Lebbeus Woods’ Sketchbooks
As part of what must be an extraordinary exhibit of the late architect’s work, SFMOMA is sharing selected pages from his sketchbooks.
First spotted: chabelidecyc
Source for all images: sfmoma with some color correction by markcareagaCredits for all images: Lebbeus Woods, Sketchbook (30 July 1995, NYC - 23 May 1998, NYC), 195; Collection SFMOMA, Accessions Committee Fund Purchase; © Estate of Lebbeus Woods (2001.153 A-Y).
Don’t forget that PAPress has several of Woods’ books available:
One Five Four (1989), War and Architecture (1993), Radical Reconstruction (1997), and The Storm and the Fall (2004)
wish I could go see this.
Will this safety-nets trend end up in building single-storey factories, so that workers have no chance to commit suicide because of their dreadful working conditions? If everyone is aware of the actual situation, will Iphones have to include a warning sticker like cigarette packages do, saying that its consumption may provoke suicides?
The last word on the Bloomberg-era of New York City. (well, not the LAST last word, but you know what I mean)
(Source: weneverlearn)
Because I’m the best goddamn underemployed archivist in New York. Also, the book has a pre-face to the second edition, a co-publisher’s preface to the second edition, acknowledgements, a forward, a co-publisher’s preface to the first edition, AND an introduction. And some sick bastard is selling a copy for $730!?
Perhaps Why I’ve Preferred Bourne Over Bond
Tangentially, I’m reminded of Matt Jones’s awesomely thought-provoking 2008 blog post about the urban differences between the Bourne and Bond franchises. Jones writes that “there’s no travel in the new Bond”; there are simply “establishing shots of exotic destinations.” By the end of a Bond film, you simply “feel like you are in the international late-capitalist nonplace,” a geography with neither landmarks nor personal memory.
Compare the geography of James Bond, then, to the spaces of Peter Greengrass-directed Bourne films. These films are “set in Schengen,” Jones writes, “a connected, border-less Mitteleurope that can be hacked and accessed and traversed—not without effort, but with determination, stolen vehicles and the right train timetables.” Indeed, Jones memorably suggests, “Bourne wraps cities, autobahns, ferries and train terminuses around him as the ultimate body-armor.”Rather than Bond’s private infrastructure expensive cars and toys, Bourne uses public infrastructure as a superpower. A battered watch and an accurate U-Bahn time-table are all he needs for a perfectly-timed, death-defying evasion of the authorities.
via BLDGBLOG: Nakatomi Space, an article actually about Die Hard as an architectural film. Nifty stuff.
