Al-Wah’at Collective practice patience—with sabr صبر—as they walk between Mexico and Palestine, following the cochineal insect and its red anti-imperial threads; Nadi Abusaada journeys us through the many worlds of Palestinian art by laying bare the disjunctures and erasures that continue to besiege and reassemble its production; John Bingham-Hall cruises the queer legacy of Paris’s trees as a resistance against spatial, sexual, social straightening; and Lucy Sternbach expands the state’s record of a brutal police killing in Cambridge, MA, looking and listening for spaces of continued community struggle, mourning, and joy.
Nathalie Frankowski and Cruz Garcia of Wai Architecture Think Tank offer a full-throated critique of architectural theory and shine a light on principled practice; Andrew Herscher and Sonali Dhanpal foreground the violent contradictions of the liberal “script” that acknowledges stolen land but refuses Land Back, from Turtle Island to Palestine; Grace Sparapani interrogates the destruction of Gaza’s Central Archives, and enacts an archival practice against genocide; and Jo Blair Cipriano takes the university to task, locating the intersections of power, empire, and agency within the classroom. In this edition of Gaza Pages, Heba Al-Agha traces the embodied and rooted love for her home and for Gaza amidst the daily horrors of displacement; a collection of testimonies record the lived reality of genocide from those Palestinians who narrate the annihilation from the ground; a series of archived social media posts urgently reframe “back to school” amidst scholasticide in Gaza.
Yifei Zhang lingers on the liminality present and persistent in the Bibby Stockholm barge—floating and suspended between land and sea, between prison and camp, between confinement and freedom; Shirley Dongwei Chen follows the American dumbwaiter across various sites, unfurling a network of stories entangling the racial, gender, and bureaucratic inequalities that together define the modern US; Ferial Massoud clocks the use of time as an urban tactic wielded by and against colonial forces, turning the dial between French and Algerian tempos; and Sigrid Schmeisser digs up the global consequences of waste management design, and its aftercare, in the Netherlands; Haidar al-Ghazali writes of the incalculable material and emotional loss Gazans are forced to endure amidst the genocide, and of the failure of public records to capture as much; and Mariam Al Khateeb tethers words to lifeworlds in Gaza in an ode to language, her city, and its people.
The Alternative Building Industry (ABI) Collective draws lessons in organizing architectural workers around a broader social project from the Depression-era Bulletin produced by the Federation of Architects, Engineers, Chemists, and Technicians; Matthew Allen reads Andrew Witt’s Formulations as an anthropology of the digital within architectural education and practice; and Bz Zhang walks the present, past, and future perimeter of the Chevron El Segundo Refinery, peering into this petropolis to claim an alternative view of our shared infrastructures.
Hélène Frichot attunes us to the lingering smoke of witch hunts, asking us to think-feel our way to an immanent critique of architecture; Taylor Miller hovers in the “long middle” of liberation, pausing on the unendurable violence of walls from Gaza to the Sonoran Desert in order to move toward a borderless world; Alexandra Pereira-Edwards explores the intimate spatial relations and the publics—allowed and disallowed—on Twitch, alongside the carcerality that unfolds as these communities break out beyond the screen; and Ozayr Saloojee pens an epistolary history on place, violence, and the possibility of more tender forms of relation from Hyde Park Road in London, Ontario to Hyde Park in London, UK.
Jake Deluca unearths the violence of cemetery islands and mass graving while asking if they can model forms of burial and memorialization that resist the cult of individualism; Hiʻilei Julia Kawehipuaakahaopulani Hobart surfaces the possibilities and the risks of land reclamation amid the incompatible claims of capitalism and Indigeneity; Christoph Miler locates the toxic heritage of bullet traps in Switzerland, tracing instead a national defense mythos that refuses to be contained; and scholars and writers issue a collective remembrance of Jean-Louis Cohen’s impact on the intellectual and personal world of architecture.
