Podcast appearances and mentions of Robert Venturi

Our guest on this episode is Christopher Hawthorne, the Senior Critic at Yale University's School of Architecture. His previous roles include architecture critic of the Los Angeles Times, and Chief Design Officer of the City of Los Angeles. His current mission is to assemble the Speaker's Corner at the 2025 Venice Architecture Biennale. Unfrozen hears his unique perspective as both critic and exhibitor.--Intro/Outro: “Elevator,” by The Cooper Vane--Discussed:2025 Venice Architecture Biennale: “Inteligens: Natural, Artificial, Collective” – Carlo RattiSpeakers' Corner / Re-staging Criticism series, part of the GENS Public Program-         Florencia Rodriguez, Director, School of Architecture, University of Illinois Chicago-         Mark Lee, Sharon Johnston of Johnston Marklee-         Inspiration: “Vincent Scully: Architecture, Urbanism, and a Life in Search of Community,” by A. Krista Sykes-         9 May: “Exhibition as Critical Vessel”o   Florencia Rodriguez, Moderatoro  Lesley Lokko, 2023 Biennale curatoro  Aric Cheno  Pancho Diazo  Sarah Herdao  Michael Meredith (MOS) > Building with Writing-         10 May: Conversation on L.A. Fireso   Michael Maltzano   Alejandro Haiek Collo  Florencia Rodriguez11 May:o  Kate Wagnero  Samuel Medinao  Sam Jacobo  Shumi Bose1980 Venice Architecture Biennale – The Presence of the Past - Paolo Portoghesi-         Strada Novissima, feat. Rem Koolhaas, Frank Gehry, Arati Isozaki, Robert Venturi, Denise Scott-Brown-         Teatro del Mundo, Aldo Rossi-         Critic's Corner, feat. Vincent Scully, Charles Jencks, Kenneth Frampton & Christian Norberg-SchulzWhy “The Brutalist” Isn't Really About ArchitectureKazuyo SejimaWriting About Architecture - Alexandra LangeCaught practicing without a license: Frank Lloyd Wright and Thomas JeffersonInternational Committee of Architecture CriticsSalon de MobileAda Louise HuxtableYou Have to Pay for the Public Life, by Charles MooreComplexity and Contradiction in Architecture, Robert VenturiCharles Jencks Foundation

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. 

For full full episode, music, and to support the project subscribe Here Architect/author Matt Shaw comes on to discuss his new book American Modern on the anomaly of Columbus, Indiana: a futuristic small town designed by a who's who of architects (Saarinen, Pei, Robert Venturi, Girard) almost entirely bankrolled by progressive Christian industrialist J. Irwin Miller. This is a history of that town and the rise and fall of independent-funded public works in America Music from the new release by Desvelada & Sprælle

Host: Duo Dickinson Wednesday September 21, 2024, 12 Noon WPKN 89.5FM www.wpkn.org There's a long history of young architects who design their parents' home, or their own home—something, anything, to make their bones as a designer outside the grinding path of apprenticeship and licensing. Robert Venturi did a house for his mother, Vanna. Frank Gehry renovated a house for his family before anyone hired him. Even Alvar Aalto and Walter Gropius honed their design skills on residences for themselves. Forty years ago, we awoke in our own home: its subsequent recognition and huge resonance over these decades was completely unexpected, but fulfilled a 29 year old architect's hopes, but more became a family home that evolved overe 4 construction reinventions. Directly connecting home design to home use is daunting, empowering and just a bit terrifying: many architects never finish the homes they start, many have great hopes for validation go unfulfilled: On Home Page this week we have three other architects who built homes for themselves or family, sometimes multiple times. Mark Simon FAIA is a partner in Centerbrook Architects. Louis Mackall is a craftsman and architect who created Breakfast Woodworks with Ken Field, and built his own home. Jennifer Lee of Obra Architects created a home for her mother in her words “…in the grand tradition of building houses for their parents.”

