerportraits.de)Architekten Inken und Hinrich Baller – »Wir stellen sehr hohe Anforderungen an die Bewohner« (www.monopol-magazin.de)Visiting Inken Baller und Hinrich Baller: Kurator*innenführung mit ufoufo – urban fragment observatory im DAZ (vimeo.com)Denise Scott BrownDenise Scott Brown, Room at the Top? Sexism and the Star System in Architecture (Essay)Downtown Denise Scott Brown (Ausstellung im Architekturzentrum Wien)Venturi Scott Brown and Associates: The Latest Architecture and News (www.archdaily.com)Denise Scott Brown ist ein vielfaches Rätsel. Sie untersuchte Las Vegas, als keine anderen Architekten dort hingingen, protestierte gegen Sexismus und musste ihrem Mann den höchsten Architekturpreis überlassen (www.nzz.ch)Ingeborg SpengelinBeitrag über Ingeborg Spengelin (www.hamburger-persoenlichkeiten.de)Ausstellung würdigt Ingeborg und Friedrich Spengelin (www.haz.de)Der »Große Kurfürst« als Revolutionär (Wohnanlage in Bremen, entworfen von Ingeborg Spengelin und ihrem Mann, wkgeschichte.weser-kurier.de)Margarete Schütte-LihotzkyMargarete Schütte-Lihotzky Zentrum, Wien (www.schuette-lihotzky.at)Margarete Schütte-Lihotzky, Warum ich Architektin wurde (Buch, hrsg. von Karin Zogmayer)»Ich bin keine Küche« – Architektin, Küchenerfinderin, Jahrhundertzeugin (www.spiegel.de)WOHNRAUM: Margarete Schütte-Lihotzky und die »Frankfurter Küche« (Episode im BR-Podcast Alles Geschichte)Ziehen, Schieben, Klappen – Die Frankfurter Küche von Margarete Schütte-Lihotzky (www.museumsportal-berlin.de)Die Frankfurter Küche von Margarete Schütte-Lihotzky im Museum für angewandte Kunst, Wien (www.youtube.com)Über Margarete Schütte-Lihotzky spricht Friederike auch mit der Architektin Gabu Heindl; Gabu hat Schütte-Lihotzky während ihres Studiums noch persönlich kennengelernt (stadt-raum-frau.podigee.io).Die TV-Doku Frauen bauen ist noch bis zum 24. September 2022 in der 3sat-Mediathek verfügbar.Stadt.Raum.Frau* ist ein Podcast von argon.labProduzentin: Johanna BehreAutorin und Moderatorin: Friederike Landau-DonnellyRedaktion und Produktion: Sabine ReicheltSchnitt, Sounddesign & Musik: Joscha GrunewaldStudio: We Are Producers, BerlinGrafik: Konstantin Gramalla Hosted on Acast. See acast.com/privacy for more information.

Forti delle loro idee e teorie radicali, quali l'accettazione dello sprawl, le citazioni all'architettura vernacolare americana e il rimprovero al modernismo ortodosso rivolto alla sola élite, Robert Venturi e Denise Scott Brown si aggiudicarono importanti commesse. Attraverso manifesti come Learning from Las Vegas e Complexity and Contradiction in Architecture, seppero inscenare un'ironica messa in crisi dei fondamenti teorici e dei codici canonici del Movimento Moderno, promuovendo un linguaggio pop, inclusivo, ricco di segni e significati, in cui a decorazione, trascurata dai puristi, assume un rinnovato valore espressivo, e la libera citazione si tramuta in una dissacrante pantomima della realtà.

Az évad harmadik, egyben karácsonyi epizódjában Sudár Orsolyával és Takács Ákossal beszélgettünk, akik ismerősek lehetnek a hallgatók számára, hiszen egy másik Partizán podcast, A Város Másik Oldalán szerkesztői. A karácsonyi forgatag első számú helyszínei a plázák és bevásárlóközpontok. A plázák világa pont akkor kezdi meghódítani a magyar képzeletet, és egyben köztereinket is, mikor a fogyasztói utópia kitüntetett terei egymás után húzzák le a rolót a hanyatló Nyugaton. Utánajárunk, hogy milyen politikai gazdaságtani folyamatok játszódhatnak le ezek mögött, és feltesszük azt a kérdést, hogy mit kezdhet a baloldal a gigantikus fogyasztói monstrumokkal. A szakmázás mellett pedig gyakran nosztalgikus mosollyal tekintünk vissza egykét személyes történetre, hiszen ezek a terek nem csupán a fogyasztói társadalom templomai, hanem sokszor közösségi életünk központjai is egyben.   A Város Másik Oldalán Facebook oldala: https://www.facebook.com/avarosmasikoldalanAz adásban említett tartalmak:Rajk László - A tér tágassága (életútinterjú), Tények és Tanúk sorozatRajk László - Radikális eklektikaRem Koolhaas - JunkspaceRobert Venturi, Denise Scott Brown,  Steven Izenour - Learning from Las VegasA beszélgetésben elhangzó irodalom és nevek: Victor Gruen, Finta József, Rajk László, Demszky Gábor, Rem KoolhaasA Partizán támogatói közé itt tudtok csatlakozni: https://www.patreon.com/partizanpolitikaVárjuk visszajelzéseiteket a belepesikuszob@gmail.com címenvagy a Facebookon: https://www.facebook.com/kuszobpodcast, és Instagramon: @belepesi_kuszob★ Support this podcast on Patreon ★

