architecture

On October 14, 2023, I received the 11th Annual 'T' Space Poetry Award at ‘T’ Space Reserve in Rhinebeck, NY. The event coincided with the opening of Giuliano Fiorenzoli’s exhibition “Because of seeing architecture” at ‘T’ Space’s newly completed Archive Gallery. As a result, I gave an archetechture-themed reading. In addition to brief talks by Steven Holl and Fiorenzoli prior to my reading and award presentation, Nate Wooley performed an improvised set of inventive trumpet music afterwards.

I'm fascinated by the “Visionary Architecture” show put on at MoMA in the fall of 1960. The exhibit consisted of materials (photographs of models, plans, drawings) from 28 ideas for cities and urban structures “considered too revolutionary to build.”  “Ideal projects,” writes the show's curator Arthur Drexler, “afford the sole occasions when [the architect] can rebuild the world as he knows it ought to be.”  And: “When ideal projects are inspired by criticism of the existing structure of society, as well as by the architect’s longing for a private world of his own, they may bring forth ideas that make history.” Theory and practice — vision and realism — merge in this presentation. “Today virtually nothing an architect can think of is technically impossible to realize.” Here, then, comes a definition: “Social usage, which includes economics, determines what is visionary and what is not.”

Buckminster Fuller's project on display here was brand new — done in 1960, just before the show opened. The wall label from the MoMA exhibit is reproduced above. This is vintage dome-obsessed Fuller, but now with a hint of ambient-coverage aesthetic the manner that would emerge with Christo and others. A dome over “a large part” of Manhattan.

My former student Paul Andersen has now created a design studio in Denver called “IndieArchitecture.” It’s a design and research group that takes on a variety of projects — from designing buildings to writing books to curating contemporary art exhibitions. As an alternative to mainstream, mass produced, and corporately funded architecture, the office embraces its small market status, is associated with collegiate backpack intellectualism, and consistently seeks new ways of disseminating architectural and urban ideas. Paul, the director, has taught at the Harvard Graduate School of Design and Cornell University, and is a guest curator at the Museum of Contemporary Art Denver. “Conceptually,” says Paul, “we maintain an ongoing interest in patterns — visual patterns, but also behavioral, structural, organizational and other types of patterns. Patterns have a unique capacity for integrating a wide range of materials, functions, forms, environmental systems, and even cultural trends in a coherent and technically precise project. They bridge worlds of knowledge and matter, art and science, and for us, research and practice.” [website]