Cities have always been romanticized, but few of them have embraced—or actively engineered—their reputations as thoroughly as Las Vegas. On the second in a series of Critics at Large interview episodes, Alexandra Schwartz talks with her fellow staff writer Nick Paumgarten about how the desert town first branded itself as an entertainment capital, and how that image has been reified in pop culture ever since. The two consider seminal Vegas texts, from Hunter S. Thompson's 1971 novel, “Fear and Loathing in Las Vegas,” to the bro comedy “The Hangover,” and Paumgarten reflects on his recent pilgrimage to see Dead & Company, the latest iteration of the Grateful Dead, during the band's residency at the Sphere. In theory, a Vegas residency should be a career high—but the expectations around them can also leave an artist trapped in amber. It's a danger that applies to places as much as people. “How do you reinvent yourself when you've achieved this cultural-icon status?” Schwartz asks. “In some ways, I wonder if that's also a question for the city itself.”Read, watch, and listen with the critics:“Reckoning with the Dead at the Sphere,” by Nick Paumgarten (The New Yorker)“Swingers” (1996)“Double or Quits,” by Dave Hickey (Frieze)“Learning from Las Vegas,” by Robert Venturi, Steven Izenour, and Denise Scott Brown“Viva Las Vegas” (1964)“Leaving Las Vegas” (1995)“Fear and Loathing in Las Vegas,” by Hunter S. Thompson“The Hangover” (2009)“Viva Las Vegas: Elvis Returns to the Stage,” by Ellen Willis (The New Yorker)“Elvis” (2022)“Hacks” (2021—)“Sex and the City” (1998-2004)“Friends” (1994-2004)“Seinfeld” (1989-1998)New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. 

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

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.***                                          

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

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.

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.

Can you write a novel using only nouns? Well, maybe…but it won't be very good, nor easy, nor will it tell a story. Verbs link events, allow for narrative, communicate becoming. So why, in telling stories of our economic lives, have people settled into using algebraic theory ill-suited to the task of capturing the fundamentally uncertain, open and evolving processes of innovation and exchange?Welcome to COMPLEXITY, the official podcast of the Santa Fe Institute. I'm your host, Michael Garfield, and every other week we'll bring you with us for far-ranging conversations with our worldwide network of rigorous researchers developing new frameworks to explain the deepest mysteries of the universe.This week on Complexity, we bring our two-part conversation with SFI External Professor W. Brian Arthur to a climax — a visionary exploration of multiple scientific methodologies that takes us from the I Ching to AlphaGo, Henri Bergson to Claude Shannon, artificial life to a forgotten mathematics with the power to (just maybe) save the future from inadequate and totalizing axioms…We pick up by revisiting the end of Part 1 in Episode 68 — if you're just tuning in, you'll want to double back for vital context.If you value our research and communication efforts, please subscribe to Complexity Podcast wherever you prefer to listen, rate and review us at Apple Podcasts, and/or consider making a donation at santafe.edu/give. You can find numerous other ways to engage with us — including job openings for both SFI staff and postdoctoral researchers, as well as open online courses — at santafe.edu/engage.Thank you for listening!Join our Facebook discussion group to meet like minds and talk about each episode.Podcast theme music by Mitch Mignano.Follow us on social media:Twitter • YouTube • Facebook • Instagram • LinkedInRelated Reading & Listening:W. Brian Arthur on Complexity episodes 13, 14, & 68.“Economics in Nouns and Verbs” by W. Brian Arthur (+ @sfiscience Twitter thread excerpting the essay“Mathematical languages shape our understanding of time in physics” by Nicolas Gisin for Nature Physics“Quantum mechanical complementarity probed in a closed-loop Aharonov–Bohm interferometer” by Chang et al. in Nature Physics“Quantum interference experiments, modular variables and weak measurements” by Tollaksen et al. in New Journal of Physics

¿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).

