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Log 31 Launch & Discussion at SCI-Arc July 17, 7 PM The Pas de Chat: A Modern Tale of Discipline and Reward Dora Epstein Jones The Shanghai Expo and the Rise of Pop-Arch Mark Jarzombek What Kinds of Copies? Urtzi Grau & Cristina Goberna Log 31 Launch & Discussion at Columbia GSAPP July 10, 6 PM Beyond the Querelle Bryony Roberts The Architectural Project and the Historical Project: Tensions, Analogies, Discontinuities Daniel Sherer New Ancients Dora Epstein Jones & Bryony Roberts Call for Observations: Log 32 A Conversation with Elia Zenghelis Cynthia Davidson #hashtag Benjamin Burdick The Critical Problem, Or, Talking Shop Peggy Deamer Can tectonics grasp smoothness? Wes Jones Chandigarh, Noted David Huber Dom-ino: Archetype and Fiction Antoine Picon Letter from Charles Edouard Jeanneret to Auguste Perret, March 21, 1916 Charles Edouard Jeanneret (Le Corbusier) Architectural Coexistence: Twins, Logs, and the Ecology of Things Pia Ednie-Brown Log's Dom-ino Promotion Observations on Architecture and the Contemporary City Cynthia Davidson Mercedes-Benz Museum UNStudio Involution, Ambience, and Architecture Emmanuel Petit Campus Restaurant and Event Space Barkow Leibinger LCV C+S architects Possibilitarianism Sarah Whiting TID Tower 51N4E Herta and Paul Amir Building, Tel Aviv Museum of Art Preston Scott Cohen, Inc. Faster, But Slower Sam Jacob O-14 Reiser + Umemoto Villa Buggenhout OFFICE Kersten Geers David Van Severen EDF Archives Center LAN HL23 Neil M. Denari Architects Lying Fallow Sylvia Lavin Element House MOS In Pursuit of Architecture
September 21, 2013
I am for tendencies Jeffrey Kipnis I want to argue that contemporary scholarship be cast as a sort of ongoing counter-memory to familiar historical narratives Felicity D. Scott I am trying to imagine a radical free-market urbanism Patrik Schumacher I am interested in a project of engaged autonomy Sarah Whiting I do not mind people being innocent, but I hate when they're naive Bernard Tschumi Architecture is a technology that has not yet discovered its agency Elizabeth Diller If I can take a ride in a driverless car on a public street, then I see no reason why my building can't wiggle a little Greg Lynn Taking Stock: Architecture 2013 Anthony Vidler Log Tote Bags Now Available Phyllis Lambert in Conversation with Cynthia Davidson at Van Alen Books
May 2, 7 PM
Georges Teyssot at Van Alen Books
April 24, 7 PM
Le pari(s) de BKK Francois Roche Hong Kong's Shifting Grounds Julie Rose Projects for the Post-Ironic City Emmanuel Petit Piles, Puddles, and other Architectural Irritants Timothy Hyde The stupid matter, or, some thoughts that rhyme and don't Malak Helmy "Nothing Serious" Tom Daniell The Theology Of Tabula Rasa: Walter Benjamin And Architecture in The Age of Precarity Pier Vittorio Aureli Two Hundred and Eighty-Eight Lines Mark Morris Wild Physics: Design at the Outskirts of Town Brian Boigon Building Scenarios: Milstein Hall Cynthia Davidson Signs of Their Time: Calculated Formal Excesses of Digital Ornament, Part I Ingeborg M. Rocker Sleeper(s) Christopher Pierce Representations Massimo Scolari Digital Darwinism: Mass Collaboration, Form-Finding, and the Dissolution of Authorship Mario Carpo Modernity's Opiate, or, The Crisis of Iconic Architecture Simone Brott A Conversation with Yona Friedman Manuel Orazi The Tragedy of the Commons? Sanford Kwinter In the Cause of Architecture: Traversing Design and Making Iain Maxwell & Dave Pigram Architecture as a Practice of Biopolitical Disobedience Beatriz Preciado Volatile Formation Roland Snooks The Report of My Death Sylvia Lavin Architecture on the Wire: Resilience Through Vitality Pia Ednie-Brown Reclaim Resi[lience]stance //......R2 Francois Roche Never Demolish:
Bois-le-Pretre Regrows in Paris
Craig Buckley Contextual Counterpoint in Architecture Charles Jencks The Historicity of the Modern Daniel Sherer Of Raspberries, Rawhide, and Rhetoric Todd Gannon The Return of the Repressed Tom Daniell Location Location Location – or, for whom they built holes Jeffrey Kipnis Tenderness Sylvia Lavin Up Against the Wall: Colin Rowe at La Tourette Anthony Vidler Digital Syle Mario Carpo 53 Questions for Preston Scott Cohen Labor and Architecture: Revisiting Cedric Price's Potteries Thinkbelt Pier Vittorio Aureli Design Hacking: The Machinery of Visual Combinatorics Andrew Witt Wagnerism Embodied Joseph Clarke English Pastoral Andrea Phillips Requiem in White Nicholas de Monchaux What Plastic Wants Brennan Buck Esprit futur Simone Brott 53 Questions for Robert A.M. Stern Luca Farinelli Log part of ARCHIZINES exhibition at Architectural Association 53 Questions for Stan Allen Luca Farinelli Log 23 Launch with Nicholas de Monchaux at Van Alen Books, October 27 Results: Log's Second Ever Postcard Competition Event: Log in Conversation with Mario Carpo at Van Alen Books
September 29
Caroline O'Donnell Gets Ugly . . . The Second Ever Log Postcard Competition Superstudio Resurfaces with its Book of Exorcisms Log and San Rocco: Text vs. Image
at Van Alen Books Thursday, August 9 at 7pm
Sylvia Lavin Exposes Excess Book Talk and Signing:
The Possibility of an Absolute Architecture by Pier Vittorio Aureli
Tom Daniell Tells a Story of Names Ingeborg M. Rocker Traces
The Idea of Style
Patrik Schumacher Campaigns for Parametricism Mark Jarzombek Curates Critical Impossibilities Rem Koolhaas Forges Into Preservation Walter Benjamin's Unconscious Detlef Mertins Anycorp Featured in Exhibition at CCA Observations On Resistance Ariane Lourie Harrison Taking Note of Transformation Sylvia Lavin The Real and the Virtual Cynthia Davidson Meet the Nelsons Wes Jones A Conversation with Charles Gwathmey Cynthia Davidson and Charles Gwathmey

