Podcasts about Le Corbusier

Uma exposição em Paris reúne obras de artistas brasileiros traçando um paralelo da arte nacional e da arquitetura modernista no Brasil com o arquiteto e urbanista franco-suíço Le Corbusier. A mostra "Aberto" está em sua quarta edição e acontece fora do país pela primeira vez, numa proposta cultural que integra as ações da Temporada França-Brasil 2025. "Aberto" 4 está em cartaz na Maison La Roche, no 16º arrondissement de Paris. Cerca de 35 obras estão expostas na casa de Le Corbusier, um prédio tombado como Patrimônio Mundial da Unesco, e que foi idealizada pelo próprio arquiteto.Filipe Assis, fundador do projeto, diz que teve a ideia de unir arte e arquitetura. “Escolhemos a casa do Le Corbusier, e esta não é qualquer casa, mas uma das mais importantes da produção dele como arquiteto. E por ele ter essa relação rica com o Brasil, contamos aqui um pouco da história da arquitetura brasileira, da relação que Corbusier teve com Lúcio Costa, com Oscar Niemeyer e a influência que ele teve posteriormente na arte brasileira”, contou, já adiantando que o plano é levar o projeto para outros países.“Geralmente a gente tem um núcleo em torno da figura do arquiteto que projetou a casa que estamos ocupando", explica Kiki Mazzucchelli, uma das curadoras da exposição. "Em cada uma das edições tivemos sessões um pouco mais biográficas, que contavam um pouco da história da casa e do arquiteto. E aqui não foi diferente”, detalhou.Arte e arquitetura integradasA curadora comentou que houve um trabalho minucioso para integrar a arte aos espaços existentes. “Quando fazemos a curadoria do 'Aberto', pensamos muito no espaço. Como usamos espaços inusitados, que não são feitos para serem expositivos, levamos muito em consideração a arquitetura. O que temos aqui nessa exposição da Maison La Roche é uma grande mistura. Então, na grande galeria do monsieur La Roche, que era um grande colecionador, e que tinha as próprias obras expostas nesse espaço, fizemos uma seleção de obras de artistas históricos, ligados ao concretismo e ao neoconcretismo. Mas a maioria das obras contemporâneas foi de obras comissionadas, ou seja, foram diálogos com cada artista que respondeu a algum aspecto da prática do Le Corbusier", conta. "Alguns optaram por dialogar com as cores que ele escolheu para essa casa, outros com o pensamento da arquitetura moderna que ele introduziu no Brasil. Enfim, são vários olhares distintos em relação a essa figura do Le Corbusier, menos como uma grande influência, mas mais com a criação de diálogos com essa obra vasta, que perpassa a arquitetura e a arte”, disse. Le Corbusier e o BrasilLauro Cavalcanti é pesquisador e especialista nas obras de Le Corbusier e de Lúcio Costa, tendo escrito três livros sobre as ligações do arquiteto francês com o Brasil. Ele, que também integra o grupo de curadores da mostra, conta que a relação de Le Corbusier com o país se deu ao longo de toda sua vida e que foi muito importante também para um outro grande nome da arquitetura brasileira.“Nos anos 20, Le Corbusier percorreu a América do Sul fazendo conferências, nessa ocasião fez um esboço de um plano de cidade para o Rio e se apaixonou. Sete anos depois, Lúcio Costa, a quem tinha sido encomendado o Ministério da Educação (atual Edifício Gustavo Capanema, no Rio de Janeiro), chamou Le Corbusier para ser consultor. E junto a uma equipe de jovens arquitetos brasileiros, eles fizeram esse prédio que entrou para a história da arquitetura mundial. E a solução final foi dada por Oscar Niemeyer.  Então, Le Corbusier deu ao Brasil muito, recebeu muito também, porque foi a oportunidade dele provar que não era só um teórico. Mas ainda nos deu Oscar Niemeyrer, porque ele se revelou em um trabalho com ele. Ninguém achava que Niemeyer fosse o gênio que foi”, contou.Do Paraná para a EuropaUm dos artistas a expor na "Aberto", Sidival Fila falou sobre a importância da experiência, a primeira vez em que participa de uma exposição coletiva com grandes artistas brasileiros. Ele, que trabalha com tecidos antigos, é de Arapongas, no Paraná, mas vive e atua em um convento de irmãos franciscanos em Roma, na Itália, há 20 anos.“Meu trabalho é criar essas formas internas construindo e reconstruindo a superfície e elaborando uma imagem, criando a tridimensionalidade, volume, luz, integração entre fios e fundo”, explicou ele, monstrando um quadro comporto por um tecido em seda, feito à mão, datando de meados de 1800, um material "raro e precioso", ressalta. A "Aberto 4", na Maison La Roche, fica em cartaz até o dia 8 de junho e os ingressos, que custam €10, podem ser adquiridos diretamente na entrada da instituição. 

En 1929, la designer et architecte irlandaise Eileen Gray se construit un refuge sur la Côte d'Azur. Sa première maison est un chef-dʹœuvre, discret et avant-gardiste, quʹelle nomme E.1027, combinaison énigmatique de ses initiales et de celles de Jean Badovici, avec qui elle l'a construite. "E.1027" de Béatrice Minger et Christof Schaub est un voyage cinématographique dans l'esprit d'Eileen Gray. Ce docufiction retrace l'histoire de la maison quʹelle a construite. Maison qui finira par obséder Le Corbusier au point quʹil construira un cabanon à quelques mètres de celle-ci et quʹil se lancera dans la peinture de fresques sur certains de ses murs quʹil jugeait trop ennuyeux. Beatrice Minger est lʹinvitée de Pierre Philippe Cadert.

Emiliano Molina, una figura constante en el diseño mexicano contemporáneo, trazó un camino singular desde su inmersión en el arte, pasando por las emblemáticas escuelas de San Carlos y La Esmeralda, hasta encontrar en el diseño industrial una búsqueda de funcionalidad, rigor y una nueva forma de expresión. En este episodio de Designaholic, Jorge Diego Etienne conversa con Emiliano sobre esta fascinante trayectoria que culminó en la fundación de Cuchara, su reconocida marca de muebles con sede en la Ciudad de México. Exploramos cómo su formación artística moldeó su enfoque del diseño, marcado por una profunda filosofía funcionalista y una constante optimización de materiales. Emiliano nos guía a través de la evolución de Cuchara, desde sus inicios como un estudio multidisciplinario hasta consolidarse como una marca de muebles distintiva, compartiendo valiosas anécdotas sobre ferias, tiendas y los aprendizajes prácticos y filosóficos que han jalonado su camino. Este episodio ofrece una mirada íntima al proceso creativo y a las decisiones que dan vida a los muebles de Cuchara, un testimonio honesto sobre la construcción de un proyecto con pasión, constancia y un fuerte concepto.#DiseñoIndustrial #MobiliarioMexicano #Cuchara #EmilianoMolina #DiseñoFuncional #HechoEnMéxico #Designaholic #Creatividad #HistoriaDelDiseñoEmiliano Molina es un diseñador industrial originario de la Ciudad de México y la mente creativa detrás de la marca de mobiliario Cuchara. Con una sólida formación en artes, Emiliano fusiona su sensibilidad estética con un enfoque en la funcionalidad y la optimización de recursos. A través de Cuchara, ha desarrollado un lenguaje de diseño distintivo que equilibra la forma con el propósito, creando piezas que reflejan una profunda reflexión conceptual y una cuidada atención a los detalles. Además de su trabajo en Cuchara, Emiliano comparte su pasión por el diseño como profesor en la Universidad Iberoamericana.Puedes Seguir en Instagram a Emiliano Molina en:@emilianomolina @cucharadiseno Show Notes y Links relacionados a este episodioEste episodio fue grabado en NADA.soundroom: https://www.instagram.com/nada.soundroom/Recomendación: El libro “Design after Capitalism. Transforming Design Today for an Equitable Tomorrow” por Matthew Wizinskyhttps://mitpress.mit.edu/9780262543569/design-after-capitalism/Objeto favorito: El camastro de la línea Alza (https://cucharastore.com/collections/alza?srsltid=AfmBOoomC3FXF5uMhSXec0kHLwza0h__CRatJiVKBxC1Mtb-C7AOOyVt)y el sillón LC2 de Le Corbusier (https://decofilia.com/1928-sillon-lc2-y-lc3/)Cuchara Diseño: https://cucharadiseno.com/Universidad Iberoamericana (IBERO): https://ibero.mx/Academia de San Carlos (ENAP UNAM): https://enap.unam.mx/Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda": http://enpeg.bellasartes.gob.mx/Damien Hirst: https://gagosian.com/artists/damien-hirst/Anish Kapoor: https://anishkapoor.com/StudioRoca: https://studioroca.com/Carmen Cordera: https://galeriamexicana.mx/blogs/acerca/galeria-mexicana-de-disenoPirwi: https://pirwi.com/Charlotte Perriand: https://www.arquitecturaydiseno.es/creadores/charlotte-perriandEste episodio es patrocinado por MillerKnollNo te pierdas nuestros episodios, publicamos todos los Martes.Síguenos en: Instagram https://www.instagram.com/designaholic.mxFacebook https://www.facebook.com/designaholicmx/Twitter https://twitter.com/designaholicmx Suscríbete a nuestro newsletter semanal “Las 5 de la Semana” aquí: https://bit.ly/30yyPD0Nuestra página web es: http://designaholic.mxInstagram https://www.instagram.com/jd_etienneTwitter https://www.twitter.com/jd_etienne Hosted on Acast. See acast.com/privacy for more information.

