architecrotchety

Peter Eisenmann gave a lecture a few days ago at RIAS where he outlined what bdonline is calling his “six point plan.” As far as I can tell those six points are:

1.Architecture in a media culture.
2.Students have become passive.
3.Computers make design standards poorer.
4.Today’s buildings lack meaning or confidence.
5.We are in a period of late style.
6.To be an architect is a social act.

Well, if there really is a global decline in the quality of architectural discussion and practice, Pete certainly isn’t helping. Not only does his firm produce some of the most vapid digital work this side of Himmelb(l)au, but the above-linked article does little more than vagely outline some percieved problem and then gripe about how it used to be better.

I think the truest point might be “we are in a period of late style.” There is a sea change on the horizon, one where digital practice transitions from being a method of complex formal production to one of complex and interrelated real assemblage: from image to instruction, if you will. Despite his proclamations of doom, Eisenmann is and always has sat on the near side of that divide– look at all of the work he has produced since the advent of CAD and you’ll see occasionally elegant formal complexity with a lot of back-bending to get it to link conceptually back to his earlier decon work. I don’t think that there are too many people out there that look to his firm as a source for the future of built architecture– if anything, he gets looped in by the layperson with Gehry as a distant, obtuse producer of expensive but leaky university roofs.

There are a few details to keep in his tirade against pesky children and their computers– there is still a very important role in the hand-drawn line, architects must be socially aware, things they are a-changin’– but most of that information is weakened by a total lack of supporting evidence, and moreover is difficult to find, awash in a sea of petty gripes and wild generalizations.

As someone on archinect said in response: “Does he think rock music is just a bunch of noise, too? These kids today, I tell ya.”

architecrotchety

So hard I cried.

Not since sonically naked David Lee Roth have I laughed this hard at work. The Superest is a perfect collusion between my past and my present– I spent the whole day working little 10 minute bursts and then reading the next entry up. I highly recommend starting at the beginning and working forward. WARNING: this will waste a few hours of your time. Especially you, Paul.

So hard I cried.

linkage

Bracelets that Katy should own (but that I should be smart enough to make myself).

Ponoko, like Blurb, but with furniture and jewelry instead of books. I wonder how they price compared to the scary guy living in a garage with his laser cutter?

A big camera obscura. Someday I will realize one of these. Maybe in my house. Clever name, too.

You can rent Frank Sinatra’s Kauffman House lookalike in Palm Springs.

Nice map. Simple idea.

Pecha Kucha returns to LA.

linkage

aaaaaah punditry

Yet another fabulous installment of the Guilfoile-Warner Papers. To wit:

“My second favorite takeaway (and by “favorite,” I mean the moment that made me swallow back my own vomit) was George S.’s question to Obama: “Do you think Rev. Wright loves America as much as you do?” I can’t blame Obama for acting weary and annoyed by this stuff, given that the question is harder to understand than Ryan Seacrest’s success. Is he asking if Obama loves America? Is he asking if Wright loves America? Is it a logic puzzle to test Obama’s lawyering chops? The question demands some sort of Venn Diagram, or maybe algebra.

If Wright loves America X amount and Obama loves America Y amount and if George Stephanopoulos says Y is greater than X by an unknown amount (Z), solve for Z without your head exploding.”

This is what I would write about my political feelings, right at this moment, if I had the ability, the inclination, and the time. Unfortunately, the latter has been spent of late designing plumbing systems and contemplating my soon to be “multiples.” Which sounds far too clinical and foreboding to be referring to babies.

aaaaaah punditry

an explanation, and plea for leniency. and a link

By now it should be rather obvious what is occupying the time I could have spent blogging. Double the joy unfortunately also means double the fatigue and nausea in the first trimester, so I’ve been (poorly) playing the part of cook and housemaid the last few weeks. (Note: I am NOT COMPLAINING. I’d rather be doing dishes than barfing any day of the week.)

But, at the collusion of babies and elegant data presentation, I would like to show you this web application that tracks the popularity of baby names over the last century and a half. It seems that in the last fifty years the explosion of new names (and alternate/misspellings) has outpaced population growth– there were more Emmas per million in 1880 than 2003, despite it’s “Friends”-related #2 status.

an explanation, and plea for leniency. and a link

UCLA: Two Houses and An Observation

The UCLA Open House was this weekend, and among other things we got to visit two houses designed by professors: Neil Denari’s Alan-Voo house in Palms and Roger Sherman’s own domicile in Santa Monica.

And yes, these pictures are very snapshotty, but I was trying not to be the guy with the enormous camera hoovering up every available image, so I brought a little guy and used him discreetly.

The Alan-Voo house was both smaller than I expected and much more expertly detailed. The house was really a little jewel box– a tiny addition for a regular couple with the detailing of a much larger and more expensive project. Impressive, although it did seem a lot more like a museum piece than Denari made it out to be in his explanation.








I was trying to explain to someone what I liked about this house and all I could come up with was “Denari’s subjective angles are more attractive than other people’s.”