Welcome to the newest episode of Urbcast, in which we discuss: City Dreamers - who are the 4 women that shaped our cities? Why should we talk about it? To get to know about our changing urban environment and four trailblazing women architects who have been working, observing and thinking about the transformations shaping the cities of today and tomorrow for over 70 years. Why is it worth listening to? To hear about the whole process behind creating such a great movie. What made Joseph direct a movie about the 4 prominent female architects? What was the biggest challenge? What is his best memory from shooting the movie? About the guest: Joseph Hillel - is an independent film-maker and the man behind excellent architecture portraits movies:
 1) Regular or Super, Views on Mies van der Rohe, in 2004 2) City Dreamers, portraying the 4 influential women architects: Phyllis Lambert, Blanche Lemco van Ginkel, Cornelia Hahn Oberlander and Denise Scott Brown. I was so amazed by the City Dreamers, that I decided to ask Joseph about the whole process of creating the movie. Topics that we talked about: What was the main inspiration for the movie? Why should we all know the 4 influential architects? How did the movie heroes reflect on their work? If Jane Jacobs was alive, would she be one of the City Dreamers? How is it to work with professionals who were in the field for 60+ years? What is the main takeaway from the movie? You get to know more about Joseph and City Dreamers: www: https://www.citydreamersfilm.com/about.html Linkedin: https://www.linkedin.com/in/joseph-hillel-24807515/ You can listen to the episode at: urbcast.pl/en/episode71 You will find more information at: https://linktr.ee/urbcast

¿Qué llegó después del parque temático y del turismo de masas? El turismo irónico y el viaje virtual. Hablamos de esas formas del posturismo en el contexto de la pandemia, que ha congelado provisionalmente la circulación humana a escala planetaria y nos ha dado la oportunidad de pensar el viaje desde otras perspectivas.Con José Miguel Tomasena y Elena Neira. Con AUTORES CITADOS: Dean MacCannell, Marco d'Eramo, Robert Venturi, Denise Scott Brown, Steven Izenour, Agustín Fernández Mallo, Roc Herms, Martin Parr, Michael Sorkin, Casey Nestat, Elon Musk, Richard Branson, Chris Rojek. PARA SEGUIR LEYENDO: El turista. Una nueva teoría de la clase ociosa, de Dean MacCannell (Melusina).  El selfi del mundo, de Marco d'Eramo (Anagrama).  Aprendiendo de Las Vegas. El simbolismo olvidado de la forma arquitectónica, de Robert Venturi, Denise Scott Brown y Steven Izenour (Gustavo Gili).  Michael Sorkin (Ed.), Variaciones sobre un parque temático. La nueva ciudad americana y el fin del espacio público (Gustavo Gili).

In this episode, writer Elissa Washuta describes a moment where she spotted her future self walking around Seattle; writer and anthropologist Elizabeth Greenspan shines a light on the work of architect and educator Denise Scott Brown; and Izzy Santillanes sits down with his former workshop teacher Shaun Griffin to talk about how poetry transformed and saved his life.