John D. Davis and Bryan E. Norwood thread Sylvia Wynter’s “plantation” and “plot” into their account of NORCO, drawing the video game’s depiction of Louisiana away from Americana and closer to the Caribbean; Max Goldner dissects how Israeli apartheid and the regulation of its “extralegal violence” unfold beyond, outside, and adjacent to the courtroom in the documentary film Advocate; and Grace Sparapani invites us into the spaces of her own recurring dreams and the dream architectures of analog film to interrogate how our unconscious selves structure our relation to the real.
Clare Fentress reopens a much-needed forum for the concerns of hospice care and its architectures in the United States, directing our attention to the needs of care workers; Yakin Ajay Kinger writes a decolonial historiography of Indian baghs from pre-revolution to present day, counter-reading the legacy of a colonial military geography; Mariam Mahmoud drives Cairo’s Ring Road, through the politics of displacement, the aesthetics of modernization, and the making of Egypt’s housing crisis across regimes; and Sonia Sobrino Ralston reveals the histories of extraction, exhibition, science, and empire hidden within the Stone Exposure Test Wall in Gaithersburg, Maryland.
Esra Akcan expands the historically conscious perspective in A. Naomi Paik’s Bans, Walls, Raids, Sanctuary to meet other sites, other architectures, other targets of abolition; Line Algoed and Antonio Carmona Báez celebrate Barbuda’s communal relation to the land and resistance to predatory development; Julia Michiko Hori locates an aesthetics of refusal in the transatlantic counter-monument; and Alison Rose Reed reviews Part I of Ruth Wilson Gilmore’s Abolition Geography, reinscribing the politics of abolition as movements and institutions seek to misappropriate and neutralize it.
Brit Schulte tends to the (“anti-conclusion”) conclusion of Ruth Wilson Gilmore’s Abolition Geography: Essays Toward Liberation; Shani Strand follows the sonic landscapes of drill and dancehall attuned to the social potentials of “badness”; and Kate Wagner walks—metaphorically and literally—through the possibilities sparked by Socialist Reconstruction.
William Conroy embeds capitalist idioms of planning in the spaces of Álvaro Sevilla-Buitrago’s recently published book Against the Commons: A Radical History of Urban Planning; Isabel Guzzardo Tamargo traverses the “placeless places” of Kei Miller’s In Nearby Bushes as a Caribbean reader, inhabiting his poetics to behold another Jamaica; Jacob R. Moore meets us by the American Dream’s proverbial fountain to review Alexandra Lange’s most recent book on shopping malls and the cultures they subtend; and Jonah Rowen tours Kingston’s Devon House with an eye toward Jamaica’s colonial and decolonial fantasies.
Brahim El Guabli unearths “Saharanism” at work in the Sonoran Desert after a visit to The Absolute Restoration of All Things; Jess Myers scrutinizes how cultural institutions encounter the limits of “representation” in two exhibitions centering Indigenous artists; Galen Pardee finds power in small design gestures in Reset: Towards a New Commons at the Center for Architecture; Asa Seresin considers the crisis of heterosexual ethics shaping the villa and its “outside” on Love Island; and Grace Sparapani diagnoses CIVA’s Sick Architecture, and the burden it places on the individual.
Bella Carmelita Carriker complicates the “public” memory of 9/11, recording the long-term violences enacted against low-income communities of color; Supriya Ambwani exposes histories of spatial violence and colonial extraction entangled in the Great Hedge of India; Gealese Peebles traces the historiographic silhouette of Norma Merrick Sklarek to scrutinize architecture’s diversity narratives; and Peter Paul Walhout unsubscribes from the internet-as-utility rhetoric in NYC that has come to stand in for questions of inequality during the COVID-19 pandemic.
Jay Cephas reads through Keeanga-Yamahtta Taylor’s Race for Profit to deepen conceptions of racial capitalism; Marianela D’Aprile and Douglas Spencer reframe Manfredo Tafuri to envigorate unionization among architectural workers; Stefanie Hessler reviews the art and literature of an erotic ocean, riding in, on, and through its waves; Daniel Jacobs and Brittany Utting evaluate the possibilities and pitfalls of three legal instruments of forest sovereignty; and Dima Srouji excavates histories, and present-day realities, of settler colonial archaeology in Palestine.