A perfect counterpoint to the Alan-Voo house was the Sherman residence, a house where seemingly every angle was derived from the program and code. This house could not have been different from Denari’s project– rough, lived-in, tactical rather than strategic. It was also very comfortable, and at times even beautiful. I have to say, I would probably rather live in this house (despite the lack of a door on the master bedroom. I won’t try to explain the complicated programmatic layering of the office/house/rental unit/parking, but rather please enjoy the crazy way it stacks in perspective (and the wonderful wallpaper.)









Both of these houses were great examples of local architecture that highlighted the ability of this faculty (and the architects of this city) to not only produce novel theory and form but also to project that in actual built work– work that was more interesting in experience than in writing. I wish this could be said of all architects and architecture. In the 5-minute presentations by the faculty of their work I was consistently impressed by the depth and completeness of work by people less than a decade older than myself. They set the bar for practice impossibly high, and I can only hope a little bit of their ethic rubs off in my short months at UCLA.

UCLA: Two Houses and An Observation

perfect-bound ghosts of my past

I am speaking, of course of the full scans of the Useborne Book of the Future that surfaced recently on the internet. This, along with sister volumes featuring only transportation, or cities, or robots, were an odd imported staple of my youth. Basically, they stole every imaginable future prediction in the 60’s and 70’s, digested it for young minds, and illustrated it in completely awesome cutaway illustrations that I still remember in perfect detail. The arcologies, hydrofoils, wrist radios, and elevators-to-space still pop up occasionally in my dreams. I hope dearly that someday this, as well as other especially formative books from my childhood (The Children’s Iliad, the Illustrated works of Edgar Allen Poe, Farmer’s Almanacs, the Undabridged Grimm’s Fairy Tales) will someday be reconstituted in perfect condition in my bookshelves. Here me, Mom and Dad? I’ve left room…

[Found via Coudal Partners’ Blended Feed. Awesome.]

perfect-bound ghosts of my past

science fiction double feature

While Katy’s out of town, I’ve been using my newfound extreme boredom to catch up on some recently old sci fi.

For one, I watched Primer. Before I move on, I want to note that this is a very good movie. This may be some of the best cinematography and acting I’ve seen in a $7,000 film, regardless of genre. That being said, I have two criticisms. For one, the film struck me as being kind of reactionary in it’s intent: to create a science fiction movie that did not dumb down to it’s viewers, that contained zero special effects, and that made no attempt to explain either plot machinations or the (tenuous) mathematics and physics it exploited. Which gave the whole thing a kind of angry, “let them have it” cast. I’d much rather the director use a few recognizable film tropes to meet the viewer halfway, than feel like I was being corrected in some way.

The other, more important thing I was bothered by has to do with the praise heaped on the film due to it’s complexity. And it is a complex movie– at least 7 different simultaneous timelines, with an equal number of “versions” of the main characters, made it nearly impossible to untangle. It is a movie that will only get better with subsequent viewings, although I admit I chickened out and read up on the plot after the fact.

However, the people who made this film made the conscious decision to prioritize complexity of plot over complexity of character, at nearly every point. Most of the depth was in the machinations of where and when, not in showing the (considerable) change in each character, as flaws are revealed and conflict blooms. Which made it a lot closer to a few episodes of 24 than to Memento, which manages an equal concentration on both. Which, to me, seems like a waste. This sort of concentration on surface complexity is an annoyance that seems endemic to the genre, handed down from almost every forebear from Philip Dick to H.G. Wells. It’s usually easy to overlook because there is little character development to really show in a lot of SF, but here there was clearly plenty going on, a fact that was highlighted by the sparse sets and near-constant facial close-ups. The total lack of any continuity between scenes made the slow dawning of each character’s growth difficult to parse. Still, if you haven’t seen it, do.

I also ran to the library and grabbed the latest William Gibson reference, Spook Country, which ended up pretty solid, if nowhere near as great as Idoru, or even Pattern Recognition. Gibson’s done a pretty great job of transitioning from cyberpunk prophet to contemporary commentator, while still keeping things entertaining. A lot of this is due to the fact that he writes very similar sentences to Raymond Chandler, able to make a bit of interior decoration or landscape have as much backstory as the people inhabiting it. I do wish he’d remember that Chandler wrote some pretty goofy shit into his books as well, though– too often in this book the characters were going about their actions so soberly that it seemed like everyone was on Paxil. Maybe less stepping back, less awareness would do some good.

But credit where it’s due: Gibson is still the best male SF writer at writing women naturally, the best SF writer at weaving in cultural references (and inventing new ones) without seeming awkward, and the best SF writer at doing what I thought lacked above– not only giving the internal some presence in the book, but tying it into the surface of the plot in an important way. He is still writing the books that, from his nonfiction statements, one wishes Bruce Sterling would write. That being sad, Billy, I did cringe when you tried to justify your earlier technological missteps by bringing back VR helmets for some tacked-on scenes. Weak. Don’t let it happen again.

science fiction double feature