Architecten dragen zwart, drinken veel koffie, werken veel en slapen weinig - of dat is in elk geval het cliché. Maar hoe staat het eigenlijk met de werkcultuur in de architectuur? Wat is de invloed ervan op het gebrek aan diversiteit in de praktijk? En waar komt het beeld van de koffiedrinkende, oververmoeide en altijd-doorwerkende architect eigenlijk vandaan? In deze aflevering gaan we dieper in op iets wat misschien wel één van de oorzaken is voor het gebrek aan diversiteit in de praktijk: de beruchte werkcultuur. We spreken over het gevaar van architectuur zien als passie, het belang van inclusieve bedrijfsvoering en het oprichten van een vakbond met Robyne Somé, Xenia Otmakhova, Anne van der Meulen en Thijs Asselbergs - in aanvulling op alle andere gesprekken die we tijdens ons onderzoek met of zonder microfoon voeren. Met prijswinnend architect, kunstenaar en docent Paulien Bremmer onderzoeken we vervolgens hoe architectuur kan veranderen door op een collectieve manier te werk te gaan. -- Architectuurpodcast Respons wil een plek creëren voor het onderzoeken en bespreekbaar maken van feministische vragen in architectuur. Het is een meerstemmig project geïnitieerd door Veerle Alkemade en Catherine Koekoek nadat ze in 2019 afstudeerden bij de master architectuur in Delft. -- We komen graag in contact met méér stemmen die hun ervaringen in de architectuur met ons willen delen, zowel positief als negatief. We zijn te bereiken via instagram en email. Wil je een seintje krijgen wanneer een nieuwe aflevering online staat? Schrijf je dan in voor onze nieuwsbrief: https://responspodcast.substack.com/ Respons is trotse deelnemer van het Archined Lab, een initiatief waarin onafhankelijke, experimentele architectuurprojecten een podium krijgen. https://www.archined.nl/artikelen/categorie/lab/ Respons is tot stand gekomen met financiële steun van de Fleur Groenendijk Foundation. Logo door Anne de Zeeuw. www.instagram.com/re.spons/ responspodcast@gmail.com -- Shownotes: “Zelf Zwaar Ploeteren” door Marie-José Kleef in De Groene Amsterdammer (6/7/2016): https://www.groene.nl/artikel/zelf-zwaar-ploeteren “Waar is mevrouw de architect?” NPO radio 1 (23/12/20) https://www.nporadio1.nl/de-nieuws-bv/onderwerpen/69808-2020-12-23-waar-is-de-vrouwelijke-architect Lancering Mevr. de architect - met Veerle namens Respons! https://a-zine.nl/2021/01/30/lancering-mevr-de-architect/ “Room at the top? Sexism and the star system in architecture” door Denise Scott-Brown (1989 (1975)) https://www.mascontext.com/issues/27-debate-fall-15/room-at-the-top-sexism-and-the-star-system-in-architecture/ Toelichting CAO https://www.sfa-architecten.nl/cao/ Geschillenregeling Arbeidszaken Architectenbureaus https://www.sfa-architecten.nl/artikel/bijlage-6-2/https://www.sfa-architecten.nl/artikel/bijlage-6-2/ Meldpunt stagemisbruik: https://www.inspectieszw.nl/onderwerpen/stage

From Gagnon to the Trans-Labrador Highway with architect and writer Denise Scott Brown.

Para começar o ano de 2021, trazemos um livro dos mais importantes da história e da crítica em arquitetura e do urbanismo. Com três autores, Robert Venturi, Denise Scott Brown…Leia maisArquicast 125 – Livros Clássicos: Aprendendo com Las Vegas

Sol LeWitt (1928-2007) was a pivotal figure in the development of minimal and conceptual art and catalytic in the relay between the two. Perhaps because of that complexity, he doesn’t figure into the public consciousness as much as many of his postwar peers, although not for lack of exposure: there is an entire building dedicated to LeWitt’s wall drawings at the Massachusetts Museum of Contemporary Art, and his modular sculptures grace grounds from the National Gallery of Art to Stormking. So who was Sol LeWitt? How can we reconcile his serial structures with his delicate hand painted gouaches, his folded paper drawings with large-scale instruction-based wall drawings? What did LeWitt mean when he said that “The idea becomes a machine that makes the art” and that “Conceptual Artists are mystics rather than rationalists”? How is it that his art has been claimed to represent both a kind of impersonal logic and a mad obsessiveness? In this episode of PERSPECTIVES, art historian Samuel Shapiro sits down with Janet Passehl and Cristina Guadalupe Galván to discuss LeWitt’s early work and the developmental arc of his career; the relationship he constructs between art, architecture, and language, LeWitt’s legacy as a collector, and his meaning for artists today. Janet Passehl has been curator of the Sol LeWitt collection since 1991. She worked closely with LeWitt towards the end of his life and continues to oversee his art collection and archive. She has facilitated hundreds of gallery and museum exhibitions featuring LeWitt’s work, including the major retrospective organized by the San Francisco Museum of Modern Art in 2000. In addition to being a true authority on the artist with an intimate knowledge of his life and work, Janet is herself a practicing artist and has exhibited across the United States and Europe from Mass Moca to the Staatsgalerie Stuttgart. Cristina Guadalupe Galván is an artist and architect who writes. She is the principal at Idée Fixe, a transdisciplinary studio of art and architecture, and has worked at a number of other architectural firms, supporting such luminaries as Dan Graham and Denise Scott Brown. In addition to architecture, stage design, and exhibition design, Cristina has shown visual art from New York to Tokyo, and has written extensively on subjects from urban planning to Sol LeWitt.

For Breezeblock #8, FA editor María Mazzanti spoke with Arielle Assouline-Lichten about the invisibility of women architects, Denise Scott Brown and the Pritzker Prize, and Wikipedia editing activism.