Fred Fisher, the internationally renowned architect and his wife, Jennie Prebor, could have chosen anywhere in the world to live. In fact, he recently spent two years in Rome as a Fellow with the American University, where he wrote a book, "Robert Venturi's Rome," with colleague Stephen Harby. They studied the Eternal City through the eyes of Venturi, the groundbreaking (literally) architect whose "Complexity & Contradiction in Architecture" has deeply influenced generations of architects. As featured in the Spring 2021 issue of Ojai Quarterly by Jerry Dunn, Fisher and Prebor moved to Ojai for its excellent views, tight-knit community, world-class arts organizations like the Ojai Music Festival, and its congenial downtown, where Prebor's shop, Blanche Silvia, has brought a new and deeper layer of chic and sophistication to town. They also built their dream home "The Box on the Hill" on 9 acres of land an easy walk from downtown amid old olive groves, with sweeping sunset views of the Topa Topa Bluffs and Chief's Peak. We cover a lot of ground in the talk. Growing up in the Rust Belt on Lake Erie, John D. Rockefeller and Frederick Law Olmstead, Michelangelo and Christopher Wren, having an architect father and instead studying art history before coming back to architecture and how those two disciplines inform each other, early clients for the prestigious firm, working with Frank Gehry, discovering Ojai and the meanings, both literal and metaphorical, of "palimpsest" and how ancient Romans left a blueprint for civilization upon which the Renaissance was built. We did not talk about the Laurentian Shield, the Orinoco River or the Tunguska blast of 1908.

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

With just 44,000 residents, how did the town of Columbus, Indiana, become one of the nation’s leading architectural destinations—ranked sixth of all U.S. cities for architectural innovation and design by the American Institute of Architects? The answer: a community bank president named J. Irwin Miller. On the latest episode of the ABA Banking Journal Podcast, sponsored by Franklin Madison, historian and biographer Nancy Kriplen shares the story of how Miller—the head of both the family-owned Irwin Union Bank and the Fortune 500 diesel engine manufacturer Cummins—revitalized Columbus in the 20th century by recruiting some of the world’s most accomplished modern architects to design buildings there. Architects with credits in Columbus include Eliel Saarinen and his son Eero, Harry Weese, Cesar Pelli, Robert Venturi, I.M. Pei, Kevin Roche and Robert A.M. Stern. Kriplen discusses Miller’s role in hiring Eero Saarinen—best known for buildings like the Gateway Arch and the Dulles International Airport terminal—to design the Irwin Union Bank headquarters in 1954, which is considered one of the earliest open-concept bank buildings. She also speaks to his commitment as a community banker to local ownership and investment.

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.

