Log 40 assembles a wide-ranging collection of thoughtful essays on some of the most urgent questions and debates in architecture today, bringing them into dialogue with those of architecture’s recent past. The legacy and current status of architectural images are considered from radically different vantages, in Brett Steele’s anecdotal discourse on Zaha Hadid’s 1983 painting The World (89 Degrees), John May’s exacting dissection of “architecture after imaging,” and Hana Gründler’s exploration of the ethical implications of drawing borderlines. The issue features commentary by two contemporary architects on contemporary buildings: V. Mitch McEwen on David Adjaye’s National Museum of African American History and Culture in Washington, DC, and Elisabetta Terragni on OMA’s Fondazione Prada in Milan. Other highlights include an excerpt from Noah’s Ark, the new collection of Hubert Damisch’s singular writings on architecture; a lively response by Mark Foster Gage to Michael Meredith’s recent Log essay on indifference; and a sampling of new domestic objects designed by architects.
July 25–September 12, 2017
Center for Architecture, New York
Anyspace will launch its exhibition program on Tuesday, July 25, 2017, with “This Future Has a Past,” created by Katherine Lambert and Christiane Robbins. “This Future Has a Past” presents a single work by the late California architect Gregory Ain – his Exhibition House for America's middle class, the second house to be built in the garden of the Museum of Modern Art, in 1950 – alongside documentation of his “un-American activities” collected during the McCarthy era. J. Edgar Hoover deemed Ain “the most dangerous architect in America.” The fate of Ain’s Exhibition House after the show closed is still unknown. Archival FBI files and MoMA press documents, a newly constructed model of the 1950 Exhibition House, and a series of lenticular images created by Lambert + Robbins call attention to this little-known bi-coastal architectural history.
Log 39 looks at a changed political landscape and an evolving urban environment, offering reflections on architecture and the contemporary city both in the United States and around the world. The Winter 2017 issue features incisive commentary by critics and historians on recently completed buildings – from BIG’s VIA 57 West and WORKac’s 93 Reade Street in New York to Herzog & de Meuron’s Elbphilharmonie in Hamburg to Archi-Depot, a museum dedicated to architecture models in Tokyo. In addition, Michael Meredith, Valéry Didelon, and Eric Owen Moss contribute writing on the aesthetic of indifference, the history and future of OMA’s 1989 Euralille masterplan, and a pseudo-scripture for architects. In a special section, practitioners, critics, and activists address the possibility of architecture in the age of Trump.
February 11–April 16, 2017
The Architectural Imagination, the exhibition of 12 speculative architectural projects curated by Cynthia Davidson and Mónica Ponce de León for the US Pavilion at the 2016 Venice Biennale International Architecture Exhibition, is now on view at the Museum of Contemporary Art Detroit (MOCAD). Organized by the University of Michigan’s Taubman College of Architecture and Urban Planning and the Anyone Corporation, the show arrives directly from Venice, where it was seen by a record-breaking audience in the US Pavilion. For the Biennale, Davidson and Ponce de León challenged 12 visionary American architectural practices to imagine new programs and forms for four sites in Detroit, which they selected from the recommendations of an 11-member Detroit advisory group: the Packard Plant, a USPS sorting facility, the Dequindre Cut Greenway, and Mexicantown/Southwest Detroit.
The 12 architecture teams are: A(n) Office, Detroit; BairBalliet, Columbus, OH, and Chicago; Greg Lynn FORM, Los Angeles; Mack Scogin Merrill Elam Architects, Atlanta; Marshall Brown Projects, Chicago; MOS, New York; Pita & Bloom, Los Angeles; Present Future, Houston; Preston Scott Cohen Inc., Cambridge, MA; SAA/Stan Allen Architect, New York; T+E+A+M, Ann Arbor, MI; and Zago Architecture, Los Angeles.
After two successive thematic issues, Log 38 (Fall 2016) returns to its classic open form, bringing together myriad perspectives from architecture’s center and periphery. Cynthia Davidson’s expansive interview with New York architect Harry Cobb, of Pei Cobb Freed & Partners, illuminates Cobb’s 60-plus years in practice, as well as the history of modernism in America. Eve Blau explores the contexts that drove the 1968 Learning from Las Vegas studio at Yale, and Pier Vittorio Aureli and Maria Shéhérazade Giudici reevaluate the roots of modern domestic space. Log 38 also features critical perspectives on the current moment in architecture, with reviews of OMA’s Fondaco dei Tedeschi, reflections on this year’s Venice Architecture Biennale, and reactions to Brexit from architects and educators affected by the vote, and even an imaginative look at the work of Sam Jacob Studio from 20 years in the future.
Noah's Ark: Essays on Architecture
by Hubert Damisch
Trained as an art historian but viewing architecture from the perspective of a “displaced philosopher,” Hubert Damisch offers a meticulous parsing of language and structure to “think architecture in a different key,” as Anthony Vidler writes in the introduction. Drawn to architecture because it provides “an open series of structural models,” Damisch examines the origin of architecture and then its structural development from the 19th through the 21st centuries. He leads the reader from Jean-François Blondel to Eugène Viollet-le-Duc to Mies van der Rohe to Diller + Scofidio, with stops along the way at the Temple of Jerusalem, Vitruvius’s De Architectura, and the Louvre, thus tracing a unique trajectory of architectural structure and thought.