Send us a textWhat happened to the architectural manifesto? This fascinating question from a listener propels us into an exploration of how architects have historically proclaimed their design philosophies—and why such bold declarations seem increasingly rare in contemporary practice.The architectural landscape was once dramatically shaped by manifestos: Le Corbusier's "Towards New Architecture," Adolf Loos's "Ornament and Crime," and the revolutionary Bauhaus movement all articulated clear visions that transformed how we think about building. But today, as we scroll through endless Instagram feeds of similar-looking projects, has something fundamental been lost? Have we surrendered the courage to stake out distinctive architectural territory?We examine whether BIG's "Yes Is More" represents perhaps the last true modern architectural manifesto, and whether practice websites and mission statements have become watered-down replacements for the revolutionary spirit that once drove architectural movements. The conversation takes surprising turns toward craft, material engagement, and how the "tall poppy syndrome" might be preventing architects from boldly declaring their principles.Most importantly, we consider whether writing your own manifesto—even if just for personal clarification—could help combat the global homogenisation of architectural styles. By articulating what you believe about design, perhaps you can recentre your practice and contribute something meaningful to architectural discourse. As we navigate a world increasingly dominated by AI-generated forms and committee-driven decisions, maybe the time is right for a return to architectural conviction.Key Sources:https://www.archdaily.com/921760/how-to-write-an-architectural-manifestohttps://designformindfulness.blog/significant-manifesto-examples/https://www.architectural-review.com/awards/world-architecture-festival/a-manifesto-for-the-next-10-yearshttps://www.thoughtco.com/architecture-timeline-historic-periods-styles-175996https://archeyes.com/architecture-chronology-timeline-important-architecture-projects/ Chapters:0:29 - Episode Introduction2:03 - Defining Architectural Manifestos6:44 - Famous Historical Manifestos13:19 - Modern Manifestos - Do They Exist?17:56 - Global Homogenisation of Architecture27:43 - Manifesto vs Craftsmanship36:56 - The Future of Architecture47:14 - Love It or Hate It Wrap-upFollow us on @designpriciplespod on Instagram.If you wish to contact us hit our DMs or email us on info@designprinciplespod.com

Le Corbusier's Unité d'habitation in Marseille remains one of the most polarising architectural landmarks of the 20th century. A bold experiment in modernist housing, it envisioned a radical new way of urban living, one that was both efficient and communal. While celebrated by many architects for its innovation, it has also faced criticism for disregarding the social and cultural complexities of real cities.In this episode of Light Cities Architecture, writer and editor Justine Costigan and practising architect Antony DiMase delve into the legacy, mythology, and reality of this Brutalist icon. Was it a revolutionary step forward, or an idealistic vision that fell short? And, given the choice, would either of them choose to live there? Tune in to find out.Links:Fondation Le Corbusier https://www.fondationlecorbusier.fr/en/Unité d'Habitation tours https://www.marseille-tourisme.com/en/discover-marseille/culture-heritage/discover-the-sites-and-monuments-in-marseille/cite-radieuse-of-le-corbusier/Instagram: @lightscitiesarchitectureLinkedIn:https://www.linkedin.com/in/justine-costigan/https://www.linkedin.com/in/antony-dimase/Credits:Editor: Suzanne McLeodThis episode was recorded at Image online, Abbotsford, Australia.

Le brutalisme est un mouvement architectural.Le terme "brutalisme" vient du français béton brut, utilisé par l'architecte suisse Le Corbusier pour décrire l'aspect brut du béton après décoffrage. C'est dans les années 1950 que le mouvement prend son essor avec les architectes Alison et Peter Smithson, qui revendiquent une architecture honnête, où les matériaux et la structure ne sont pas dissimulés sous des finitions décoratives.Dans les années 1960 et 1970, le brutalisme devient un style dominant, notamment pour les bâtiments publics (universités, mairies, bibliothèques) et les logements sociaux. Son influence s'étend à travers le monde, particulièrement en Grande-Bretagne, en France, en Union soviétique et aux États-Unis.Principales caractéristiques du brutalisme1. Béton brut exposé : Pas d'enduit, pas de peinture, les bâtiments affichent directement la texture du béton. 2. Formes massives et angulaires : L'architecture brutaliste privilégie des volumes imposants, des lignes droites et des structures souvent monolithiques. 3. Matériaux apparents : Outre le béton, on trouve de la brique, de l'acier et du verre, laissés à l'état brut. 4. Fonctionnalité et minimalisme : Les bâtiments sont conçus pour répondre à un usage précis, sans ornementation superflue. 5. Expression de la structure : Les éléments architecturaux (escaliers, piliers, poutres) sont volontairement exposés et mis en avant. Exemples emblématiquesLa Cité radieuse (1947-1952, Marseille) de Le Corbusier Le Barbican Estate (1965-1976, Londres) La Bourse du Travail (1972, Bobigny) Le siège du Parti communiste français (1971, Paris) par Oscar Niemeyer Déclin et renouveauDans les années 1980, le brutalisme est critiqué pour son aspect froid et oppressant. Beaucoup d'édifices brutalistes sont détruits ou délaissés. Pourtant, depuis les années 2010, il connaît un regain d'intérêt, notamment dans l'art contemporain et le design urbain, où son esthétique radicale inspire de nouveaux projets.Aujourd'hui, le brutalisme est reconnu comme un courant architectural majeur du XXe siècle, apprécié pour son audace et sa force expressive. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Join Keri Smith and Mystery Chris for a LIVE #PoppedCulture on Wednesday, August 17th, 2022 at 8pm CDT as we try to walk through a history of the worst of the worst in architecture. We'll touch on Modernism, New International Style, Le Corbusier, the Bauhaus school, Futurist and Fascist architecture, Post-Modernist architecture and even Batman and Gotham City.

Il Brutalismo è tornato sotto i riflettori grazie al film The Brutalist, candidato a ben 10 premi Oscar. Ma cosa rende così iconico questo stile architettonico? Nato nel secondo dopoguerra in Inghilterra, il Brutalismo è caratterizzato dall'uso del calcestruzzo a vista e da forme geometriche imponenti, spesso percepite come "pesanti" o grezze. In questo video esploriamo la storia di questa corrente, le sue origini con Le Corbusier e il concetto di Béton Brut, fino a chiederci: ha davvero senso, dal punto di vista strutturale, realizzare edifici di questo tipo? Abbonati per supportare il nostro progetto Missione Cultura e diventare mecenate di Geopop: https://geopop.it/Muh6X Learn more about your ad choices. Visit megaphone.fm/adchoices

Jak Paryż zaraził Poznań (i resztę świata) patrzeniem na zegarek. Co możemy/powiniśmy załatwić w mieście (i na przedmieściach) w 15, 20 czy 30 minut. O tym, że im mniej dojeżdżamy, tym jesteśmy szczęśliwsi. O tym, że Poznań jest stolicą rowerów cargo. O konkurowaniu rowerzystów z samochodziarzami o przestrzeń i odwiecznym konflikcie: dwa czy cztery kółka. I o projekcie SPECIFIC, czyli o tym, jak przedsiębiorczy Poznaniacy mogą zamienić (za darmo) furgonetkę na towarowy rower. [foto: Hazay Bikes] // Marcin Krassowski // etnograf i antropolog kultury, Instytut Antropologii i Etnologii Uniwersytetu im. Adama Mickiewicza w Poznaniu -------- Wesprzyj nas, będzie nam miło i pomożesz tworzyć podcast: - abonament, czyli duża wdzięczność: www.patronite.pl/drugawersja - kawka w podziękowaniu za odcinek: www.buycoffee.to/drugawersja -------- My na www: www.drugawersja.pl  My na Spotify: https://spoti.fi/3MWjX9v My na fejsie: www.facebook.com/drugawersja My na YT: https://www.youtube.com/@podcast_poznanski My na insta: www.instagram.com/druga.wersja My na tiktoku: https://www.tiktok.com/@drugawersja