LISTEN TO THE FULL EPISODE ON OUT CHANNEL! In this episode we cover the life and career of renowned architect Sean Griffiths, his past and current design principles including the journey of FAT Architecture, and the philosophy of Indeterminate Design. We are honoured to have Sean Griffiths on the podcast. Sean Griffiths is an artist, architect and academic. He practices architecture as Modern Architect, is professor of architecture at the University of Westminster and visiting professor of architecture at Yale University. He was a founding director of the art/architecture practice FAT (Fashion Architecture Taste) between 1991 and 2014. Sean is a heavyweight in the Architecture world and has been closely linked to the Godfather and mother of post modern architecture, Robert Venturi and Denise Scott Brown, having met them several times. Watch the episode on YouTube at: https://www.youtube.com/channel/UCispmZXt3_g4h9o3XsqoqaA/videos Music: Leaf by KV https://www.soundcloud.com/kvmusicprod/

LISTEN TO THE FULL EPISODE ON OUT CHANNEL! In this episode we cover the life and career of renowned architect Sean Griffiths, his past and current design principles including the journey of FAT Architecture, and the philosophy of Indeterminate Design. We are honoured to have Sean Griffiths on the podcast. Sean Griffiths is an artist, architect and academic. He practices architecture as Modern Architect, is professor of architecture at the University of Westminster and visiting professor of architecture at Yale University. He was a founding director of the art/architecture practice FAT (Fashion Architecture Taste) between 1991 and 2014. Sean is a heavyweight in the Architecture world and has been closely linked to the Godfather and mother of post modern architecture, Robert Venturi and Denise Scott Brown, having met them several times. Watch the episode on YouTube at: https://www.youtube.com/channel/UCispmZXt3_g4h9o3XsqoqaA/videos Music: Leaf by KV https://www.soundcloud.com/kvmusicprod/

LISTEN TO THE FULL EPISODE ON OUT CHANNEL! In this episode we cover the life and career of renowned architect Sean Griffiths, his past and current design principles including the journey of FAT Architecture, and the philosophy of Indeterminate Design. We are honoured to have Sean Griffiths on the podcast. Sean Griffiths is an artist, architect and academic. He practices architecture as Modern Architect, is professor of architecture at the University of Westminster and visiting professor of architecture at Yale University. He was a founding director of the art/architecture practice FAT (Fashion Architecture Taste) between 1991 and 2014. Sean is a heavyweight in the Architecture world and has been closely linked to the Godfather and mother of post modern architecture, Robert Venturi and Denise Scott Brown, having met them several times. Watch the episode on YouTube at: https://www.youtube.com/channel/UCispmZXt3_g4h9o3XsqoqaA/videos Music: Leaf by KV https://www.soundcloud.com/kvmusicprod/

LISTEN TO THE FULL EPISODE ON OUT CHANNEL! In this episode we cover the life and career of renowned architect Sean Griffiths, his past and current design principles including the journey of FAT Architecture, and the philosophy of Indeterminate Design. We are honoured to have Sean Griffiths on the podcast. Sean Griffiths is an artist, architect and academic. He practices architecture as Modern Architect, is professor of architecture at the University of Westminster and visiting professor of architecture at Yale University. He was a founding director of the art/architecture practice FAT (Fashion Architecture Taste) between 1991 and 2014. Sean is a heavyweight in the Architecture world and has been closely linked to the Godfather and mother of post modern architecture, Robert Venturi and Denise Scott Brown, having met them several times. Watch the episode on YouTube at: https://www.youtube.com/channel/UCispmZXt3_g4h9o3XsqoqaA/videos Music: Leaf by KV https://www.soundcloud.com/kvmusicprod/

LISTEN TO THE FULL EPISODE ON OUT CHANNEL! In this episode we cover the life and career of renowned architect Sean Griffiths, his past and current design principles including the journey of FAT Architecture, and the philosophy of Indeterminate Design. We are honoured to have Sean Griffiths on the podcast. Sean Griffiths is an artist, architect and academic. He practices architecture as Modern Architect, is professor of architecture at the University of Westminster and visiting professor of architecture at Yale University. He was a founding director of the art/architecture practice FAT (Fashion Architecture Taste) between 1991 and 2014. Sean is a heavyweight in the Architecture world and has been closely linked to the Godfather and mother of post modern architecture, Robert Venturi and Denise Scott Brown, having met them several times. Watch the episode on YouTube at: https://www.youtube.com/channel/UCispmZXt3_g4h9o3XsqoqaA/videos Music: Leaf by KV https://www.soundcloud.com/kvmusicprod/

Welcome to the Design Talks podcast brought to you by Two Worlds Design; where we uncover the ways in which Architecture can create change, by sharing unique insights and ideas from extraordinary people. In this episode we cover the life and career of renowned architect Sean Griffiths, his past and current design principles including the journey of FAT Architecture, and the philosophy of Indeterminate Design. We are honoured to have Sean Griffiths on the podcast. Sean Griffiths is an artist, architect and academic. He practices architecture as Modern Architect, is professor of architecture at the University of Westminster and visiting professor of architecture at Yale University. He was a founding director of the art/architecture practice FAT (Fashion Architecture Taste) between 1991 and 2014. Sean is a heavyweight in the Architecture world and has been closely linked to the Godfather and mother of post modern architecture, Robert Venturi and Denise Scott Brown, having met them several times. Watch the episode on YouTube at: https://www.youtube.com/channel/UCispmZXt3_g4h9o3XsqoqaA/videos Music: Leaf by KV https://www.soundcloud.com/kvmusicprod/

From Le Corbusier’s ‘5 Points of Architecture’ to Denise Scott Brown and Robert Venturi’s ‘Learning from Las Vegas’ and the more recent ‘Architecture Must Burn’ by Aaron Betsky, Katie Treggiden asks what it takes to create a lasting manifesto.

