The book 'Writingplace: Investigations in Architecture and Literature' marks a step forward in an emerging debate on literary means in architecture. It offers a series of reflections on written language as a crucial element of architecture culture, and on the potential of using literary methods in architectural and urban research, education and design.
David Chipperfield was awarded the Netherlands’ Sikkens Prize “for his approach towards the urban context, his talent in re-using existing buildings and monuments, and his subtle and subdued use of colour”. Chipperfield was somewhat surprised, because he considered his use of colour and material to be a logical consequence of his views on architecture, not an exceptional achievement.
California-based artist J.B. Blunk created an extensive body of work in wood and stone, cast bronze, painting, jewelry and clay. Ignoring the traditional separation of sculpture and furniture he worked without a conception of fixed categories, and his attitude towards these classifications suggests the Japanese disregard of the distinction between art and craft.
Why write about buildings? Buildings are chunks of the material of the natural world, refashioned by humans and set down into place to stand as silent as the rocks and trees from which they were made. How can we describe that mute actuality? A building’s only complete description is itself. Writing often intensifies the cloud that obscures buildings rather than dissipates it. So why do it?
America’s leading essayist on the frantic retreat of democracy, in the fire and smoke of the war on terror
Jealous Saboteurs surveys twenty years of work by New Zealand–born, London-based artist Francis Upritchard. The book includes a total of 288 colour reproductions of her sculptures, ceramics and installations.
Jealous Saboteurs features essays by Megan Dunn, Tessa Laird, and Robert Leonard, and an interview with Upritchard by artist Brian Griffiths.