Tania Cañas inscribes a Salvadoran community mural in the ever-present; Charlotte Malterre-Barthes searches for "the Mediterranean" in the pages of kyklàda.press; and Shannon Mattern contemplates countermapping practices and atlases of abundance and loss.
Lori A. Brown parses legalese to uncover how the state wields spatial barriers to abortion access in Garza v. Hargan; Elisavet Hasa traces the “archive of resistance” assembled by solidarity heath care initiatives in Athens; David Hurtado unpeels Okinawa's imperial layers through the photographs of Mao Ishikawa; and Isabelle A. Tan reflects on various encounters with the Belt and Road Initiative in Jakarta’s past, present, and future.
Alexander Arroyo replots the playmaking of American empire through a global race war game; Émélie Desrochers-Turgeon thaws settler colonial earth-writing in the Arctic; Elise Misao Hunchuck, Marco Ferrari & Jingru (Cyan) Cheng orbit China’s Sky River Project to tell a different hydro-geographic story; and V. Mitch McEwen reads the middle in Keller Easterling’s Medium Design in order to work on an antiBlack world.
Batoul Faour takes stock of the shattered glass in Beirut in the aftermath of the August 4th port explosion to uncover political violence waged through this fragile material; Jacob Cascio carefully unfolds the story of the National AIDS Memorial Grove’s ever-changing landscape; Tamara Zeina Jamil looks beyond Rikers Island to reveal the machinations of the carceral industrial complex; and Brandon Adriano Ortiz coils together a personal, spatial, and temporal account of Taos and the Taos Pueblo that casts body, building, and micaceous clay into ongoing relation.
Roberto Boettger reframes what is being conserved at Tijuca National Park and denaturalizes the project of conservation behind UNESCO’s first “urban cultural landscape”; Ella Comberg seeks views of the street beyond what Doug Rickard’s A New American Picture, and Google, ask us to see; Alexyss McClellan-Ufugusuku extends the recent COVID-19 outbreak at Marine Corps Air Station Futenma to legacies of dual colonization and militarization in Okinawa; Karamia Müller revisits her architectural education alongside the imperial conception of land that came with it; and Malcom Rio and Aaron Tobey examine the design of injustice in the case of the courthouse.
Seçil Binboga reframes the Mediterranean as a site of endless war through the lens of Theo Angelopoulos; Sara Jensen Carr confronts NASA’s spatial and cultural occupation of Hawai’i; Jade Kake recounts the Māori response to COVID-19 against the recovery efforts of colonial state power in New Zealand; Gabrielle Printz reconstructs “manpower” in the United States as a product of racial capitalism; and Andrew Wasserman dives into the political, economic, and ecologic entanglements of an underwater memorial to active service.
Jaffer Kolb guides us through the artificial and natural, real and imagined, human and other-than-human with Tommy Pico’s Nature Poem; Kelema Lee Moses confronts the ongoing tactics of imperial hospitality on the shores of Waikīkī; Diana Martinez considers the Philippine supermall as a fundamental physical and affective infrastructure of migration; and Ginger Nolan redirects Andrew Yang’s election-year policy proposal away from the individual and toward the urban.
Cruz Garcia and Nathalie Frankowski listen to the post-colonial loudreaders of Puerto Rico; Louise Hickman takes stock of the devices and affective labor involved in flying while disabled; Evan Kleekamp browses the “impaired commodities” of Emily Barker’s art; Jen Rose Smith traces Native resistance to seasonal salmon fisheries in coastal Alaska in the summer of COVID-19; and Francisco Quiñones looks behind Luis Barragán’s walls to consider the role of domestic labor in shaping Mexican modernism.
Patrick Jaojoco journeys to Tagaytay Highlands, the latest settler colonial development in the Philippines; Bo McMillan transports us to New York of yesterday; and Jacob R. Moore visits Countryside, The Future at the Guggenheim Museum.