DESCRIÇÃO Seguindo nossa conversa do episódio anterior, tentamos desbravar a selva das funções simbólicas em Arquitetura, Urbanismo e Design. Neste programa falamos sobre a famosa tese do casal Robert Venturi e Denise Scott-Brown de que as arquiteturas podem ser divididas em dois grandes grupos: de um lado, as arquiteturas-pato, de outro, os galpões decorados. DROPS sobre design que deu errado, design que deu certo mas deu errado, design que nem queria dar certo e a semântica na arquitetura. VISITE foradeprumo.com twitter facebook instagram LINKS O ano do Notch: Como a polêmica tendência de design dominou os smartphones - Beebom Edifício-cesto, Sede da Longaberger Company - CBS A Cidade dos Prazeres - resenha de "Aprendendo com Las Vegas" - Vitruvius Lessons from Las Vegas - 99% Invisible Juice Salif, o espremedor de Philippe Starck, funciona? - Casa Vogue Brasil Irmão do Jorel - Cartoon Network MÚSICAS 914, Liquid Tension Experiment Duck Tales, Geek Music Playlist no Spotify

We continue our discussion of the theoretical works of Robert Venturi with this episode on ‘Learning from Las Vegas — The Forgotten Symbolism of Architectural Form’ — researched and written with Denise Scott-Brown and Steven Izenour, and published in 1972. The book, which examines the architecture of the Vegas strip, is the origin of the famous ‘Duck vs Decorated Shed’ comparison, and contains a lot else besides, including denunciations of the cult of Space, praise for the ‘ugly and ordinary,’ a certain amount of ostentatiously-wielded erudition, and so on. Music: Al Smith 'Road House' https://archive.org/details/78road-houseal-smith-a-smith-c-carter_gbia0054635aThis episode is sponsored by The Great Courses Plus — a streaming learning service with video lectures by experts in all sorts of fields. Go to thegreatcoursesplus.com/BUILDINGS to get a month of free access to thousands of courses. Edited by Matthew Lloyd Roberts. Support the show on Patreon to receive bonus content for every show. Please rate and review the show on your podcast store to help other people find us! Follow us on twitter // instagram // facebookWe’re on the web at aboutbuildingsandcities.orgThis podcast is powered by Pinecast.

“Downtown Denise Scott Brown” is the first comprehensive retrospective the Architekturzentrum Wien dedicates to the architect and urban planner Denise Scott Brown. An exhibition-portrait by CastYourArt.

“Downtown Denise Scott Brown” ist die erste umfassende Einzelausstellung, die das Architekturzentrum Wien der Architektin und Stadtplanerin Denise Scott Brown widmet. Ein Ausstellungsportrait von CastYourArt.

O tema do ArquiPapo da vez é a grande arquiteta Denise Scott Brown. A longa parceria que ela tem de trabalho com o arquiteto Venturi muitas vezes ofusca a carreira de Scott Brown e sua...

To this day, architects tend to turn their noses up at Las Vegas, or simply dismiss it as irrelevant to serious design theory. But as Denise Scott Brown discovered in the mid-1960s, there is so much to learn from Las Vegas about how to make architecture that speaks to people and not just to architects. Lessons from Las Vegas

To this day, architects tend to turn their noses up at Las Vegas, or simply dismiss it as irrelevant to serious design theory. But as Denise Scott Brown discovered in the mid-1960s, there is so much to learn from Las Vegas about how to make architecture that speaks to people and not just to architects. Lessons from Las Vegas

Today we speak with architects Peter Exley FAIA and Jane Frederick FAIA. Peter Exley has established an internationally recognized practice of architecture for children, families, and communities, elevating the standards of design for learning and play environments. He is the co-founder of Architecture Is Fun, a Chicago-based architecture, design, and consulting firm. Robert Venturi, FAIA, and Denise Scott Brown, Hon. FAIA, once noted that the projects of Architecture Is Fun are ìworks of significance and relevance, joy and seriousness, range and depth.î Dedicated to helping the next generation of architects, Peter has also been an adjunct professor at the School of the Art Institute of Chicago (SAIC) for more than 20 years. Peter has served the AIA in a number of roles, including as President of AIA Chicago, Illinois regional representative to the Strategic Council, chair of the Public Awareness Campaign Subcommittee of the Public Outreach Committee, as well as a liaison to the Young Architects Forum. Jane Frederick is a partner at Frederick + Frederick Architects based in Beaufort, South Carolina. She is a Fellow in the Aspen Global Leadership Network and currently serves on the American Institute of Architects Board as one of three At-Large Directors. Jane is also the recipient of the Architect Marketing Institute's Business Achievement Award. Today we speak with Jane and Peter about a resource developed by the AIA to help us as architects and designers do a better job of communicating the value we bring to our clients, our cities and our environments. In design school, we're taught to communicate with pictures. Today we speak about communicating with words.

