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  Matali Crasset: Beach L...  
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All’esterno ripari estraibili invogliano le persone a “fuggire con un libro” – comodamente sdraiati sui teli azzurri pensati per quello scopo. E proprio lì accanto, una piccola biblioteca aperta al mondo, invitante, che invita tutti a entrare.
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Outside: shaded retreats give people room to “escape with a book” – a comfortable area under an alluring sky-blue awning perfectly suited to getting-away. And just beside it, a small library open to the world, enticing everyone to come and browse. Inside: books are presented in a different manner, semi-protected from on-lookers but simultaneously seeking the latter’s attention. Someone is there to guide you.
  La congiura degli eretici  
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“Dietro uno sparuto filare d’alberi, al di là di un ingresso messo su con rete da pollaio e pali coperti da teli di plastica nera, attraversata la porta rossa di un anonimo edificio la cui vernice bianca si scrosta sui mattoni rossi, si apre uno spazio stupendo”, scriveva il critico del Los Angeles Times.
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This informality (not to be confused with aformality) is critical. What comes off as haphazard is also a reframing of what was acceptable professional practice. Moreover, the messiness is the perfect foil to the fine-tuning of architectural theory and codification of the historical avant-garde taking place along the Eastern Seaboard. In the fall of 1979 as The Architecture Gallery began its short tenure, Oppositions 18 nodded towards the West Coast by publishing Rudolph Schindler’s Lovell Beach House (1926). Meanwhile, over in Santa Monica, Frank Gehry had ripped apart the very notion of house.
  Routine metabolista  
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La costruzione è, perlopiù, abbandonata. Alcune unità sono state ‘sigillate’ con teli di plastica, altre non hanno nemmeno la serratura. Entrando, le si trova spesso in un avanzato stato di degrado: pareti a pezzi, mensole rotte, muffa e umidità.
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Signs of previous residents are present all around the capsules and corridors. In our capsule, the most evident marks are the strange wallpaper, a carpet covering some degraded spots in the original flooring, and the air-conditioning unit that had to pierce through a wall in order to be installed. At Kenzo-san’s office, nothing original remains except for the bathroom, and the entire space is filled with revivalist furniture; a neighbour two doors down has created a warehouse and lined the interior with metal shelves. Most capsules are generally used for functions other than living. The interior spaces gradually get larger towards the staircase, which is suitable for storing bicycles, boxes, shoes, garbage, etc.
  (In)visible city revisi...  
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Per esempio nell'immagine intitolata Noord Street c'è un risalto con un tubo fluorescente rotto dove gli uomini della sicurezza hanno troppa paura di arrivare, ma che svela una bellezza incredibile. A guardar meglio in cima ai tetti si vedono i cartoni e i teli dove i senzatetto si nascondono alla polizia durante la notte.
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I've spoken about the city and the analogy between printing on older paper and new paper. There's a similarity with the way LP records were flawed with scratches and background noises but they still represent music at a level that is extremely close to the way we experience it. When CD's started happening everyone said it was perfect because there was no background noise, but somehow it eliminated the human nature of music and its taken twenty five years for CD's to start becoming more musical. The process of darkroom film and analogue and black and white is the same. It's flawed with scratches on the negatives and things that might go wrong with film and chemicals but there's a side to it that is warm and human. In these old papers that are messed up there's a very rich layer. So although it might lack contrast they have incredible amounts of subtle tones in the shadows. The new prints are all on archival digital paper, but what I'm getting at is that the early digital papers had only one option which is a very straightforward white paper on colour ink. Since then they've developed in the same ways that CD's have in the last twenty years. Today the digital paper I select with my printer has surface and tonal options like older paper, but its very fragile. By spending time on process and selection it starts revealing detail in the same way as older papers.
  Beaux-Arts Ball  
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Un’altra installazione ha costruito uno spazio con una serie di coperte d’emergenza. Appesi in verticale, questi teli metallici sembravano molto pesanti, ma sventolavano alla brezza come il tessuto più leggero mai fabbricato.
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Chico Nichols created an installation using high-gauge tubing that was arranged vertically in different densities, creating a barrier between a more private space and the public circulation paths. This field became a dividing element as well as a combining element; users on both sides of the installation could see videos that were projected onto the tubes. This provided different visual experiences for each set of users, while also providing a space for partiers to dance inside of, breaking down the distinction between stage and spectator. Another installation made a space out of a series of emergency blankets. Hung vertically, these metallic blankets looked very heavy, but swayed in the breeze like the lightest fabric ever made (which they might be). Another set of students used an Atwoodian projection technique to make a faceted surface come alive with animated light.
  La congiura degli eretici  
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“Dietro uno sparuto filare d’alberi, al di là di un ingresso messo su con rete da pollaio e pali coperti da teli di plastica nera, attraversata la porta rossa di un anonimo edificio la cui vernice bianca si scrosta sui mattoni rossi, si apre uno spazio stupendo”, scriveva il critico del Los Angeles Times.
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This informality (not to be confused with aformality) is critical. What comes off as haphazard is also a reframing of what was acceptable professional practice. Moreover, the messiness is the perfect foil to the fine-tuning of architectural theory and codification of the historical avant-garde taking place along the Eastern Seaboard. In the fall of 1979 as The Architecture Gallery began its short tenure, Oppositions 18 nodded towards the West Coast by publishing Rudolph Schindler’s Lovell Beach House (1926). Meanwhile, over in Santa Monica, Frank Gehry had ripped apart the very notion of house.
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El carácter informal (no confundir con ausencia de forma) es un punto crucial. Lo que parece confusión representa también una reformulación de lo que representaba una praxis profesional aceptable. Asimismo el desorden era el perfecto contrapunto a la precisa calibración teórica de la arquitectura y a la codificación de las vanguardias históricas que se estaban realizando en la costa este. En el otoño de 1979, cuando la Architecture Gallery inició su breve período de vida, el número 18 de la publicación Oppositions reclamaba la atención sobre la costa oeste publicando la Lovell Beach House de Rudolph Schindler (1926). Mientras tanto, en Santa Mónica, Frank Gehry hacía explotar el concepto mismo de vivienda.