Athena Do parses the design guidelines of the Development Handbook for the Tahoe Reno Industrial Center; Sameeah Ahmed-Arai refracts the Sipopo Congress Center in New Guinea, and the development discourse that structures it, through an anti-“anti-politics” lens; James Andrew Billingsley composes an alternative portrait of Greenland that is layered, complex, diverse, and rogue; and Romy Kießling considers whether private property rights might be a way of addressing climate change accountability.
Heather Davis evaluates alternate futures of carbon sequestration in a review of Holly Jean Buck’s After Geoengineering; Ignacio G. Galán offers some notes on representation and coalition-building in a review of Crip Camp: A Disability Revolution; and Gideon Fink Shapiro recounts stories about ornament in a review of Rayyane Tabet’s Arabesque at Storefront for Art and Architecture.
Thuto Durkac-Somo assembles an architecture of black theology; Jessica Ngan recounts the narrative of architecture and agriculture told at the Lisbon Architecture Triennale; Stephen Rustow considers what is at stake, now that the dust has settled, at the new Barnes Foundation designed by Tod Williams Billie Tsien Architects; and Alexander Wood pages through Michael Osman’s latest book, Modernism’s Visible Hand: Architecture and Regulation in America.
Timmah Ball confronts the harms and comforts of being included in the diversity economy; Zachary Blair contemplates the pain and profit of the grief economy at the National Pulse Memorial and Museum; and Maria Alejandra Linares scrutinizes the Disaster Recovery Reform Act in the context of a resilience economy that denies climate change.
Yara Saqfalhait traces the politics of material, labor, and craft through stone; Susanne Schindler surveys the stakes of housing policy today; Matthew Stewart locates architecture within the banality of WeWork’s algorithmic design; and Craig L. Wilkins leans, lifts, and turns through the Equal Justice Initiative’s National Memorial for Peace and Justice.
Tizziana Baldenebro adjudicates the pedagogical agenda of California’s Missions; Alison Brunn floats between the past and the present realities of Isle de Jean Charles; Margret Grebowicz surveys the exhaustion of environments in late capitalism through the mediations of mountaineering; and George Kafka reports on three experiments of community-led housing in London.
Caitlin Blanchfield and Nina Valerie Kolowratnik explore cartographies and counter-cartographies of surveillance in the Tohono O’odham Nation; Yuki Higashino retraces the transnational/transhistorical sprawl of the Bauhaus on display at HKW; Reinhold Martin entangles “Bjarke” and “Murdoch” in a Lower Manhattan lifeboat under construction; Daryl Meador embodies oil at Houston’s Weiss Energy Hall; Bart-Jan Polman dissects the historicist histrionics of the Netherlands’ Forum for Democracy; Pollyanna Rhee journeys between a special economic zone in Ireland and a retrospective of Kennedy Browne’s work at the Krannert Art Museum; Ivonne Santoyo-Orozco voices the neocolonial impact of Mexican president Andrés Manuel López Obrador’s Tren Maya; and Filipe de Sousa speculates on the individual, the collective, and the collection at NURTUREart’s Aesthetic Behavior; Developmental Sequences.
Oskar Johanson journeys to Gorda Cay to expose the counterfeit histories of Walt Disney imagineering; Marcell Hajdu renders the demand for spectacular imagery by Hungary’s current “illiberal” regime; Alex Tell touches down on various moments that elucidate the problems and possibilities of “air rights”; and Zoë Toledo erodes the disguise of the Indian New Deal on Navajo territory in the 1930s.
Kadambari Baxi moves between the Kochi-Muziris Biennale and Katowice Climate Summit; Jordan H. Carver crosses the boundary marked by Monument No. 1; Christian Ruhl explores what Tesla’s new Gigafactory 2 is doing in the Rust Belt; and Samuel Stewart-Halevy revisits the feudalisms of Trump Tower.