In 1860 a party of explorers set out to traverse the Australian continent, but bad management and a series of misfortunes sent it spiraling toward tragedy. In this week's episode of the Futility Closet podcast we'll tell the story of the Victorian Exploring Expedition and its dramatic climax at Cooper's Creek. We'll also try to validate Archimedes and puzzle over an unlucky thief. Intro: In 1990 Jon Perez Laraudogoitia wrote a philosophy article that compelled its own acceptance. In 1976 architect Robert Venturi found a way to commemorate a house with no surviving description. Sources for our story on the Burke and Wills expedition: Alan Moorehead, Cooper's Creek, 1963. Sarah P. Murgatroyd, The Dig Tree, 2002. Dave Phoenix, Following Burke and Wills Across Australia: A Touring Guide, 2015. Ian Clark and Fred Cahir, The Aboriginal Story of Burke and Wills: Forgotten Narratives, 2013. A.W. Howitt, et al., "Exploring Expedition From Victoria to the Gulf of Carpentaria, Under the Command of Mr. Robert O'Hara Burke," Journal of the Royal Geographical Society of London 32 (1862), 430-529. The Diary of William John Wills. William John Wills, A Successful Exploration Through the Interior of Australia: From Melbourne to the Gulf of Carpentaria, 1863. Dave Phoenix, "Burke and Wills -- An Overview of the Expedition, Its Preparation, Planning and Outcomes," Queensland History Journal 21:8 (2012), 497. Jessica Campion, "Burke and Wills: Botany's Untold Success Story," Australian Geographic, July 27, 2011. Bernie Joyce and Doug McCann, "The Scientific Legacy of Burke & Wills," Australasian Science 32:5 (June 2011), 29-31. Sally Woollett, "Thiamine and the Dig Tree Tragedy," Chemistry in Australia 78:10 (November 2011), 4. John W. Earl and Barry V. McCleary, "Mystery of the Poisoned Expedition," Nature 368:6473 (April 21, 1994), 683. Deirdre Slattery, "If Burke Had Been a Naturalist ...: Telling and Re-Telling National Narratives," Australian Journal of Outdoor Education 8:2 (2004), 13-21. Peter Daszak, "A Last Waltz for Burke, Wills, and King," EcoHealth 13:4 (December 2016), 821–823. "Burke & Wills: From Melbourne to Myth," [Melbourne] Herald Sun, Sept. 24, 2002, 34. Carolyn Webb, "Exploring the Myth," The Age, Aug. 26, 2002, 3. "Memoirs of the Late Leaders of the Exploring Expedition," Sydney Morning Herald, Nov. 19, 1861, 2. "Memorandum on the Recent Journeys of Exploration Across the Continent of Australia," Sydney Morning Herald, Dec. 20, 1861, 7. "The Australian Exploring Expedition," North Wales Chronicle, Feb. 22, 1862. "Australian Explorations," Newcastle Courant, May 23, 1862. Richard Garnett, "Burke, Robert O'Hara," Oxford Dictionary of National Biography, Sept. 23, 2004. C.A. Harris, "Wills, William John," Oxford Dictionary of National Biography, Sept. 23, 2004. Burke and Wills Collection, National Museum Australia. Listener mail: Wikipedia, "Concentrated Solar Power" (accessed Jan. 17, 2019). Wikipedia, "Ivanpah Solar Power Facility" (accessed Jan. 17, 2019). Adam Clark Estes, "How the World's Largest Solar Plant Wants to Fix Its Fried Bird Problem," Gizmodo, Aug. 19, 2014. Associated Press, "BrightSource Solar Plant Sets Birds on Fire as They Fly Overhead," Aug. 18, 2014. Ian Sample, "Doubt Cast on Archimedes' Killer Mirrors," Guardian, Oct. 23, 2005. Jeremy Hsu, "Archimedes' Flaming Death Ray Was Probably Just a Cannon, Study Finds," Christian Science Monitor, June 29, 2010. Thomas W. Africa, "Archimedes Through the Looking-Glass," The Classical World 68:5 (February 1975), 305-308. Josh Clark, "What Was Archimedes' Death Ray?" How Stuff Works (accessed Jan. 17, 2019). "Archimedes Death Ray," student experiment, Product Engineering Processes, MIT, October 2005. "Archimedes Death Ray: Testing With MythBusters," Product Engineering Processes, MIT, October 2005. Renee Montagne, "Was Archimedes' Mirror Real?" Morning Edition, National Public Radio, July 25, 2018. This week's lateral thinking puzzle was devised by Sharon. Here's a corroborating link (warning -- this spoils the puzzle). You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!

For the first AB+C of 2019 we’re tackling one of the seminal texts of the 1960s, and an iconic moment in the stylistic overthrow of the postwar modernist order — Robert Venturi’s ‘Complexity and Contradiction in Architecture’ (1966). It’s a slim, lavishly illustrated volume, which seems lucid and straightforward, but upon closer reading turns out to be much more elusive. What are complexity and contradiction, where are they found, and what are architects supposed to do with them? On the bonus we’ll be discussing the early projects of Venturi and Rauch. This 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.

VR typography, Glenn Gould hologram tour, Paul Rand ephemera auction, Robert Venturi, Mark Lamster’s Philip Johnson biography, Werner’s Nomenclature of Colors

La scommessa per vivere, abitare e costruire in un altro modo le città è quella di rompere le regole della città chiusa e segregata. Questo modello di città irreggimentata e sottoposta a un controllo antidemocratico ha conquistato dal Nord il Sud del nostro pianeta e i suoi agglomerati urbani, in una mostruosa espansione. Oggi che la maggior parte della popolazione mondiale abita in città, il cambiamento e la sfida sono rappresentati dalla “città aperta”, dove i cittadini possono mettere in gioco attivamente le proprie differenze e creare un’interazione virtuosa con le forme urbane. Per costruire e abitare questa città, occorre praticare un certo tipo di modestia: vivere uno tra molti, coinvolto in un mondo che non rispecchia soltanto se stesso. Come afferma il grande architetto Robert Venturi, “vivere uno tra molti permette la ricchezza di significati, anziché la chiarezza di significato”. Questa è l’etica della città aperta secondo Sennett.

