afterparty @ p.s.1

Stopped by the opening of MOS's outdoor installation Afterparty at P.S.1 this afternoon. I must admit my expectations are not typically stratospheric for these things, since the limited budget for the annual Young Architects Program really precludes anything too ambitious. And, frankly, the projects of the last few years have been kind of redundant in the sense that there are only so many ways to skin a cat—or, in the case of P.S.1, provide shade and seating for the throngs of dancing hipsters who show up to the weekly Warm Up parties.

So, with that said, I was content today to enjoy the nice weather and check out a few of the new shows up at the museum. When I arrived at P.S.1, however, I was pleasantly surprised by MOS's towering, furry cones rising above the concrete wall perimeter. The aesthetic of the dark brown thatched structures, which from afar resemble hairy beasts and up close look dirty and unfinished, is a kind of raw ugliness that is refreshing both in the context of the P.S.1 summer pavilions and in the broader contemporary architecture scene. At a time when the architectural ideal always seems to be some combination of uber-smoothness, total transparency, and formal acrobatics, here is a project that, with its gauche, shaggy towers, chews up those qualities and spits them out right back at you. The project's title, Afterparty, is presumably intended to somehow set up a dialog between the design and the post-boom climate that architecture, and the city at large, finds itself in. I'm not sure how exactly this rhetoric pans out, but one way of interpreting the project is as an aesthetic critique of boom era architecture. And in that respect, it's remarkable.

There are plenty of flaws—particularly a weak attempt to tap into some kind of primitive imaginary with the architects' reference to Bedouin tents, as well as the passive cooling effect rhetoric, which this patron did not experience—but overall MOS, led by Michael Meredith and Hilary Sample, can be forgiven for over-reaching here and there. It's a successful project, and even more so for pulling off such a feat in such an off year. I suppose there were unemployed students aplenty, though, available to help build the thing.

A postscript: It was also entertaining to eavesdrop on people's reactions to the piece. Overheard phrases included: "Snuffleupagus," "Planet of the Apes," "Flintstones," "hairy chests."

the architecture of the credit crunch

Another day of bizarre weather here in New York... as the thunderstorms cleared for a second time, I just snapped this photo looking down Barclay Street at the new Goldman Sachs building that's almost done. It is, to put it mildly, unimpressive. Did the credit crunch render the storied investment bank unable to procure a decent curtain wall? Particularly in comparison to the unexpectedly gorgeous 7 World Trade (visible to the left) the bank's new building looks especially shoddy.

the twits

progressive reactionary can now be found on twitter. better late than never. let's see how long this lasts...

strange times

[image: China Radio International, via NY Times]

Just when you think things could not get more surreal—with Republicans staging "teabagging" parties across the nation and pirates once again ruling the high seas—you come across a news story like this.

Dolphins? Saving a Chinese freighter from pirates?

creatures on the beach

[image: Strandbeest.com]

I came across this TED talk by Dutch artist Theo Jansen, who makes these fantastic, kinetic sculptures called Strandbeests. They are stunning and (apparently) analog computing systems that exhibit behaviors that we would normally associate with living organisms, not handmade assemblages of plastic piping. Jansen's simple manifesto as expressed on his website imagines a kind of future utopia of these creatures in perpetual motion along the coastline—a curious amalgam of futuristic and pre-modern ideas of life and culture:

Since 1990 I have been occupied creating new forms of life.

Not pollen or seeds but plastic yellow tubes are used as the basic material of this new nature. I make skeletons that are able to walk on the wind, so they don’t have to eat.

Over time, these skeletons have become increasingly better at surviving the elements such as storms and water and eventually I want to put these animals out in herds on the beaches, so they will live their own lives.

- Theo Jansen, Strandbeest.com

Well worth a look:
TED Talk - "Theo Jansen: The Art of Creating Creatures"

surreal

Orhan Ayyuce calls this "the day the iconic building died." Should be interesting to see how Koolhaas spins this one.