Faye Toogood is perhaps best known for her Roly-Poly chair, among the more famous pieces of furniture to come out of the 2010s and take over the zeitgeist, but the London-based designer's artistry and craft runs much deeper and spans much wider. She began finding, collecting, cataloging, producing, and editing her “assemblages” long before she ever had a name for them, and her design career has been marked by exactly that, beginning with the debut of Assemblage 1 (2010) and through to her latest, Assemblage 8: Palette (2024). On the whole, Toogood's creations serve as material investigations and discipline-defying attempts to better understand herself. Without formal training in design, Toogood—who was the Designer of the Year at the Maison&Objet design fair in Paris this past January and the Stockholm Furniture Fair's Guest of Honor in February—uses what she describes as the feeling of being “a fraud in the room” to her advantage. Through her work, she is an enigma; with projects across furniture, interiors, fashion, and homewares, she's unwilling to be defined by a single output and has instead built a multilayered practice and belief system that allows her to be “all heart and hands.” On this week's Time Sensitive—our debut of Season 11—Toogood talks about the acts of creation and connection, and how each underscores the enduring play that's ever-present in her work.Special thanks to our Season 11 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Faye ToogoodToogood[3:49] Assemblage 1[7:43] Assemblage 7[13:28] Seamus Heaney[14:50] Isamu Noguchi[14:50] Kan Yasuda[17:23] Roly-Poly chair[18:06] Rachel Whiteread[20:07] Barbara Hepworth Museum and Sculpture Garden[22:45] Matisse Chapel[25:40] “Ways of Seeing”[29:57] “Womanifesto!”[36:55] Assemblage 8[52:17] “The World of Interiors”

This week David and Marina of FAME Architecture & Design discuss David's 3 favorite buildings. The two touched on the Ronchamp Chapel; the emotional impact of architecture; Le Corbusier's architecture; The Eiffel Tower; the difference between a building, sculpture, and monument; the Taliesin West Building; the Bird Nest; craftsmanship and experimentation in architecture; and more. This episode is supported by Integrated Projects • Autodesk Forma & Autodesk Insight • Programa • Learn more about BQE CORE SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Office  • 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. The views, opinions, or beliefs expressed by Sponsee or Sponsee's guests on the Sponsored Podcast Episodes do not reflect the view, opinions, or beliefs of Sponsor.

La Grande-Motte est une station balnéaire française créée par l'architecte Jean Balladur. Il existe, dans le monde 3 villes entièrement dessinées par un architecte : Chandīgarh de Le Corbusier, Brasilia d'Oscar Niemeyer et La Grande-Motte… Cette ville est donc l'un des projets touristiques et urbanistiques les plus importants réalisés en France et en Europe à cette période. Pour en parler, Johanne Dussez s'entretient avec Gilles Ragot, historien de l'art, spécialiste de l'architecture contemporaine et auteur du livre " La grande Motte, patrimoine du XXe siècle " aux éditions El Viso. Sujets traités : La Grande-Motte, station, balnéaire, Jean Balladur, architecte, Le Corbusier, Oscar Niemeyer Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

A (relatively) in-depth analysis of French musician Nicolas Godin in (just under) fifteen minutes.The French electronic music duo Air was formed in 1995 by Godin and Jean-Benoît Dunckel. Godin was born in Paris and studied architecture and Jean-Benoît Dunckel was a mathematics student.To begin with, Air was a solo project. Godin, an amateur musician, was asked by a friend to compose a song for a compilation to be released by Source, a small French independent label. 'Modulor Mix', a tribute to Le Corbusier, was recorded on Godin's Portastudio, and appeared on the Source Lab album. With several remixes, it was re‑released on British label Mo' Wax in 1996.In 2015, Godin released his first solo album Contrepoint (Because Music), inspired by the music of Bach. Godin also composed the soundtrack for French series A Very Secret Service (2015–2018) and his second album Concrete and Glass was released in 2020.In this episode I am in discussion with Dr. Andrew Webber.A huge thank you to the wonderful Heather Murray.https://buymeacoffee.com/lownoiseWhy buy me a coffee?Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.Mathew Woodall

La Grande-Motte est une station balnéaire française créée par lʹarchitecte Jean Balladur. Il existe, dans le monde, 3 villes entièrement dessinées par un architecte : Chandigard de Le Corbusier, Brasilia dʹOscar Niemeyer et La Grande-Motte…  Cette ville est donc lʹun des projets touristiques et urbanistiques les plus importants réalisés en France et en Europe à cette période. Pour en parler, Johanne Dussez sʹentretient avec Gilles Ragot, historien de l'art, spécialiste de l'architecture contemporaine et auteur du livre " La grande Motte, patrimoine du XXe siècle " éditions El Viso

Christer Strömholms nazistiska bakgrund blev inte ett problem, utan en fördel. Och han fick hjälp på traven, konstaterar Mårten Arndtzén. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna.Vårvintern 2020 tog journalisten Lars Weiss kontakt med Sveriges Radio angående en intervju han gjort nästan 30 år tidigare med sin vän, fotografen Christer Strömholm. Samtalet var inspelat på kassettband och kretsade kring tiden före och under Andra världskriget. Att Strömholm varit organiserad nazist under åtminstone en del av den här tiden var inte okänt, men fortfarande höljt i dunkel.Kanske kunde vi använda kassetterna till att bringa lite större klarhet i frågan?Det föll på mig att undersöka det här, men jag kom inte särskilt långt. Jag tog kontakt med författaren och kritikern Lasse Söderberg: en annan gammal vän till Strömholm, som benämnt hans politiska bakgrund i ett par böcker. Men han tyckte att han sagt det han hade att säga. Sedan slog pandemin till på allvar och gjorde det direkt farligt för personer ur Strömholms generation att träffa journalister och andra potentiella smittbärare.Annat kom emellan.Att jag lät det göra det berodde nog på att jag aldrig blev riktigt klar över materialets relevans. Dels för den principiella frågan: Varför ska vi låta konstverk begränsas av vår uppfattning om konstnärens vandel? Vad vore vunnet med att skriva ut mördaren Caravaggio ur måleriets historia? Fascisten Ezra Pound eller den usla morsan Alice Munro ur litteraturens?Men också för att Strömholm hade bjudit Weiss på så väldigt lite av självrannsakan. ”Det var en politisk tid”, säger han alldeles i början av intervjun. ”När man nu sitter med facit i hand är det lätt att se hur det gick men ur 30-talets synpunkt gick Tyskland från en orostid till en annan” fortsätter han. ”Autostradorna byggdes, folk började få arbete och mat för dagen. Det var vad man hörde. Och Mussolini hade ordnat så att tågtiderna stämde i Italien”.Så talar en passiv åskådare, som förstått att hans flyktiga sympatier varit missriktade. Inte den sortens garvade aktivist som avtecknar sig i konstnären och författaren Andreas Gedins bok ”Christer Strömholm och nazismen”, med undertiteln ”Hur en liten sanning döljer en större”.Boken bygger på gedigen arkivforskning men handlar faktiskt mer om lögn än sanning.Om hur Strömholm lyckades göra sin bruna historia till en fördel, med benägen hjälp av betydande delar av förra seklets svenska kulturliv.Bland de allra första finner vi Peter Weiss, judisk krigsflykting och vänsterintellektuell: ”Han har en hemlighet, som han bär på, som gör honom intressant” konstaterar Weiss i ett samtal publicerat i Strömholms allra första fotobok, 1965. Redan 20 år efter Auschwitz befrielse kunde en nazistisk bakgrund alltså göra någon ”intressant”. Och så fortsätter det i senare böcker, under följande decennier. ”Hemligheten” blir en diffus men viktig komponent i mytbildningen kring Den Store Fotografen. Att helt sopa den under mattan är ovanligare men förekommer, främst efter hans död.Hans insatser för den andra sidan framhävs däremot konsekvent, i all litteratur som tar upp Christer Strömholms biografi. Vid en vistelse i södra Frankrike 1938 genomförde han ett par kuriruppdrag åt den republikanska sidan i Spanien, och blev beskjuten vid ett av dem, något han själv senare skulle karaktärisera som något slags moraliskt ”elddop”, som skall ha lett till ett uppvaknande.Men det lät i så fall vänta på sig, för samma år publicerade Strömholm ett resereportage i två delar från den här tiden – i nazistiska Stormfacklan.1940 deltog han i det väpnade motståndet mot den tyska ockupationen av Norge, något som ofta tagits till intäkt för en definitiv omvändelse. Men som Gedin visar hörde Strömholm till den falang av svensk nazism som satte nationalismen framför lojaliteten med Hitlertyskland, och för vilken solidariteten med ett ockuperat broderfolk därför var självklar – oavsett ockupantens ideologiska tillhörighet. Ett femtiotal svenska nazister deltog i striderna på Norges sida, enligt Gedin, medan inte en enda ska ha slagits på ockupationsmaktens sida.Så sent som i november 1945 bistår Strömholm åtminstone en Quisling, kanske flera, i flykten undan den norska rättvisan. Ett halvsekel senare påstår han själv att det rörde sig om ”ganska oskuldsfulla 19–20-åringar”. Men den han bevisligen hjälpte var i själva verket en trettiårig krigsförbrytare, efterlyst för landsförräderi. Han greps men undkom till sist, och kunde börja om i Sydamerika.Varför kom Lasse Weiss till oss med sina kassetter, i början av 2020-talet? Som en del av en dödstädning, kanske. Redan sommaren -21 avled han, i sviterna av lungcancer. Jag föreställer mig att det var någonting som låg och gnagde någonstans, inom journalisten Weiss. För det är ju någonting med sanningen, ändå.När det gäller Strömholm är den ofta svår att klarlägga. Många av spåren har vuxit igen för länge sedan. Vanan att ljuga satte sig av allt att döma redan under polisförhören på 1930- och 40-talen. Och som Lasse Söderberg konstaterar i essäsamlingen Gemensamma nämnare, utgiven ett par år före Strömholms död: ”sitt förflutna har Christer rutinerat och med påtagligt välbehag låtit förbli insvept i legendens skimmer”. Men det är just halvlögnerna och dimridåerna som framträder med störst skärpa hos Gedin. Hur de användes – av Strömholm själv och av andra – för att underbygga hans maskulina konstnärsimage. Inklusive ett par kontraktsmord han påstod sig ha utfört, i Stockholm, men kanske bara hittade på för att göra sig ”intressant”.Det säger såklart någonting om Christer Strömholms personliga karaktär. Men också om det svenska kulturliv som jobbade så länge och så konsekvent på att göra honom precis lagom salongsfähig. Tidningen ETC inte minst, som gjorde Strömholm till en del i ett liberalt vänsterprojekt, på 80-talet, genom att lyfta fram hans bilder av de transsexuella vännerna på Place Blanche. Moderna museet som hakade på, ett par år senare, med en stor retrospektiv.Och kanske inte bara det svenska kulturlivet.Jag bläddrar i ”Porträtt i Paris”, Nationalmuseums utställningskatalog från 2022, full med fina reproduktioner av de porträttfoton Strömholm tog av konstnärer och intellektuella i den franska huvudstaden på de legendomsusade 1950- och 60-talen. Cafélivets och existentialismens gyllene epok.Jag fastnar för bilderna av poeten Paul Andersson, vacker som en ung Adonis inför hotellspegeln 1956 men utmärglad och delvis tandlös fyra år senare. En krampaktig pose påminner mig om ett scenfotografi av Ian Curtis, en annan självförbrännande artist som tog sig bra ut på bild, 20 år senare. Jag hade det som affisch, på dörren till mitt pojkrum.Kanske finns ett släktskap mellan fascistens renhetslängtan och avantgardekonstnärens kompromisslösa radikalism? I så fall borde Christer Strömholm haft sällsynt goda förutsättningar att få korn på det.Ett annat av porträtten i Paris föreställer Le Corbusier, fångad redan 1951. Den store arkitekten och funkisprofeten som placerade sina politiska förhoppningar i samma korg som Strömholm, under kriget. Här står han med ena handen lite krampaktigt nedstucken i fickan på den bylsiga kostymen, i ett misslyckat försök till nonchalans. Han verkar trött och lite nervös. Pannan är rynkad.Bakom honom sträcker en lång, tom korridor ut sig. Och slutar i ogenomträngligt mörker.Mårten Arndtzénkonstkritiker och medarbetare på Sveriges Radios kulturredaktionLitteraturAndreas Gedin: Christer Strömholm och nazismen – hur en liten sanning döljer en större. Kaunitz-Olsson, 2025.Lasse Söderberg: Gemensamma nämnare. Ellerströms, 1999.