Charlette Caldwell parses the historiographical origins of the shotgun house; Miles Gertler restages the architectural precedents of Jeremy O Harris’s newest play, Daddy; darren patrick plots a non-conforming map from the High Line to Atlantide through two texts by Lucas Crawford; and Gabrielle Printz attends the world premiere of Frank Gehry: Building Justice.
Sophie L. Gonick considers the contemporaneity of “high-end blight” in lower Manhattan; James Graham road-trips to sites of coal’s current historicization; Bo McMillan follows the history of Cabrini-Green through a review of Ben Austen’s High-Risers: Cabrini-Green and the Fate of American Public Housing; and Ana Miljački enters historical portals opened by MoMA’s Toward a Concrete Utopia: Architecture in Yugoslavia 1948–1980.
Matthew Allen and Kian Hosseinnia appraise Log's reappraisal of phenomenology in architecture; Virginia Black reviews the Whitney's inclusion of Latinx art and indigeneity in Pacha, Llaqta, Wasichay; and Ujijji Davis contemplates the emergence and erasure of the Bottom.
Tei Carpenter zeroes in on what’s at stake in Designing Waste; Mimi Cheng choreographs a pas de deux between the Schindler House and Gerard + Kelly’s Modern Living; our 2018 Editorial Fellow Imani Day calls for “instigative design” in Detroit public schools; and Kevin Gotkin exposes the ableism at the heart of Heatherwick’s Vessel.
Óskar Örn Arnórsson dives into an alliance between fish and soccer at the start of the 2018 World Cup; Jordan H. Carver questions the point of the border wall as a design project; Patrick Linder meditates on the possibilities of designing “shalom”; Leah Meisterlin dismantles representations of the city #AfterRikers; and Lola San Miguel journeys along the main artery of a twenty-first-century colony.
Tizziana Baldenebro confronts the undervaluation of critical black female art and the Museum of Contemporary Art Chicago’s inclusionary curatorial practices; Elsa MH Mäki investigates the violent intersection of resource extraction, land ownership, and tribal sovereignty in the “man camp”; Kahira Ngige speculates on the megachurch and the urban implications of ecclesiastical architecture in Nairobi; and Sajdeep Soomal situates family history within the colonial orders of Ontario and the Punjab.
Maroš Krivý and Leonard Ma reassess the livability of Jan Gehl’s livable city; Lina Malfona circles the origins of Apple architecture; Silas Martí tracks the fate of Lina Bo Bardi’s contested Teatro Oficina; and Ife Vanable evaluates the middle in two Mitchell-Lama projects.
Peder Anker and Nina Edwards Anker review Design Earth’s Geostories; Amelia Borg and Timothy Moore follow grey nomads in Australia; Shaka McGlotten takes their turn at intergenerational queer pedagogies; and Hamed Khosravi broadcasts from the world’s smallest micro-nation.
Nicholas Gamso responds to Bansky’s appropriation of Basquiat; Sarah Hirschman visits Columbus and watches Columbus; Albert José-Antonio López asks for whom LACMA’s Found in Translation is translated; and Samaneh Moafi investigates Kayson Inc.’s production of housing in Iran, Venezuela, and Iraq.
Joe Day constructs a discursive map of Hal Foster’s Bad New Days; Swarnabh Ghosh reevaluates planetary urbanization and rurality; Jacob R. Moore disputes CLOG’s latest issue on guns; and N. Claire Napawan, Ellen Burke, and Sahoko Yui argue for an ecofeminist approach to sustainability.
Kevin Block takes a Harvard-designed online course on architectural theory; Brendan Cormier watches Frank Gehry’s MasterClass; and Yuki Higashino moves through episodes of Martin Beck’s Program.
Shelby Doyle and Leslie Forehand argue for the “spinster” as a figure of feminist digital craft; Adam Longenbach surveys the “sixth façade” and the architecture of the aerial view; Shota Vashakmadze contemplates the sod house on the prairie; and Joseph M. Watson asks the question of who Frank Lloyd Wright’s “Usonia” was designed for.