UPDATE 11:20pm EST: From surreal to the sublime, and back again. More photos, courtesy of fuzheado's flickr site. One wonders if this won't go down as a Pruitt-Igoe moment for the excesses of contemporary architecture.

towards a critique of sustainability

From the latest issue of Volume: a decent critique of that ever-elusive term "sustainability." The very word, emptied of meaning through overuse, increasingly dominates architectural design and discourse, and—frankly—it drives me crazy. People use it all the time without really knowing what they are talking about. I always ask: sustainable of what? Too often the word becomes appropriated as a band-aid, cure-all additive that can be applied as environmental/ecological veneer to an architectural project, like icing on a cake. But the word has become such a all-encompassing buzzword, a signifier onto which so many different aspirations and agendas have been projected, that it doesn't really mean anything anymore.

Panayiota Pyla's article in Volume starts to address these concerns and formulate a real critique of sustainability. Pyla focuses on the the historical underpinnings of the contemporary sustainability movement—from Rachel Carson's Silent Spring to the UN environmental conferences of the 1970's—and how these precedents can inform the potential pitfalls that we face by investing such uncritical faith in the S-word.

The crux of Pyla's argument: "Perhaps the key issue here is to be vigilantly aware that as a concept and as a practice sustainability is constantly running the danger of turning into a totalizing doctrine that subsumes critical thinking."

And another key section:

Maybe it is good that sustainability does not have a fixed or coherent definition. Maybe it should never have one! Because if the technical questions of energy efficiency or the technocratic questions of efficient resource use or even the questions of socioeconomic management end up constituting THE definition of sustainability in architecture, this will threaten to reduce design to a series of small decisions (on materials, energy or feasibility) that will ultimately have less to do with design and more with management or with political correctness.

Apropos of the flawed LEED rating system, which constitutes the mainstream standard of sustainable design in this country, these are some wise words.

Worth a read.

[via Archinect]

a new year

It's a difficult thing—in the midst of two wars, a burgeoning economic disaster, an escalating conflict in Gaza, and countless other calamities worldwide—to identify things to look forward to in 2009. But if there's one thing that 2008 taught us, it's that hopes are not always left unfulfilled, even in the face of seemingly insurmountable adversity. We forget this lesson at our peril as this new year unfolds.

At some point over the holidays, in between reading about the Rick Warren nonsense and the impossibly delusional phenomenon that is Rod Blagojevich, I was hit by a simple yet profound realization that the status quo in this country has shifted.

Let me be clear: I do not intend to enter the fray of meaningless arguments over whether we live in a "center-left" or "center-right" country; the center is and remains the center. I dare not speak of a political realignment, for I know how fleeting these moments can truly be (see: Karl Rove, 2004). What I'm talking about is a deeper shift in the cultural psyche of a nation, a shift in people's expectations, tolerances, aspirations, and ambitions for what is possible.

Sure, Obama and the incoming administration—as do all governments, by definition—represent the status quo. But, to put it simply: it's a different—and better—status quo than that which governed us a year ago. And that alone merits quiet celebration, even in these uncertain times.

Here's to a hopeful 2009. And stay tuned to this Progressive Reactionary, as we persist in questioning, challenging, and continuously re-imagining our new status quo.

ground zero from above

At a party on the top floor of 7 World Trade Center a few weeks back, I managed to snap a photo of the massive construction site below. Seeing the state of affairs laid out before my eyes some fifty stories below, I thought to myself: Wow, we've come a long way; but boy, do we have a lot of work yet to do.

I'll leave you with that, as I escape to the dark woods of the the northern wilderness for the holidays. See you all in 2009. Here's hoping it's a good one.