(00:00) In der Stadt Luzern steht das Luzerner Theater vor einer ungewissen Zukunft. Die Stimmberechtigten haben gestern einen Sonderkredit von knapp 14 Millionen Franken deutlich abgelehnt. Mit diesem Geld hätte ein neues Theater gebaut werden sollen. Daraus wird nun nichts. (04:41) Bunt, glitzernd und voller Leidenschaft: Barrie Kosky zeigt am Opernhaus Zürich Puccinis «Manon Lescaut» - unser Kritiker ist begeistert. (10:21) Was war zuerst. Huhn oder Ei? Ein Forscher der Uni Genf will das Rätsel gelöst haben. (14:35) Architektur als Experiment: Das Zentrum Paul Klee in Bern würdigt Le Corbusier und beleuchtet auch kritische Aspekte seines Schaffens. (19:00) Rettungsaktion aus dem Ghetto in Theresienstadt – wie vor 80 Jahren 1200 jüdische Häftlinge in die Schweiz kamen. (23:40) 1200 Jahre alt und Millionen wert: Das Museée jurassien d'art et d'histoire in Delémont zeigt die kostbare Bibel von Moutier-Grandval, die zwischenzeitlich auf einem Dachboden schlummerte.

Gampert, Christian www.deutschlandfunk.de, Kultur heute

In this episode, we talk about early AEC exposure to high school students with a discussion of the ACE Mentorship Program. We share personal experiences and insights from mentoring high school students, talk about the program's value in exposing young minds to architecture, construction, and engineering. The conversation covers the challenges and rewards of volunteering, the importance of communication in teamwork, and how practical exercises can simulate real-world architectural practice.Additionally, we have a bit of follow up on the Le Corbusier conversation from the last episode and the complexities of his legacy. This episode is a must-see for anyone passionate about architecture education and youth mentorship.Episode Links:Pierre Jeanneret - Corbu's cousinModern Man by Anthony Flintaskarchispeak.com - our new Q&A websiteACE Mentor Program websiteEpisode Sponsor - TimberTechDiscover how TimberTech is redefining synthetic decking with precision-engineered materials that balance enduring aesthetics with superior performance and sustainability. TimberTech's advanced technologies replicate natural wood's allure while minimizing maintenance and environmental impact. Request samples, read case studies or download our architectural white paper here.-----Thank you for listening to Archispeak. For more episodes please visit https://archispeakpodcast.com.Support Archispeak by making a donation.

Często można spotkać się z opinią, że twórcy i intelektualiści z naszej części Europy, aby zyskać zainteresowanie w artystycznych centrach skazani są na powielanie stereotypowych wyobrażeń o niej. Stąd miała się brać niegdysiejsza popularność wiejskich scen Chełmońskiego we Francji i Ameryce czy sukces polskiego pawilonu na paryskiej wystawie w 1925 r. Na rewersie tego starannie wypracowanego wizerunku własnej „egzotyczności”, a czasem wręcz „orientalności”, miałby się znajdować lęk przed roztopieniem tego, co „lokalne” w tym, co „uniwersalne”; strach przed tym, że język nowoczesności będzie tylko jeden. Sugestywność tego obrazu przesłania jego krzywdząco upraszczający charakter. Dobrze to ilustruje przykład wzornictwa doby PRL-u. Renoma Cepelii nie brała się jedynie z potrzeby utwierdzenia się zachodniego odbiorcy w przekonaniu o wtórności polskiej kultury. Wręcz odwrotnie – inspirowane sztuką ludową meble cenione były za jakość, odmienność i świeżość. Co prawda fotelem RM58 zachwycił się sam Le Corbusier, lecz był to raczej wyjątek. Oryginalność, którą krępowały normatywy i niedobory, nie musiała wcale przychodzić z naśladowaniem skandynawskich czy francuskich wzorów. Czy jesteśmy zatem skazani albo na wieczny powrót tego samego albo nowoczesność z drugiej ręki? Prace współczesnych polskich projektantów, jak dmuchane meble Oskara Zięty, pokazują, że to fałszywa alternatywa. Nowoczesność okazała się bowiem wielojęzyczna, a twórcy – oswobodzeni z ograniczeń i powinności – stworzyli jeden z jej idiomów. O tym, czy rok 1945 stanowi cezurę w rodzimym meblarstwie, jak projektanci radzili sobie z niedoborami materiałów w PRL-u i dlaczego polski new look – wbrew obiegowej opinii – nie był wyjątkowy rozmawiałem z prof. Anną Kostrzyńską-Miłosz.

Chandigarh is the shared capital city of the Indian states of Punjab and Haryana, built under the leadership of modernist and brutalist architect Le Corbusier, as an emblem of the postcolonial Indian nation state as visualized by the first Indian prime minister Jawaharlal Nehru. It was a repudiation of the imperialist architectural style, and for Le Corbusier a personal revenge project after his dissatisfactions with how he was treated during his planning for the United Nations building in New York. Vikramaditya Parakash says that it is a misconception that Chandigarh was built as a blueprint for a future utopia, when in fact it was built as a city where multiple ideas of futurity are put into play. Dr. Vikramaditya Prakash (B.Arch, MA, Phd) works on modernism, postcoloniality and global history. Recent books include One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash and Le Corbusier's Chandigarh Revisited: Preservation as Future Modernism. An ACSA Distinguished Professor, Vikram teaches at University of Washington, Seattle, is host of the ArchitectureTalk podcast, and co-design lead of O(U)R: Office of (Un)certainty Research. Image: © 2025 Saronik Bosu. An interpretation of the Gandhi Bhawan at Punjab University, Chandigarh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Chandigarh is the shared capital city of the Indian states of Punjab and Haryana, built under the leadership of modernist and brutalist architect Le Corbusier, as an emblem of the postcolonial Indian nation state as visualized by the first Indian prime minister Jawaharlal Nehru. It was a repudiation of the imperialist architectural style, and for Le Corbusier a personal revenge project after his dissatisfactions with how he was treated during his planning for the United Nations building in New York. Vikramaditya Parakash says that it is a misconception that Chandigarh was built as a blueprint for a future utopia, when in fact it was built as a city where multiple ideas of futurity are put into play. Dr. Vikramaditya Prakash (B.Arch, MA, Phd) works on modernism, postcoloniality and global history. Recent books include One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash and Le Corbusier's Chandigarh Revisited: Preservation as Future Modernism. An ACSA Distinguished Professor, Vikram teaches at University of Washington, Seattle, is host of the ArchitectureTalk podcast, and co-design lead of O(U)R: Office of (Un)certainty Research. Image: © 2025 Saronik Bosu. An interpretation of the Gandhi Bhawan at Punjab University, Chandigarh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/architecture