Karen Abrams attempts to dislodge “placemaking” from architectural vocabularies; Galen Pardee reports on Myanmar’s new capital; and Camila Reyes Alé weighs the possibility of a dissident practice in architecture.
Jordan Geiger tracks technologies of incarceration; Joy Knoblauch speculates on the possibility of designing discomfort; and the Architecture Lobby responds to the AIA with an essay from Peggy Deamer, Keefer Dunn, and Manuel Shvartzberg Carrió.
Rebecca Choi revisits the legacy of the Black Panthers in All Power to the People; Wade Cotton and Isabelle Kirkham-Lewitt probe people-producing machines; Robin Hartanto Honggare traces the policing of political assembly in Singapore; and Nicole Lambrou questions what is sustained at Hudson Yards.
Ananya Roy expands on “Divesting from Whiteness”; Laura Kunreuther asks what democracy sounds like; Ann Lui contemplates belonging in After Belonging; Alexandra Délano Alonso advocates for sanctuary; Teddy Cruz and Fonna Forman map the many borders beyond the wall; Manuel Shvartzberg Carrió reads Trump through Schumacher; Shela Sheikh translates Geontologies; Anooradha Iyer Siddiqi historicizes Insecurities at MoMA; Rachel Weber reports on Trump International Hotel & Tower.
Jesse Connuck revives an essential guide to American manners; Keith Krumwiede constructs an architectural fiction on ways of living; Karen Kubey poses questions to BIG's Via 57 West; and Claudia Marina converses with residents of David Adjaye's Sugar Hill Project.
Jordan H. Carver drives to Spiral Jetty; Jordan Hicks revisits the Renaissance Center by way of techno; Gina Morrow dives into underwater archeology; and Jonathan D. Solomon reconstructs the James R. Thompson Center.
Caitlin Blanchfield charts the construction of modernity with a field guide in hand; McLain Clutter explores ruin porn; Marcelo López-Dinardi reflects on architecture’s political project at the biennale; and Vera Sacchetti tours the new Fondaco dei Tedeschi.
Cameron Cortez exposes state cleanliness campaigns in two Olympic cities; Millay Kogan and Marcus Owens consider how the tactics of adverse possession can be an act of urban protest; Catherine Seavitt Nordenson recasts Roberto Burle Marx as an ecological modernist; and Francesco Sebregondi delves into the paranoid futures of J.G. Ballard’s High-Rise.
Amale Andraos asks how climate change might redefine the discipline of architecture; Deborah R. Coen looks to Hapsburg geography and the origin of the term "ecology"; Eva Horn discusses a long history of controlling climate through the evolution of air conditioning; Reinhold Martin traces the imbricated forms of financial and environmental risk in the Bank of America building; Emily Eliza Scott examines the visual culture of climate change; and Felicity D. Scott finds the neoliberal developmentalism latent in intergalactic settlement.
Adrian Lahoud looks at architecture through the analogy of the trap; Heather Davis intimately encounters the molecular; Dehlia Hannah and Cynthia Selin ponder the sartorial implications of a changing climate; Daniel Barber explores the scales of architectural history; and Caitlin Blanchfield reports from the droneodrome.
Catherine Seavitt Nordenson parses the magical realism of the Pope's encyclical; Shantel Blakely muses on Philippe Rahm's sentimental meteorology; Rahm writes on conduction; Ross Adams unpacks Rebuild by Design; Max Holleran reports on new Andean architecture; and Jordan Carver interrogates a Laura Poitras exhibition.
Studio Gang probes deep sea mapping and the Clarion-Clipperton Fracture Zone; Casey Mack takes on Niklas Maak’s Living Complex; Meredith Miller reports from the platisphere on post-rock architecture; Gökçe Günel inhabits Masdar; Paul Dallas ruminates on film, landscape, and Peter Bo Rappmund's Topophilia; and Sam Holleran goes to Grace Farms.