PR.

donovan to HUD

As you've likely heard by now: Barack Obama has nominated Shaun Donovan, present head of NYC HPD, as his Secretary of Housing & Urban Development. Now I know ShaunDon wasn't on my wishlist of potential HUD nominees [posted in the comments section of one of Nick Kristof's posts from last month), but it should be noted for the record that this Progressive Reactionary did politely suggest hiring an architect to head up HUD—a position unknown to most but that could loosely be defined as supervising the American built environment. And while ShaunDon is not really a practicing architect, he was indeed trained as one, so I suppose that's close enough. [As if my insane suggestion of Michael Sorkin ever had a chance...] The mere fact that he doesn't come from the development side of things, that he has in large part dedicated his career to public investment in housing and urban issues—this alone should ease our nerves, even just a little. Here's hoping that the new HUD chief will heed the call to bring more architects and planners into the fold with regard to housing construction and urban growth.

It's an exciting time, seeing all these cabinet appointments come to light. But my word, what a lot of work there is to be done.

now this is what i'm talking about

Ada Louise Huxtable valiantly reenters the fray this week with a piece in the Wall Street Journal on the endless 2 Columbus Circle debates. It's fitting that the critical history of 2CC both begins and ends with Huxtable: she is the critic who initially catapulted the original Edward Durell Stone building into infamy in the 1960s with her branding of those "lollipop" columns, and with this article, it is she who has the final word on the building's latest incarnation.

It's also fair to say that this week's piece is nothing less than a critical tour de force, indicting not only the building and it's architects, but also the entire discourse surrounding 2CC. And while I don't entirely agree with her on all the counts (see my thoughts on the matter), you can't help but give credit where credit is due. Huxtable is as ever a critical force to be reckoned with. if there's one thing we probably do agree on, it's that the whole tortured history of this little building—for the moment complete—makes me nostalgic for a time when critics both had something to say and knew how to say it.

"by the time one future's there, there's another one being imagined"

I am presently reading Tom McCarthy's Remainder— a brilliantly complex novel that will merit its own post once I complete the book. But in the meantime, I thought I'd share a passage from the beginning of the novel that today is eerily poignant. The book's narrator, recently recovered from an accident and awarded generous compensation by those responsible (it's all very vague), meets with a stockbroker named Matthew Younger to discuss investment strategies for this newfound fortune. Younger begins by explaining the workings of the stock market to his new client:

"Over the last century the stock market has outperformed cash in every decade apart from the thirties. Far outperformed. As a rule of thumb, you can expect your capital to double over five years. In the current market conditions, you can reduce that figure to three, perhaps even two."
"How does it work?" I asked him. "I invest in companies and they let me share in their profits?"
"No," he said. "Well, yes, that's a small aspect of it. They give you a dividend. But what really propels your investment upwards is speculation."
"Speculation?" I repeated. "What's that?"
"Shares are constantly being bought and sold," he said. "The prices aren't fixed: they change depending on what people are prepared to pay for them. When people buy shares, they don't value them bu what they actually represent in terms of goods or services: they value them by what they might be worth, in an imaginary future."
"But what if that future comes an they're not worth what people thought they would be?" I asked.
"It never does," said Matthew Younger. "By the time one future's there, there's another one being imagined. The collective imagination of all the investors keeps projecting futures, keeping the shares buoyant. Of course, sometimes a particular set of shares stop catching people's imagination, so they fall. It's our job to get you out of a particular one before it falls—and, conversely, to get you into another when it's just about to shoot up."
"What if everyone stops imagining futures for all of them at the same time?" I asked him.
"Ah!" Younger's eyebrows dipped into a frown, and his voice became quieter, withdrawing from the room back to his small mouth and chest. "That throws the switch on the whole system, and the market crashes. That's what happened in '29. In theory it could happen again." He looked sombre for a moment; then his hearty look came back—and, with it, his booming voice as he resumed: "But if no one thinks it will, it won't."
"And do they think it will?"
"No."
"Cool," I said. "Let's buy some shares."

I should also mention that this book was published in 2005.

recycled landscape

Another good one from New York magazine: Robert Sullivan on Fresh Kills Park and its designer, James Corner of Field Operations. Worth a read. Precisely the kind of mega-infrastructural project that we've been talking about as a means to stimulate the economy (and keep architects in business).

the infrastructure gap, cont'd.