Chandigarh is the shared capital city of the Indian states of Punjab and Haryana, built under the leadership of modernist and brutalist architect Le Corbusier, as an emblem of the postcolonial Indian nation state as visualized by the first Indian prime minister Jawaharlal Nehru. It was a repudiation of the imperialist architectural style, and for Le Corbusier a personal revenge project after his dissatisfactions with how he was treated during his planning for the United Nations building in New York. Vikramaditya Parakash says that it is a misconception that Chandigarh was built as a blueprint for a future utopia, when in fact it was built as a city where multiple ideas of futurity are put into play. Dr. Vikramaditya Prakash (B.Arch, MA, Phd) works on modernism, postcoloniality and global history. Recent books include One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash and Le Corbusier's Chandigarh Revisited: Preservation as Future Modernism. An ACSA Distinguished Professor, Vikram teaches at University of Washington, Seattle, is host of the ArchitectureTalk podcast, and co-design lead of O(U)R: Office of (Un)certainty Research. Image: © 2025 Saronik Bosu. An interpretation of the Gandhi Bhawan at Punjab University, Chandigarh. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Chandigarh is the shared capital city of the Indian states of Punjab and Haryana, built under the leadership of modernist and brutalist architect Le Corbusier, as an emblem of the postcolonial Indian nation state as visualized by the first Indian prime minister Jawaharlal Nehru. It was a repudiation of the imperialist architectural style, and for Le Corbusier a personal revenge project after his dissatisfactions with how he was treated during his planning for the United Nations building in New York. Vikramaditya Parakash says that it is a misconception that Chandigarh was built as a blueprint for a future utopia, when in fact it was built as a city where multiple ideas of futurity are put into play. Dr. Vikramaditya Prakash (B.Arch, MA, Phd) works on modernism, postcoloniality and global history. Recent books include One Continuous Line: Art, Architecture and Urbanism of Aditya Prakash and Le Corbusier's Chandigarh Revisited: Preservation as Future Modernism. An ACSA Distinguished Professor, Vikram teaches at University of Washington, Seattle, is host of the ArchitectureTalk podcast, and co-design lead of O(U)R: Office of (Un)certainty Research. Image: © 2025 Saronik Bosu. An interpretation of the Gandhi Bhawan at Punjab University, Chandigarh. Learn more about your ad choices. Visit megaphone.fm/adchoices

Perchée sur les hauteurs de Marseille, Notre-Dame de la Garde attire des touristes de toute la France, et même au-delà. À l'image de la Cité phocéenne, considérée par le magazine américain Condé Nast Traveler comme l'un des 25 plus beaux endroits du monde à visiter. De notre correspondante à Marseille,À l'horizon, la mer qui ondule, et si on tourne à peine la tête, c'est toute la ville de Marseille, ville majeure du sud de la France, que l'on découvre. On devine ses quartiers et son Vieux-Port depuis le parvis de la « Bonne Mère ». Au sommet, une statue de la vierge, dont il faut refaire la dorure tous les trente ans. « La dernière dorure date de 1989. Il est temps de refaire la dorure. Il y aura un délicat travail de préparation : enlever la vieille feuille d'or, retrouver le cuivre qui est dessous. Et en suite, on pourra appliquer une nouvelle feuille d'or », détaille Xavier David, l'architecte en charge des travaux de la fameuse basilique marseillaise.Pour ses travaux, plus d'un million d'euros ont été récoltés. Car la « Bonne Mère », comme on l'appelle ici, intéresse de plus en plus. « Il y a vingt ans, y avait 500 000 visiteurs. Il y a dix ans, il y en avait un million. Et aujourd'hui, on a dépassé les 2 millions de visiteurs. C'est énorme pour une petite église au sommet d'une petite colline », s'enthousiasme-t-il.Pour preuve, en quelques minutes, on croise des touristes du monde entier, à commencer par Baptiste, venu de Belgique. « On découvre cette magnifique cathédrale. Très belles couleurs à l'intérieur et à l'extérieur, avec les arches superposées, j'ai trouvé ça vraiment chouette », se réjouit le jeune touriste. Mais il n'y a pas que ça qui l'a séduit à Marseille : « Il y a une partie artistique, une partie un peu plus front de mer, une partie plus parisienne. Surtout, c'est génial parce que c'est le sud accessible. En termes de prix, mais aussi en termes pratiques, c'est une grande ville où on peut venir d'un peu partout », continue-t-il.Hors d'Europe, ce sont les Américains qui sont les plus nombreux à visiter Marseille, comme David, venu avec sa femme et sa petite fille depuis l'Indiana. « On a pu faire plusieurs sites touristiques, se balader et découvrir la ville. C'est à couper le souffle. C'est notre première fois à Marseille et c'est magique. Une des plus belles villes au monde », estime-t-il.Mais le nouveau phénomène accélérateur du tourisme à Marseille, ce sont ces vidéos « cartes postales » postées sur YouTube et TikTok. « L'impact des réseaux sociaux est considérable, confie Marc Thépot, président de l'Office de Tourisme de Marseille. D'ailleurs, sur différents sites, il y a un nombre de vues assez important. Tout cela, ça vous donne envie d'aller voir ces quartiers, ces vies, ces accents. Bien sûr, les classiques, c'est toujours Château d'If, Notre-Dame de la Garde, etc. Mais y a aussi Le Corbusier, les calanques, la corniche, le bord de mer, etc.  C'est quand même une ville diverse qui accepte tout le monde. Qui correspond effectivement à ce que les gens attendent aujourd'hui. Et je crois que chacun y trouve son compte. » Sans parler de la météo, qui fait partie des points forts de la ville, avec ses 2 965 heures d'ensoleillement en 2024.À lire aussiÀ Marseille, un quartier (entier) s'appuie sur l'eau de mer pour produire du chaud et du froid

Clever Confidential is Clever's offshoot series, where we dig into the darker side of design - the shadowy, sometimes sordid tales hiding under a glossy topcoat of respectable legacy.In Ep. 5 we explore the haunting tale of E-1027, an architectural masterpiece born of love but marred by betrayal, obsession, and tragedy. From its creation by Eileen Gray to its desecration by Le Corbusier, and its descent into decadence during World War II, this house has borne witness to some of humanity's darkest and most beautiful moments. Hosts Amy Devers and Andrew Wagner uncover the secrets etched into its walls and the spirits that linger within.Many thanks to this episode's guest expert Anthony Flint, author of Modern Man: The Life of Le Corbusier, Architect of Tomorrow and host of the Land Matters podcast.Special thanks to our sponsor, Porkbun! Go to https://porkbun.com/CleverBun to get a .PRO domain for only $1 for the first year with promo code DIGITALPRO at Porkbun!See images and read the transcript!Please help us out by completing a short LISTENER SURVEYHead to cleverpodcast.com for over 200+ more episodes of Clever, and the 4 previous episodes of Clever Confidential.Subscribe to our substack newsletter for updates, bonus content, and new episode alerts.Please say Hi on social! X, Instagram, Linkedin and Facebook - @CleverPodcast, @amydeversIf you enjoy Clever Confidential we could use your support! Please consider leaving a review, making a donation, becoming a sponsor, or introducing us to your friends! We love and appreciate you!Credits: Hosts: Amy Devers & Andrew WagnerWriting and research: Amy Devers, Andrew Wagner, Ilana NevinsGuests: Anthony FlintEditing and Sound Design: Mark ZurawinskiTheme Music: “Astronomy” by Thin White Rope courtesy of Frontier RecordsLogo design: Laura Jaramillo remixed by Graham HauserProduction: Devers Endeavors Hosted on Acast. See acast.com/privacy for more information.