Srjdan Weiss covers the Parrish Art Museum; Vera Sacchetti reports on HdM in Basel; Jacob Moore speaks personally about the AIDS Memorial in New York City; and Rania Ghosn and El Hadi Jazairy review Latour's Gaïa Global Circus.
Enrique Ramirez shares a few spoiler alerts from McLain Clutter's Imaginary Apparatus; Léopold Lambert considers the corridor and the politics of immurement; Swanarbh Ghosh reads Charles Correa by way of Buckminster Fuller; and Jordan Carver reports from Michael Jackson's childhood home.
Todd Palmer discusses the Obama library and civic bidding; Sam Jacob clutters Miesian space; Sarah Whiting explores the multi-scalar neighborhood; Thomas Kelley tours Frank Lloyd Wright; Sarah Dunn and Martin Felsen ask more of landscape infrastructure; Catherine Fennell and Daniel Tucker question the making of place; and Alissa Anderson loiters in a lesser known imaginary.
Marina Otero Verzier reads the Serpentine Pavilion-as-café; V. Mitch McEwen and Ana Paula Pimentel Walker look at two museums for pre-Olympic Rio; Claudia Gastrow unpacks the “slum”; Jing Liu reports from the Ábalos & Herreros archive; James Graham reviews the reviews of the Whitney Museum; and Cristina Goberna and Urtzi Grau write a letter on the competition climate.
Hollyamber Kennedy reviews Harun Farocki and Antje Ehmann's Labor in a Single Shot; Daniel Fernández Pascual and Alon Schwabe send a dispatch from Bacardí's Bermuda headquarters; Hélène Frichot and Helen Runting theorize the indebted woman; Peggy Deamer questions the Guggenheim Helsinki competition; and Albert José-Antonio López reviews Latin America in Construction at MoMA.
Susanne Schindler writes a belated review from the Bronx; Jake Matayaou looks at “Thinking the Future of Auschwitz”; Ahmad Makia reads Dubai as an island-city-state; and Anna Puigjaner and Guillermo López examine Waldenmania and the rhetoric of Ricardo Bofill.
McKenzie Wark finds the underside of SimCity; Elis Mendoza undoes the alchemy of Miguel Argonés's La Palma house; Mario Gooden explains the problem of the African American museum; Irene Sunwoo reviews “Drawing Ambience: Alvin Boyarsky and the Architectural Association”; and Fred Scharmen probes the topology of Interstellar.
Edward Eigen excises ecology envy from architecture; Neeraj Bhatia examines the politics of the Atlantic's City Lab conference; Samuel Stewart-Halevy dismantles the scrim from an LA warehouse; and Bryony Roberts looks for dissent in agonistics.
Barry Bergdoll, Hal Foster, and Keller Easterling reflect on the Venice Biennale; Nina Power reviews Pornotopia; Isabel Abascal reads the sacred architecture of Solomon's Temple in São Paulo; and Jacob Moore looks at 432 Park Avenue through a square lens.
Laura Diamond reads a history of Gulf labor in the architecture of the 2022 World Cup; Mimi Zeiger follows a field guide through Greene and Greene's Gamble House; Leah Meisterlin leaves Tony Hsieh's downtown Las Vegas unsettled and uncertain; and Caitlin Blanchfield reports from a luxury townhouse on Rockaway beach.
Boris Groys writes on self-design and public space; Diana Martinez reviews Postcolonial Theory and the Specter of Capital; Ana María León watches Foster and Romero's video for the Mexico City airport; Jordan Carver reflects on the 9/11 Memorial Museum; Stephen Rustow comments on the MoMA/Folk Art debate; and Raphael Sperry sends a dispatch from the San Quentin State Prison.
Amale Andraos examines cartography and Koolhaasian “bigness”; Georges Teyssot reviews that thing we call “nature”; Owen Hatherley visits three typologies of the national library; Ginger Nolan reads Andro Linklater’s recent book on land ownership (with a detour to Zaha Hadid’s Galaxy SOHO); Carson Chan recasts the monumental in the work of Aleksandra Domanović; and James Graham essays on essaying.