Over in New York magazine, Justin Davidson picks up where I left off with a call for a massive national program of infrastructural rehabilitation. Although perhaps a little too fixated on bridges (there are other kinds of infrastructure, too, you know), Davidson does touch on all the important arguments for such a much-needed stimulus: the economic advantages, the moral imperative, the symbolic/psychological effects. Again, I ask: isn't this a no-brainer? I have yet to hear or read a legitimate counter-argument why a massive infrastructural spending initiative is not a good idea right now.

An aside: Anyone else out there impressed with Davidson's writing over the past year or so? It's refreshing now and then to read a critic who actually has something to say...

derivative of what?

Finally. John Lanchester, of whom I must admit I have never before heard, has a stunning piece buried in the back of Nov. 10 New Yorker on the credit crisis as it relates the broader cultural paradigms of modernism and postmodernism. Although I've appreciated the commentary of Krugman (who just today so succinctly declared: "This is an economic emergency"), Reich, and others these past few months, this is really the first piece of critical analysis that I've read that situates the credit crisis within a larger cultural and philosophical context.

Lanchester's article, which uses the format of a book review of recent books on the credit crunch as an excuse to analyze its cultural/theoretical dimension, is as revelatory as it is simple. Of course derivatives, credit-default swaps, and all those other bizarre financial instruments are nothing more than financial incarnations of the classic late twentieth-century disjunction between the signifier and the signified. And of course the root of the crisis lies in the escalation of this disjunction to the point where the signifier no longer retains any connection whatsoever to the original signified. Lanchester's piece echoes critic/philosopher/writer Mark C. Taylor (see his book Confidence Games from a few years back) in this idea of how money has essentially become nothing more than a floating signifier. All value is relative—or derivative, if you will. It's all a house of mirrors. Lanchester's key line:

It seems wholly contrary to common sense that the market for products that derive from real things should be unimaginably vaster than the market for things themselves.

Now forgive me for my sudden, euphoric lapse into the language of post-structuralism and deconstruction; nobody should have to parse such nonsense. But in all seriousness, most people have no idea what the hell is going on with this credit crisis, and hopefully Lanchester's reading of the situation can help to encourage a broader understanding. It sure did for me.

link: "Melting Into Air" by John Lanchestor, in the New Yorker

blog typology

Via Andrew... I just ran this site through the Typealyzer, which claims to analyze a website and categorize the author in terms of right-brain/left-brain dominance. This Progressive Reactionary landed smack-dab in the left-brain camp of the so-called "Mechanics":

The independent and problem-solving type. They are especially attuned to the demands of the moment are masters of responding to challenges that arise spontaneously. They generelly prefer to think things out for themselves and often avoid inter-personal conflicts.
The Mechanics enjoy working together with other independent and highly skilled people and often like seek fun and action both in their work and personal life. They enjoy adventure and risk such as in driving race cars or working as policemen and firefighters.

Not entirely inaccurate... although I'd hate for these pages to become a product merely of the left brain! We must be fair and balanced, as they say. Keep your eyes peeled for future postings on "imagination," "symbols," "spirituality," and other right-brain oddities.

urban policy in the whitehouse

Following up on an earlier post... there's an interesting rumor going around about President-Elect Obama's plans to establish a Whitehouse Office of Urban Policy. This is a good sign for the 70% of us Americans who dwell in urban areas! Dare I suggest that maybe an architect or planner should be appointed to head up such an office? Stay tuned for more....

on hope, redux

I'll spare you, dear readers, my own gushing post-election thoughts. Instead, I point you to a fitting coda to the tremendous milestone of Tuesday's election and to my own ruminations from a while back on the possibility of an Obama presidency. From TomDispatch.com: a followup by Rebecca Solnit to her beautiful 2003 essay "Acts of Hope." Read it.

signed, sealed, delivered.

[image: Reuters]

Remember this moment, America.

in the unlikely story that is america...

 [image: Getty Images]

...there has never been anything false about hope.

Please vote today.