Během druhé světové války v ní sídlili nacisté a pak i osvobozenecké americké jednotky. Později funkcionalistická vila Savoye ve francouzském městě Poissy sloužila jako skladiště a nakonec měla být srovnána se zemí. Autorem slavné stavby přitom není nikdo jiný než světoznámý Le Corbusier. Vlna protestů ale nakonec vilu zachránila a dnes je jednou z nejlepších ukázek moderní architektury vůbec. Všechny díly podcastu Zápisník zahraničních zpravodajů můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

In this episode, we discuss Cormac's excitement about the Detroit Lions making the playoffs and explore the significant transformation happening in Detroit. We examine how the city's struggles have led to a new era of development and restoration. The main focus of our conversation centers on Le Corbusier and the often-overlooked contributions of his cousin Pierre Jeanneret, who helped make Corb's innovative designs technically feasible. We also announce our new Q&A website, askarchispeak.com, where listeners can submit questions for future episodes.Episode Links:Announcing askarchispeak.com - our new Q&A websiteModern Man by Anthony FlintPierre Jeanneret - Corb's cousinThe Image of the City by Kevin LynchA Pattern Language by Christopher AlexanderThe Timeless Way of Building by Christopher Alexander250 Things Architects Should Know by Michael SorkinPhilip Johnson's Glass HouseEpisode Sponsor - TimberTechDiscover how TimberTech is redefining synthetic decking with precision-engineered materials that balance enduring aesthetics with superior performance and sustainability. TimberTech's advanced technologies replicate natural wood's allure while minimizing maintenance and environmental impact. Request samples, read case studies or download our architectural white paper here.-----Thank you for listening to Archispeak. For more episodes please visit https://archispeakpodcast.com.Support Archispeak by making a donation.

Carmelo Jordá nos lleva de escapada a Marsella y visitamos el Puerto Viejo, el barrio pescador de Le Panier o la ciudad radiante de Le Corbusier

durée : 00:47:29 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans Affaires sensibles « Le Corbusier, fasciste ! » - réalisé par : Stéphane COSME

Si les grands ensembles et les quartiers populaires étaient autrefois synonymes de progrès et de modernité, à l'image des cités radieuses conçues par Le Corbusier, ils ont vu depuis quelques décennies leur image s'effondrer dans notre imaginaire collectif.Pour tenter de changer la donne, les pouvoirs publics, par la voix d'Emmanuel Macron, ont annoncé une consultation architecturale d'envergure baptisée "Quartiers de demain". Dans dix quartiers dits prioritaires, les cabinets les plus prestigieux s'affronteront tout au long de l'année dans un concours d'architectes afin de proposer 10 nouvelles cités radieuses.Mais avant de suivre ce concours au fil des mois à venir, Thomas Rozec, accompagné de Marie-Christine Jaillet, géographe et sociologue, et de Renaud Epstein, sociologue, a tenté de comprendre le désamour qu'ont vécu les quartiers populaires.Merci à L'Europe des Projets Architecturaux et Urbains (EPAU) avec qui nous avons fabriqué cet épisode.Programme B est un podcast de Binge Audio présenté par Thomas Rozec. Réalisation : Clément Morel. Production et édition : Charlotte Baix. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier et Thomas Steffen (Upian). Direction des programmes : Joël Ronez.

In this episode, I sit down with Nicholas Fox Weber, art historian and Executive Director of the Josef and Anni Albers Foundation. He is also the author of fifteen books, among them iBauhaus, Le Corbusier, Balthus: A Biography, and Patron Saints. Weber is a gradu­ate of Colum­bia Col­lege (B.A., major in Art History), Yale Uni­ver­sity (M.A., Art History; Fellowship in American Art), and the University of Groningen (PhD).  He lives in Connecticut, Paris, and Ireland. Despite all his professional accomplishments, Nick's heart is focused on his humanitarian work in Senegal. Nick is the founder of Le Korsa, a not-for-profit organization in Senegal. I admire Nick so much. We all see things in life that we wish we could change or people that we'd like to help – yet we are all so busy with our own lives that it is the rare among us that does something – Nick is one of those people. After a trip to Senegal with a Parisian doctor about twenty years ago, Nick saw communities that needed access to health care, education, and basic amenities. Ever since, Nick has worked tirelessly to support clinics, schools, and other life-saving initiatives in Senegal through Le Korsa.     My son John and I visited Senegal in February of 2023, and we witnessed Nick's incredible work firsthand. Every bit of resources directed toward Le Korsa make such an impact. Donations to Le Korsa go directly to projects in Senegal, from digging wells to buying academic supplies to helping patients receive medical care. In this conversation, Nick and I discuss his work in Senegal, how and why he got started, and about his spectacular and purposeful life as an art historian, author, and humanitarian. This episode is just the kind of inspiration that is so fitting this holiday season! To learn more about Le Korsa, visit https://www.aflk.org/ If you enjoy the show, please rate and review. Be sure to follow us on Instagram @TheInterviewWithLeslie. A new podcast is released every Wednesday.

Graham Arrowsmith visited India with his wife, Dawn, in November 2024. This podcast recollects the experience and discusses MeclabsAI's Customer-Facing Devices.Summary of PodcastThis podcast discusses Graham's trip to India and explores applications of MeclabsAI, particularly Customer-Facing Devices (CFDs).Key TakeawaysGraham visited India, observing stark contrasts in urban development, pollution, and economic growth.Through CFDs, MeclabsAI offers powerful marketing, data analysis, and customer interaction capabilities.The technology has potential applications in finance, due diligence, and enhancing customer experiences.Security and data privacy are prioritised in MeclabsAI's approach, addressing concerns about data usage.India Trip ObservationsDelhi: Estimated 35 million population, severe smog issues impacting healthChandigarh: Planned city by Le Corbusier, more organised than other Indian citiesTraffic: Chaotic, with various vehicles weaving through lanes.Economic contrast: Educated professionals alongside significant poverty in slums.Growth: India is recognised as one of the fastest-growing economies globally.MeclabsAI CapabilitiesCustomer Facing Devices (CFDs): Advanced AI agents that can replace traditional chatbots.Data analysis: Can process financial reports, identify trends, and provide insights.Content creation: Ability to generate podcasts, articles, and marketing materials.Personalisation: Can create tailored experiences for customers, e.g., in jewellery shoppingIntegration: Potential to replace or enhance existing website functionalities.Business ApplicationsDue diligence: Analysing pitch decks and financial data for investors.Finance presentations: Improving how financial data is communicated to non-finance audiences.Marketing optimisation: Leveraging 30 years of marketing research to enhance conversions.Lead generation: Creating engaging user journeys that capture customer information effectively.Technical AspectsSecurity: Emphasis on data privacy and secure handling of uploaded information.Customisation: It is easy to add proprietary information to create tailored AI libraries.Ongoing development: Regular updates and improvements to the system's capabilitiesThe Next 100 Days Podcast Co-HostsGraham ArrowsmithGraham founded Finely Fettled ten years ago to help business owners and marketers market to affluent and high-net-worth customers. MicroMailings is his new low-risk, done-for-you marketing solution for companies seeking high-net-worth leads. He is also the founder of MicroYES, a Partner for MeclabsAI, which combines the world's biggest source of 10,000 marketing experiments with AI. Find Graham on LinkedIn.Kevin ApplebyKevin specialises in finance transformation and implementing business change. He's the COO of GrowCFO, providing community and CPD-accredited training designed to grow the next generation of finance leaders. You can find Kevin on LinkedIn and at

Clever Confidential is Clever's offshoot series, where we dig into the darker side of design - the shadowy, sometimes sordid tales hiding under a glossy topcoat of respectable legacy.In Ep. 5 we explore the haunting tale of E-1027, an architectural masterpiece born of love but marred by betrayal, obsession, and tragedy. From its creation by Eileen Gray to its desecration by Le Corbusier, and its descent into decadence during World War II, this house has borne witness to some of humanity's darkest and most beautiful moments. Hosts Amy Devers and Andrew Wagner uncover the secrets etched into its walls and the spirits that linger within.Many thanks to this episode's guest expert Anthony Flint, author of Modern Man: The Life of Le Corbusier, Architect of Tomorrow and host of the Land Matters podcast.See images and read the transcript!Please help us out by completing a short LISTENER SURVEYHead to cleverpodcast.com for over 200+ more episodes of Clever, and the 4 previous episodes of Clever Confidential.Subscribe to our substack newsletter for updates, bonus content, and new episode alerts.Please say Hi on social! X, Instagram, Linkedin and Facebook - @CleverPodcast, @amydeversIf you enjoy Clever Confidential we could use your support! Please consider leaving a review, making a donation, becoming a sponsor, or introducing us to your friends! We love and appreciate you! Hosted on Acast. See acast.com/privacy for more information.