20 over 80: Conversations with Legends of Architecture and Design is the antidote to those breathless, over-hyped lists you’ve seen, trying to predict which baby-faced youngster will be the next big thing in their creative practice. A compilation of unique interviews with such greats as Milton Glaser, Michael Graves, Phyllis Lambert, Jens Risom, Denise Scott Brown and Deborah Sussman, 20 over 80 not only draws a thread through the last century of creative practice, but is also a testament to the talented people whose lifetime of experience came to define today’s design and architecture. Editors Aileen Kwun and Bryn Smith joined Amelia Taylor-Hochberg to discuss how they approached the dream assignment of interviewing such "legends", and the surprising similarities and differences running through the interviewees' history.

On the happy and historic occasion of Denise Scott Brown and Robert Venturi being jointly awarded the 2016 AIA Gold Medal, we speak with Brown about whether this truly is a watershed moment for architecture, and the long road that she and Robert took to arriving here. We last spoke with Brown on episode #39, when the Vanna Venturi house hit the market. If we accept that accolades like the Gold Medal have the influence to (potentially) nudge the profession in certain directions, then this time – the first the award has been given jointly, and to a living woman – could signal a movement towards increased inclusivity, and reevaluations of collaborative agency.

Zaha Hadid, 1848 yılından itibaren verilen ödülü tek başına kazanan ilk kadın. (Önceki yıllarda ödülü kazanan üç kadın mimar olan Ray Eames, Sheila O'Donnell ve Patricia Hopkins, ofis ortakları ve eşleri ile birlikte ödülün sahibi olmuştu.) Daha önceki sahipleri arasında Frank Gehry, Le Corbusier, I.M. Pei gibi isimlerin olduğu ödül, kraliçe ile birlikte veriliyor ve mimarlık sahnesinin en prestijli ödüllerinden birisi sayılıyor.Hadid'in nevi şahsına münhasır tasarımları ve karakteri ile ödülü alışı çok tartışıldı -ödül metnini kaleme alan Sir Peter Cook dahi metinde kendisinden "korkutucu bir karakter" olarak söz etmişti-. Özellikle BBC radyolarına konuk olduğu ve Katar Stadyumu ile Tokyo Stadyumu üzerine agresif sorular yönelten program sunucusu ile girdiği tartışmanın ardından programı yarıda kesip stüdyoyu terk etmesi ile çok konuşuldu. Katar'daki stadyumu ile Zaha Hadid'in de dâhil olduğu Birleşik Arap Emirlikleri'ndeki inşaat furyası, "daha hızlı, daha yüksek, daha güçlü" baskıları ile göçmen işçilerin oldukça sağlıksız koşullarda çalıştırılmasına sebep oluyor; önceki programlarda, konu üzerine yapılan araştırmalara ve farkındalık çalışmalarına değinmiştik.Hadid'in tartışılan proje süreçlerine değindiğim programda, BBC'nin programından da kısa bir kayıt dinledik.Hadid'in projeleri, süreçleri, gerçekleştikleri ülkelerin politik ve ekonomik koşulları, mimari anlayışı tartışmalı olsa da; "Irak'ın sokaklarından, projeler arasında kaybolmaya yalnız bir kadın" tadında haberler servis eden anaakım medyanın da yanlı ve ötekileştirici tutumunun ayrıca değerlendirilmesi gerekiyor.Ve tümü bir yana, 1848'den beri dağıtılan bir ödülün ilk kez bir kadına verilmiş oluşu, mimarlığın kaygan zeminini bir kez daha düşündürüyor.Evren Uzer ile birlikte bir seri "mimarlık ve kadın" programı gerçekleştirmiştik ve serinin ilk programında, stüdyo konuğu Seda Kayım ile birlikte kadın mimarların görünmezliğini konuşmuştuk. Seda'nın Denise Scott Brown'un kulaklarını çınlatan ve ocak ayında yayımlanan "Kadın Mimarın Varlığı, Görünürlüğünü Sağlama Alır Mı?" başlıklı yazısı, bizim de bu seri için çıkış noktamız olmuştu. Yazıda bahsi geçen, 2003 yılındaki RIBA "Kadınlar Neden Mimarlığı Bırakıyor?" araştırmasına göre, mimarlık okullarında eğitim görenlerin %38'ini oluşturan kadınlar, profesyonel hayata atılanların yalnızca %18'ini oluşturuyor. Bizde Mimarlar Odası'nın 2014 yılı raporuna göre öğrencilerin %57'sini oluşturan ve odaya kaydolan mimarların %53'ünü oluşturan kadınlarla tablo ilk bakışta daha iyimser görünse de, büro tescil belgesi alan kadın oranının %30'da kalıyor oluşu, "ayın karanlık tarafı".