北京城最近开始轰轰烈烈地拆除楼宇招牌。拆除广告牌的事情是北京独有的吗？广告牌对一个城市意味着什么？天际线究竟又是一个什么概念？我们请专业人士来聊一聊。 相关链接和推荐 - 黄璟璐提到的意大利中世纪城镇圣吉米尼亚诺 (https://en.m.wikipedia.org/wiki/San_Gimignano)，以中世纪建筑，尤其是城外数公里就可看见的塔楼闻名 - 在北京正确地安装一块招牌 (https://36kr.com/p/5107350.html?from=singlemessage&isappinstalled=0) - Life Between Buildings by Jan Gehl (https://www.amazon.com/Life-Between-Buildings-Using-Public/dp/1597268275) - The Image of the City by Kevin Lynch (https://www.amazon.com/Image-Harvard-MIT-Joint-Center-Studies/dp/0262620014/ref=sr_1_1?s=books&ie=UTF8&qid=1513527267&sr=1-1&keywords=The+Image+of+the+City) - Good City Form by Kevin Lynch (https://www.amazon.com/Good-City-Form-MIT-Press/dp/0262620464/ref=sr_1_1?s=books&ie=UTF8&qid=1513527318&sr=1-1&keywords=Good+City+Form) - Learning from Las Vegas by Robert Venturi (https://www.amazon.com/Learning-Las-Vegas-Forgotten-Architectural/dp/026272006X/ref=sr_1_1?s=books&ie=UTF8&qid=1513527342&sr=1-1&keywords=Learning+from+Las+Vegas) - The Death and Life of Great American Cities by Jane Jacobs (https://www.amazon.com/Death-Life-Great-American-Cities/dp/0679644334/ref=sr_1_2?s=books&ie=UTF8&qid=1513527365&sr=1-2&keywords=The+Death+and+Life+of+Great+American+Cities) 出场嘉宾 黄璟璐，建筑师，在纽约工作，毕业于哥伦比亚大学建筑学院。 姜伯源，建筑师，在纽约工作，试图在物理空间里探寻精神的庇护所。 Special Guest: 黄璟璐.

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.

Welcome to our second episode examining 1996's survival horror classic Resident Evil. We discuss the tight resource management of the game and the spatial logic of the place, amongst other topics. Dev Game Club looks at classic video games and plays through them over several episodes, providing commentary. Sections played: Up to the tunnels (in theory) Podcast breakdown: 0:33    Segment 1: Resources (saves) and Spaces 50:27  Break 51:00  Segment 2: Feedback, next time, links Issues covered: save system, Tim and min-maxing OCD, clearing the map, differences between easy and normal, difficulty settings in games then and now, difficulty for developers and QA, punishing the player, controller difficulty, memorizing spaces, frustration and fighting the controls, fear response on lower difficulty, popping heads, running into other characters and having the space stop making sense, story choices, lack of story logic, "gaminess" of the design, crate teleportation, inventory systems in RE, realism fighting sensibility, localization, house structure as a real place not holding up, finding the balance of game needs and realism in level design, deliberately breaking spatial sense, surreal spatial design, Aetherium design, negative-space editing, exploiting engines, piecing together bits of story in journals, the wrong Moonlight Sonata, referring to the lighter, passive storytelling, VATS and more tactical options for added depth. Games, people, and influences mentioned or discussed: Batman, Justice League, Alone in the Dark, Apple ][, Demon's Souls, Dark Souls, SNES, Metroid series, Fear Effect series, Dead Rising series, Hideo Kojima, Resident Evil 4, GameCube, Biohazard, Shinji Mikami, The Evil Within, Psycho Break, Silent Hill 2, Winchester Mystery House, Robert Venturi, This American Life, Indiana Jones and the Infernal Machine, Starfighter, Hal Barwood, N64, Reed Knight, Bethesda Game Studios, Skyrim, GamaSutra, Troy Mashburn, Horizon: Zero Dawn, Beric Holt, Fallout series, Soldier of Fortune, Oblivion. Next time: Really play up and into the tunnels. No, really this time. Links: Brett on GamaSutra playing and talking Skyrim Brett on recognizing a designer's work Old post in which I mention The Aetherium from Infernal Machine Old post about difficulty settings @brett_douville, @timlongojr, and @devgameclub DevGameClub@gmail.com