Architectural Assistant Mair Hughes, talks to James about the gatekeeping of architectural history and standardisation of the curriculum at the end of the 19th century, castles and cathedrals with dubious origin dates, Le Corbusier and all manner of shocking architectural myths. ↓ ↓ ↓ Here is the link for this week's product https://nutrahealth365.com/product/libido-boost/ ↓ ↓ ↓ Buy James a Coffee at: https://www.buymeacoffee.com/jamesdelingpole The official website of James Delingpole: https://jamesdelingpole.co.uk x

An original production by ⁠⁠⁠⁠⁠⁠per se⁠⁠⁠⁠⁠⁠. John Pawson: architect, author. We talk: the non-linear nature of one's life path; early influences; the Yorkshire Moors; crafting less with more feeling; how to bring architecture to life; the power of communicating through words; maintaining professional consistency; Le Corbusier and so much more. Thank you for spending time in this Isle of Contemplation. H #thearchitectureofcontemplation Support: ⁠⁠⁠⁠⁠https://www.patreon.com/hkaur⁠⁠⁠⁠⁠⁠ John's Links: https://www.johnpawson.com/ H Links:  ⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/perse.london/⁠⁠⁠⁠⁠⁠⁠ Audio Producer + Original Soundscape, Ivan d'Avoine: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/ivandavoine/⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠https://twitter.com/ivandavoine⁠⁠⁠⁠⁠

Learn about the life of self-taught architect Eileen Gray, whose groundbreaking modernist designs faced vandalism, loss, and ultimate rediscovery, with reflections from guest architect Emily Farnham._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:Documentary — Gray Matters: Architect and Designer Eileen Gray (2014)Book — Eileen Gray: Her Life and Work by Peter AdamBook — Eileen Gray: Design and Architecture 1878–1976 by Philippe Garner (Taschen)About EileenEileen Gray (1878–1976) was a groundbreaking designer and architect whose work pioneered modernism in the 20th century. Originally born in Ireland, she spent her career in France, becoming a self-taught architect and an innovator in furniture design. She's known for blending functionality with bold, avant-garde aesthetics. Her early career began with mastering lacquer work, a craft she honed despite its physical challenges, and she became a leading figure in Art Deco. Gray's most iconic work is the E-1027 house, a modernist masterpiece designed with meticulous attention to detail and human-centered design principles. Despite her contributions, her achievements were often overshadowed by her male contemporaries, including the controversial vandalism of her work by Le Corbusier. Gray's designs, like the Bibendum Chair, the E-1027 table and her modular lacquer screens, continue to inspire today. Rediscovered in her later years, she is now celebrated as a trailblazer who forged her own path, proving that vision and resilience can leave a lasting mark on the world of design. About EmilyEmily Farnham is the founder of Emily Farnham Architecture, a Los Angeles-based practice known for its innovative and holistic approach to residential design. With an impressive career that spans architecture, interiors, and custom design, Emily's projects balance aesthetics, function, and personalization. She holds a Master of Architecture degree from Harvard's Graduate School of Design and a Bachelor of Science in Architecture from the University of Virginia's School of Architecture. Before establishing her practice in 2014, Emily honed her skills at several leading design firms in Los Angeles, New York, Boston, and San Francisco. This diverse background equipped her with the expertise to tackle projects of varying scales and complexities, from residential spaces to large-scale civic and educational buildings. Emily is a licensed architect in California and a LEED-accredited professional, known for her meticulous attention to detail and deep understanding of the construction process.Follow Emily:Instagram: @emilyfarnhamarchitectureWebsite: emilyfarnham.com  ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Minger, Beatrice www.deutschlandfunkkultur.de, Interview

Learn the untold story of architect and furniture designer, Charlotte Perriand, whose innovative designs and fearless independence reshaped modern interiors, with insights from special guest Adi Goodrich, spatial designer, who reflects on how Charlotte's legacy continues to inspire today's designers._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources:The Guardian ArticleCharlotte Perriand Autobiography “A Life of Creation”Book: Living with Charlotte Perriand by Francois Laffanour and Cynthia FleuryBook: Charlotte Perriand: The Modern Life by Justin McGuirkBook: Charlotte Perriand: Inventing a New World (Published by the Foundation of Louis Vuitton)About CharlotteCharlotte Perriand was a visionary French designer and architect whose contributions to modernist design reshaped how we think about furniture and interior spaces. In 1927, after famously being dismissed by Le Corbusier with the remark, "We don't embroider cushions here," she eventually joined his studio and co-designed iconic pieces like the LC4 Chaise Longue and LC2 armchair.Though these collaborations are what she is most known for, Perriand's career extended far beyond them. She designed the modular Nuage Bookshelf and minimalist Tokyo Bench, blending functionality with clean, modernist aesthetics. Perriand was also integral to larger architectural projects like the Unité d'Habitation, where she introduced multifunctional interiors, and the Les Arcs Ski Resort, where her modular furniture designs embraced the natural environment. About AdiAdi Goodrich is a Los Angeles-based multidisciplinary designer known for her vibrant and imaginative approach to Environmental design, Interiors, and furniture. Growing up in Chicago, she was heavily influenced by her father's work in architectural and furniture restoration, which fostered her love for craftsmanship from a young age. Adi studied at the School of the Art Institute of Chicago and La Sorbonne in Paris, where she explored various disciplines including painting and art history.Goodrich first gained attention working on window displays for Barneys New York and Anthropologie, which led to a flourishing career in set design for films, commercials, and photoshoots. Adi is Co-founder of Sing-Sing Studio, a creative practice she shares with her partner, filmmaker, Sean Pecknold where they have worked with major brands such as Apple, Google, Nike, Target, and more, bringing a unique blend of storytelling and design to each project. Adi also launched her own furniture line, in 2022 called "Sing-Thing." Her work is characterized by a bold use of color, materials, and a focus on creating spaces that are narratively driven. Learn more about Adi's design approach and career on Episode 22 of the podcast. Follow Adiadigoodrich.com@adigoodrichsing-sing.co@singsingstudio   ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Timeline et liste des Sujets : 00:00:00 Introduction : The Fountainhead (La Source vive). 00:02:54 Frank Lloyd Wright : un modèle de génie et d'audace à l'ancienne. 00:06:16 L'Université a tué l'architecture : un retour nécessaire à l'apprentissage. 00:10:49 Petite anecdote au sujet du niveau de formation catastrophique des écoles d'architecture. 00:26:49 Ayn Rand et The Fountainhead : une vision naïve et idéalisée de l'architecture. 00:38:37 L'architecte est un jongleur. 00:46:38 Triste réalité du métier d'architecte et la maîtrise d'œuvre d'exécution. 00:55:33 La Machine à habiter des banlieues françaises : Le Corbusier, cette sombre merde starisée. 00:59:19 The Line, le délire saoudien inspiré de la Cité radieuse de Le Corbusier. 01:12:13 The Line, un désastre technique, logistique, sécuritaire et écologique annoncé. 01:27:07 Le mimétisme : Ils copient la forme mais n'ont rien compris au fond. 01:32:25 Quel est le secret derrière la beauté des villes médiévales ? L'Art de bâtir les villes : Camillo Sitte. 01:39:52 Pour conclure. ----------------- Ne manquez rien ! Inscrivez-vous à ma newsletter pour recevoir toutes les mises à jour

Francis Ford Coppola's epic Megalopolis is finally here! Clearly a work of a visionary artist the film divided TFT hosts Higgins and Loe more than most any other picture in the show's multi-decade history. In this episode Le Corbusier and Calder are referenced, as are All the Pretty Horses, Gangs of New York, the need for narrative coherence and so much more. Enjoy. Subscribe on Patreon Apple - The Film Talk Spotify - The Film Talk Facebook.com/TheFilmTalk To contact Jett and Gareth go to: info@thefilmtalk.com Or leave a voicemail message at: Speakpipe.com/TheFilmTalk To see on Threads what Jett is getting up to: Threads.net/@jett_loe

Nous sommes le 15 décembre 1933. Dans le numéro 13 de la revue « Bâtir », crée l'année précédente, relayant les tendances de la Belgique de l'Entre-deux-guerres, on peut lire un article intitulé : « Architecture d'orgueil et de misère – La ville au cœur pourri ». Il est signé par Stanislas Jasinski, architecte, membre de l'Association de Décorateurs et Ensembliers Modernes. « Qu'est-ce que l'architecture d'aujourd'hui ? Qu'est-ce que la construction ? Où en est, de par le monde, cette activité, ou , plus exactement, cette industrie qui groupe d'innombrables travailleurs et techniciens de tous les corps d'état en grande partie réduits au chômage ? Faut-il croire, avec Berlage, qu'elle reflète exactement l'état dans lequel se trouve la Société qu'elle encadre ? Les jeunes estiment que le moment est venu de faire le bilan des méfaits du conformisme et de les laisser tenter eux aussi une expérience. Il n'est plus temps, en effet, de nier l'évidence et de reporter à plus tard l'audience des nouvelles générations. Nous avons éprouvé que les vieux pilotes avaient la vue faible el que leurs actions n'étaient que simulacre. Nous voulons faire quelque chose, n'importe quoi, pourvu que ce soit utile. Nous voulons démolir – nous savons pourquoi – et nous voulons rebâtir – nous savons comment ! La maison de l'homme de 1880, de 1890, ne nous convient plus. Nous a-t-elle jamais convenu ? Vieille à peine de cinquante ans, souvent moins, elle s'est révélée à ce point impratique et inadaptable que progressivement, les unes après les autres, on est contraint de les abandonner. Des rues entières constituées de ce vieux type d'immeubles se vident de leurs habitants, des quartiers vieillis se désaffectent et meurent de leur mort naturelle. Où sont-ils allés, où vont-ils, où iront-ils ces anciens habitants des maisons abandonnées ? Nous les avons suivis. Dépouillant la gangue déprimante de l'habitude et désireux d'épouser les normes nouvelles, ils s'acheminent progressivement vers l'immeuble moderne, rationnellement conçu, où ils réalisent enfin les conditions d'une vie plus confortable et partant plus heureuse. » Etoile montante de l'architecture moderniste, Stanislas Jasinski a côtoyé les personnalités marquante de son époque : Horta, van de Velde, Le Corbusier, mais aussi Magritte… On lui doit l'hôpital Bordet, à Bruxelles ou l'aéroport de Deurne près d'Anvers. Et surtout des immeubles à appartements de haut standing. Le recyclage permanent de la ville, son idée maîtresse, en font, peut-être, l'un de pionniers de l'écologie. Partons sur ces traces … Avec nous : Yaron Pesztat, curateur Architecture moderne au CIVA ( Centre International pour la Ville, le Paysage et l'Architecture) de Bruxelles. Exposition « Stanislas Jasinski – Un architecte moderniste (1901-1978) », au CIVA. Sujets traités : Stanislas Jasinski, architecte, Belgique, Horta, van de Velde, Le Corbusier, Magritte, l'hôpital Bordet, écologie Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Host, Amber Asay, explores the male designers who have either championed or dismissed the contributions of women in the design world. From Le Corbusier's undermining of female collaborators to Paul Rand's advocacy for Lella Vignelli, we dive into the varying dynamics of support—or lack thereof—among iconic male figures in design. Tune in to hear who lifted women up and who left them in the shadows._______This show is powered by Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay  ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