Zaha Hadid, 1848 yılından itibaren verilen ödülü tek başına kazanan ilk kadın. (Önceki yıllarda ödülü kazanan üç kadın mimar olan Ray Eames, Sheila O'Donnell ve Patricia Hopkins, ofis ortakları ve eşleri ile birlikte ödülün sahibi olmuştu.) Daha önceki sahipleri arasında Frank Gehry, Le Corbusier, I.M. Pei gibi isimlerin olduğu ödül, kraliçe ile birlikte veriliyor ve mimarlık sahnesinin en prestijli ödüllerinden birisi sayılıyor.Hadid'in nevi şahsına münhasır tasarımları ve karakteri ile ödülü alışı çok tartışıldı -ödül metnini kaleme alan Sir Peter Cook dahi metinde kendisinden "korkutucu bir karakter" olarak söz etmişti-. Özellikle BBC radyolarına konuk olduğu ve Katar Stadyumu ile Tokyo Stadyumu üzerine agresif sorular yönelten program sunucusu ile girdiği tartışmanın ardından programı yarıda kesip stüdyoyu terk etmesi ile çok konuşuldu. Katar'daki stadyumu ile Zaha Hadid'in de dâhil olduğu Birleşik Arap Emirlikleri'ndeki inşaat furyası, "daha hızlı, daha yüksek, daha güçlü" baskıları ile göçmen işçilerin oldukça sağlıksız koşullarda çalıştırılmasına sebep oluyor; önceki programlarda, konu üzerine yapılan araştırmalara ve farkındalık çalışmalarına değinmiştik.Hadid'in tartışılan proje süreçlerine değindiğim programda, BBC'nin programından da kısa bir kayıt dinledik.Hadid'in projeleri, süreçleri, gerçekleştikleri ülkelerin politik ve ekonomik koşulları, mimari anlayışı tartışmalı olsa da; "Irak'ın sokaklarından, projeler arasında kaybolmaya yalnız bir kadın" tadında haberler servis eden anaakım medyanın da yanlı ve ötekileştirici tutumunun ayrıca değerlendirilmesi gerekiyor.Ve tümü bir yana, 1848'den beri dağıtılan bir ödülün ilk kez bir kadına verilmiş oluşu, mimarlığın kaygan zeminini bir kez daha düşündürüyor.Evren Uzer ile birlikte bir seri "mimarlık ve kadın" programı gerçekleştirmiştik ve serinin ilk programında, stüdyo konuğu Seda Kayım ile birlikte kadın mimarların görünmezliğini konuşmuştuk. Seda'nın Denise Scott Brown'un kulaklarını çınlatan ve ocak ayında yayımlanan "Kadın Mimarın Varlığı, Görünürlüğünü Sağlama Alır Mı?" başlıklı yazısı, bizim de bu seri için çıkış noktamız olmuştu. Yazıda bahsi geçen, 2003 yılındaki RIBA "Kadınlar Neden Mimarlığı Bırakıyor?" araştırmasına göre, mimarlık okullarında eğitim görenlerin %38'ini oluşturan kadınlar, profesyonel hayata atılanların yalnızca %18'ini oluşturuyor. Bizde Mimarlar Odası'nın 2014 yılı raporuna göre öğrencilerin %57'sini oluşturan ve odaya kaydolan mimarların %53'ünü oluşturan kadınlarla tablo ilk bakışta daha iyimser görünse de, büro tescil belgesi alan kadın oranının %30'da kalıyor oluşu, "ayın karanlık tarafı".

We're very excited to have Denise Scott Brown on this episode, to share some family history behind the Vanna Venturi house – the house that her husband and collaborator, Robert Venturi, built for his mother in 1965, and helped set a new tone for 20th century architectural history. The house is now for sale, listed at $1.75M. Also joining us on this week's episode is Katherine Darnstadt of Latent Design in Chicago. A native Chicagoan who trained and practices as an architect there, Katherine shares her reflections on building a practice and connecting to a city. We met Katherine back in May at the AIA National Convention, and have been itching to have her on the podcast since. We also touch on the bonkers news item that is Japan canceling the Zaha Hadid designs for its Olympic Stadium in Tokyo, citing overwhelming construction costs. And finally, we're nearing the end – of Archinect Sessions' first season. This episode is our second to last, and after #40 we'll be taking a short break, then returning with a revamped new season. Send us your feedback: what you loved, hated, and want to see in Season 2! Reach out through connect@archinect.com or on Twitter, with #archinectsessions. Also, keep your eye out for Archinect's "Dry Futures" competition, seeking design solutions to California's historic drought. The competition launches July 27.