Faster, But Slower

Sam Jacob

September 2013

Excerpt from Log 29, Fall 2013

To glimpse the nebulous nature of contemporary architectural culture we should look to design's own forms of media. The frames through which we look at design are not transparent; they are mechanisms that construct design culture around the mass of manufactured objects we produce. Perhaps then it's not contemporary design itself, but rather the media that communicates it that is the source of its condition.

There was a time when design was routinely catalogued. Its objects could be counted and accounted for, arranged in sequences to construct particular narratives. Think of the way in which institutions such as the Victoria and Albert Museum or the Museum of Modern Art constructed narratives and ideologies of design through the things they collected and exhibited, and through their patronage. The museum, like the magazine, functioned as a particular kind of design media. From the late 19th through the 20th century museums and magazines constructed narratives, from Arts and Crafts to Modernism, Brutalism, and Postmodernism. They wrote design's narratives so indelibly that we still trace their intent today.

These once-strong curatorial frames are now just sieves in a digital tsunami. It's not that museums got small, it's that the quantity of design that we are exposed to has become monstrously voluminous. Website after website, blog upon blog, often regurgitating the same press releases, scraping each others stories, pasting each other's images. This unedited ebb and flow removes distinction. One thing seems to become much like another, renderings and Photoshop collages become indistinguishable from built reality.

Digital media has made design uncountable and uncuratable. Its sheer scale and speed have outgrown any of the limits of previous media and burst the seams of the definitions we used to clothe it with.

Architectural culture now flows through this new form of media as an endless glut of glossy imagery gushing through super-lubricated digital downpipes. Scrolling through, we quickly become nauseous at the sensation of unrelenting immediacy. We become dumb to the invention and imagination that designers exert. But as we gasp for air, drowning in infinite shallowness, we should recognize that this is also a product of our collective desire. It is the will of the epoch expressed in an insanely huge slick of stuff. In this slick we find a perfect storm where design's sense of individuality meets the flattened hierarchy of the digital, multiplied by the superfast churn of content.

In architecture offices digital culture has also changed working methods. Google Images, rather than the slide library, is the disciplinary source book. Image clouds surround us, vast fields of pictures sucked out of their original context and thrown into fleeting association by an algorithm rather than scholarship.

That's what makes architecture--and culture in general--faster and slower. Faster access, faster consumption, faster generation. But simultaneously slower in the sense that it no longer has its own velocity. Its momentum no longer carries it forward in a straight line of progress, because there is no straight line anymore. There's not even a direction we could call forward. We find ourselves in a fast-breeding stasis: accelerated to incredible speed without the appearance of motion that the Barr and Jencks diagrams suggested, winding across like the background scenery of a puppet theater. . . .

The disciplinary desires for distinct architectural modes, stylistic groupings, and generational iconoclasm are deep-seated in architectural culture. These are how we learn architecture and what we expect it (and us) to do. Their almost complete absence from contemporary architectural culture is, therefore, deeply unsettling. Seen in these terms, architectural culture has become inert. There is little at stake between one side and another. Everything is deflated, collapsed into an indistinguishable pool.

But there are other ways to imagine culture that grow out of our contemporary experience, where linear progress and stylistic affinity are no longer the x and y axes of architecture.

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