Ce matin, Valentin Fargier, vous parle d'une ville utopique "La Ville Radieuse", un projet inachevé signé Le Corbusier. Tous les matins de l'été sur RTL, à 5h40, Valentin Fargier vous raconte l'histoire d'un projet fou (un disque, un film, un monument...) qui ne s'est finalement pas fait, qui est resté "dans les cartons". Des histoires incroyables qui ne sont jamais parvenues jusqu'à vos oreilles....

Charline von Heyl talks to Ben Luke about her influences—from writers to film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Von Heyl, born in 1960 in Mainz, Germany, is one of the most original painters working today. Her art deliberately defies description, evading orthodox definitions like abstract or figurative by attempting to reach a space in which the viewer is emotionally and intellectually engaged to the extent that such terms are meaningless—a place, she has said, “where thoughts and feelings meet”. Her canvases are complex, with multiple layers of forms applied with apparently contradictory languages, from intricately applied patterns and hard-edges to free-flowing painterly passages. The images she paints are similarly disparate, with identifiable shapes alongside loose, lyrical, inchoate forms. And while some patterns, motifs, techniques, colour relationships and structures might repeat—particularly among discrete clusters of paintings—Von Heyl resists having a signature style. She keeps herself—and us, as viewers—guessing. Her paintings are the opposite of one-liners, instead revealing more the longer they are absorbed. While she is entirely individual in her language, Von Heyl is one of a number of artists internationally who are testing the possibilities of painting in the 21st century. She discusses the balance of chance and choice at the heart of her work, how she tunes herself “into a certain vibe” while painting, the different “speeds” at which she works, and the “contamination”, more than influence, of other artists. She reflects on her early transformative encounter with the German painter Wols, being taught by Jörg Immendorf, her fascination with Le Corbusier's paintings and how Emily Emily Dickinson and Peter Handke's writings have affected her work. Plus she gives insight into her studio life and answers our usual questions, including the ultimate: what is art for? Hosted on Acast. See acast.com/privacy for more information.

This week David and Marina f have a casual conversation about their recent trip to Switzerland. The two cover their tour of Sky-Frame's headquarters and factory; Zurich, Lucerne, Bern, and Domodossola; architecture by Le Corbusier, David Chipperfield, Jean Nouvel, and Renzo Piano; food; and more. This episode is supported by Integrated Projects • Canvas • Enscape • Autodesk • Programa • Graphisoft SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Office  • 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.

Je kent ze vast wel, die grindtegels die helft van de Nederlandse tuinen plaveien. De ontwerper daarvan? Mien Ruys. Ook al heb je misschien nog nooit van haar gehoord, Mien Ruys (1904-1999) is de rockster van de tuinarchitectuur. Ze hoort in het rijtje van Le Corbusier, Mondriaan en Rietveld vanwege haar strakke vormgeving en vooruitstrevende ontwerpideeën. Daarbij had ze socialistische idealen over de kracht van een goed aangelegde tuin.  Deze heerlijke documentaire is gemaakt voor OVT- Het spoor terug door Laura Stek & Ella Meng, in samenwerking met biograaf Leo den Dulk, modeontwerper Bonne Reijn en tuinarchitect Piet Oudolf. Gemaakt naar aanleiding van het 100-jarige jubileum van ‘De tuinen van Mien Ruys' en het bijbehorende boek ‘De tuin is een proces' van Conny Den Hollander. Parel Radio Podcast brengt twee-wekelijks de mooiste verzamelde radioverhalen. Host: Stef Visjager. Laat je reactie of sterren achter in je podcast app. Mailadres: radioparel@gmail.com.

While he may technically practice as a photographer, artist, and architect, Hiroshi Sugimoto could also be considered, from a wider-lens perspective, a chronicler of time. With a body of work now spanning nearly five decades, Sugimoto began making pictures in earnest in 1976 with his ongoing “Diorama” series. In 1980, he started what may be his most widely recognized series, “Seascapes,” composed of Rothko-esque abstractions of the ocean that he has taken at roughly 250 locations around the world. In more recent years, Sugimoto has also built a flourishing architectural practice, designing everything from a café in Tokyo to the currently-under-construction Hirshhorn Sculpture Garden in Washington, D.C. As with his subtly profound work, Sugimoto bears tremendous wisdom and is regarded by many as one of the most deeply perceptive minds and practitioners at the intersection of time and art-making.On the episode, he discusses his pictures as fossilizations of time; seascapes as the least spoiled places on Earth; and why, for him, the “target of completion” for a building is 5,000 years from now.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Hiroshi Sugimoto[5:10] Pre-Photography Time-Recording Devices[39:05] “Theaters”[15:06] “Seascapes”[32:31] “Diorama”[17:16] Caspar David Friedrich[25:14] Odawara[28:52] “Aujourd'hui le monde est mort [Lost Human Genetic Archive]”[44:19] “Abandoned Theaters”[44:19] “Opera Houses”[44:19] “Drive-In Theaters”[49:52] “Architecture”[51:12] Le Corbusier[51:12] Mies van der Rohe[55:30] New Material Research Laboratory[55:30] Tomoyuki Sakakida[59:23] Enoura Observatory[59:23] Hirshhorn Sculpture Garden[1:00:48] Katsura Imperial Villa[1:01:05] Bruno Taut[1:02:14] Donald Judd[1:02:14] “Hiroshi Sugimoto: Five Elements in Optical Glass”[1:06:47] Mingei[1:06:47] Isamu Noguchi[1:06:47] Dan Flavin[1:09:15] Sugimoto Bunraku Sonezaki Shinju: The Love Suicides at Sonezaki[1:09:15] At the Hawk's Well[1:09:15] W.B. Yeats

Seen from above, Sofia, Bulgaria, looks less like a city and more like a forest. Large "interblock park" green spaces between big apartment structures are a defining characteristic of the city. They're not so much "parks" in the formal sense, with fences and gates, just open green areas growing up in interstitial spaces left behind.But as green as it still looks today, Sofia used to be even greener.  Since the fall of Bulgarian communism in the late 1980s, Sofia has lost more than half of its green space. To understand why, one has to look back to the founding of the city in the Soviet era.Between the Blocks

Episode No. 639 features artists Sin Wai Kin and Jacqueline Kiyomi Gork. The Berkeley Art Museum & Pacific Film Archive, University of California, Berkeley is presenting "MATRIX 284/Sin Wai Kin: The Story Changing," the artist's first US exhibition. BAMPFA's exhibition includes Sin's two most recent video works: The Breaking Story (2022) and Dreaming the End (2023). "The Story Changing" was curated by Victoria Sung and is on view through March 10. BAMPFA's eight-page exhibition brochure features a conversation between Sung and Sin. Sin often uses speculative fiction and narrative in performance and in filmic works. Informed by their experience in London's drag scene, Sin's work asks questions about history, the present, and the construction of reality and factuality. Sin was shortlisted for the UK's Turner Prize in 2022. Their work has been shown at museums such as Fondazione Memmo, Rome, Centre d'Art Contemporain, Geneva, Somerset House, London, The British Museum, London, Palais de Tokyo, Paris, the 2019 Venice Biennale, and more. On the second segment, a re-air of a 2017 segment with Jacqueline Kiyomi Gork. The Carpenter Center for the Visual Arts, Harvard University is presenting "Poems of Electronic Air," Gork's East Coast institutional debut, through April 7. The exhibition combines recent sculpture with a commissioned, site-specific installation made for the CCVA's Le Corbusier-designed building. Gork has previously exhibited at the Yerba Buena Center for the Arts, San Francisco, SFMOMA, SculptureCenter, New York, BAMPFA, and in the Hammer Museum's 2019 Made in L.A. biennial. For images, see Episode No. 302. Instagram: Sin Wai Kin, Jacqueline Kiyomi Gork, Tyler Green.