Denise Scott Brown'un 1991'de eşi ve ortağı Robert Venturi'ye verilen Pritzker ödülü üzerine söylediği "bana bir ödül değil, ödül seremonisi borçları var" sözü manidar. Venturi'nin mimarlık faaliyetlerinin neredeyse tamamına yakınını birlikte gerçekleştirmiş olduğu Scott Brown'un Pritzker komitesi tarafından ödüle ortak edilmeyişi, mimarlık disiplininde kadının görünürlüğüne dair tarihin somut ve en çarpıcı örneklerinden birisi.Seda'nın Scott Brown'un kulaklarını çınlatan ve ocak ayında yayımlanan "Kadın Mimarın Varlığı, Görünürlüğünü Sağlama Alır Mı?" başlıklı yazısı, bizim de bu seri için çıkış noktamız oldu. Yazıda dikkat çekici rakamların bahsi geçiyor; 2003 yılında İngiliz Mimarlar Enstitüsü'nün (RIBA) "Kadınlar Neden Mimarlığı Bırakıyor?" araştırmasına göre, mimarlık okullarında eğitim görenlerin %38'ini oluşturan kadınlar, profesyonel hayata atılanların yalnızca %18'ini oluşturuyor. Bizde Mimarlar Odası'nın 2014 yılı raporuna göre öğrencilerin %57'sini oluşturan ve odaya kaydolan mimarların %53'ünü oluşturan kadınlarla tablo ilk bakışta daha iyimser görünse de, büro tescil belgesi alan kadın oranının %30'da kalıyor oluşu, "ayın karanlık tarafı".Akademide ise farklı bir okuma mümkün; Türkiye'deki üniversitelerde kadın akademisyenlerin oranı Avrupa ortalamasına göre son derece yüksek iken, akademisyen maaşlarının karşılaştırması incelendiğinde en alt sıralarda kalan Türkiye'deki durum netlik kazanıyor. Yarışmalardaki "görünürlük" de (Seda'nın rakamlarına göre, 2012-2013 yıllarında düzenlenen mimari proje yarışmalarında ödül alanların yalnızca %23'ü kadın) göz önünde bulundurulduğunda, erkin ve ödül endüstrisinin, bir başka deyişle eril olana atfedilenin, mimarlık pratiğindeki yansımasının yine son derece eril olduğu açık.Biraz iç karartıcı mı oldu? Mimarlık ve kadın üzerine Evren Uzer ile birlikte devam edeceğimiz Açık Mimarlık programları yeni soruları, konukları, kadın mimar/kentli/aktivist profilleri ve hikâyeleri ile farklı tema eksenlerinde sürecek.Seda Kayım ile gerçekleştirdiğimiz program kaydına podcastlerden ulaşılabilir."Buharlaşan" kadın görünürlüğüne dair "leaky pipeline" metaforu üzerine yazılanlara da göz atmakta fayda var.

Denise Scott Brown'un 1991'de eşi ve ortağı Robert Venturi'ye verilen Pritzker ödülü üzerine söylediği "bana bir ödül değil, ödül seremonisi borçları var" sözü manidar. Venturi'nin mimarlık faaliyetlerinin neredeyse tamamına yakınını birlikte gerçekleştirmiş olduğu Scott Brown'un Pritzker komitesi tarafından ödüle ortak edilmeyişi, mimarlık disiplininde kadının görünürlüğüne dair tarihin somut ve en çarpıcı örneklerinden birisi.Seda'nın Scott Brown'un kulaklarını çınlatan ve ocak ayında yayımlanan "Kadın Mimarın Varlığı, Görünürlüğünü Sağlama Alır Mı?" başlıklı yazısı, bizim de bu seri için çıkış noktamız oldu. Yazıda dikkat çekici rakamların bahsi geçiyor; 2003 yılında İngiliz Mimarlar Enstitüsü'nün (RIBA) "Kadınlar Neden Mimarlığı Bırakıyor?" araştırmasına göre, mimarlık okullarında eğitim görenlerin %38'ini oluşturan kadınlar, profesyonel hayata atılanların yalnızca %18'ini oluşturuyor. Bizde Mimarlar Odası'nın 2014 yılı raporuna göre öğrencilerin %57'sini oluşturan ve odaya kaydolan mimarların %53'ünü oluşturan kadınlarla tablo ilk bakışta daha iyimser görünse de, büro tescil belgesi alan kadın oranının %30'da kalıyor oluşu, "ayın karanlık tarafı".Akademide ise farklı bir okuma mümkün; Türkiye'deki üniversitelerde kadın akademisyenlerin oranı Avrupa ortalamasına göre son derece yüksek iken, akademisyen maaşlarının karşılaştırması incelendiğinde en alt sıralarda kalan Türkiye'deki durum netlik kazanıyor. Yarışmalardaki "görünürlük" de (Seda'nın rakamlarına göre, 2012-2013 yıllarında düzenlenen mimari proje yarışmalarında ödül alanların yalnızca %23'ü kadın) göz önünde bulundurulduğunda, erkin ve ödül endüstrisinin, bir başka deyişle eril olana atfedilenin, mimarlık pratiğindeki yansımasının yine son derece eril olduğu açık.Biraz iç karartıcı mı oldu? Mimarlık ve kadın üzerine Evren Uzer ile birlikte devam edeceğimiz Açık Mimarlık programları yeni soruları, konukları, kadın mimar/kentli/aktivist profilleri ve hikâyeleri ile farklı tema eksenlerinde sürecek.Seda Kayım ile gerçekleştirdiğimiz program kaydına podcastlerden ulaşılabilir."Buharlaşan" kadın görünürlüğüne dair "leaky pipeline" metaforu üzerine yazılanlara da göz atmakta fayda var.