Beginning today through October 1, Columbus, Indiana will celebrate its architectural history and identity with its very first Exhibit Columbus—an annual event alternating between a symposium and a design exhibition. Known for its rich architectural holdings of work by Eero and Eliel Saarinen, Kevin Roche, I.M. Pei, Deborah Berke, Richard Meier, Robert Venturi and others, Columbus has earned its "Athens of the prairie" tagline, and Exhibit Columbus hopes to honor that proud tradition into the future. We're joined by key members of Exhibit Columbus, Richard McCoy (director of the symposium's parent company, Landmark Columbus) and Joshua Coggeshall (partner at Shimizu + Coggeshall and co-director of next year's Ball State University installations) to discuss the city's architectural heritage, and what's planned for this year's inaugural symposium.

Tras el pasado episodio grabado por mí en solitario, en este nos hemos juntado casi todo el equipo para charlar sobre Arquitectura Paramétrica, un tema que hace tiempo nos propuso Madrillano. Complicado, porque aunque es frecuente escuchar el término arquitectura paramétrica o diseño paramétrico, no resulta sencillo encontrar información clara para los que no dominamos la materia, quizás porque al hallarnos en sus inicios todo resulta cambiante y como comenta Luis hacia el final, este episodio probablemente se quedará obsoleto muy pronto. Hoy más que nunca no esperéis información detallada y exacta. Ponemos sobre la mesa sobre todo las dudas que el tema nos plantea, los pros y contras que le vemos, y divagamos sobre su futuro. Sumario y enlaces de interés 0:00:00 Cita de Robert Venturi 0:01:04 Introducción y sumario BIM Podcast Construradio Programa 97: La comunicación en el sector de construcción (II) Constru para todos 0:05:29 Promo NTTPodcast 0:06:35 Arquitectura Paramétrica Diseño paramétrico en Wikipedia ¿Qué es el diseño paramétrico? - Plataforma Arquitectura Arquitectura Parametrica, Participación y Cultura Libre - Ecosistema Urbano Edificios citados: Mercedez-Benz Museum Centro de las Artes y la Tecnologia de Segovia Metropol Parasol | Hablamos de él en el Episodio 21 Serpentine Gallery Pavilion 2002, por Toyo Ito y Cecil Balmond Imágenes: Wikipedia, ARQZONE, Wikipedia y Wikipedia Charla TEDx 'Organic algorithms in architecture' por Greg Lynn (disponibles subtítulos en español) Associative Design - Youtube Diagramas de Voronoi Problema de los puentes de Königsberg 1:09:46 Promo C'mmons Baby! 1:10:55 Despedida y formas de contacto Créditos Selección musical a cargo de C'mmons Baby! Todas las canciones incluidas en este episodio en el momento de su publicación se distribuyen bajo licencia Creative Commons. A longa marcha, Grampoder, álbum Golf Whiskey Slow Loris de Tiger Waves, álbum Only Good Bands Have Animal Names Suscripción Feed | iTunes | iVoox | Spreaker

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.

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.

“I am for richness of meaning rather than clarity of meaning,” wrote Robert Venturi, father of postmodern architecture. We contemporary experience architects are devoted to the very modernist objective of intuitively satisfying user needs. Nevertheless, I’ll suggest that becoming a bit more postmodern might just be a good thing.