Around the turn of the century in Olmütz, a small town in the Czech Republic, (known as Olomouc in present day) a Jewish community flourished. With its impeccable examples of Gothic and Baroque architecture and connection to the Hapsburg Empire, it was known as the “Moravian Rome”. However, its young people were increasingly turning to cosmopolitan Vienna for intellectual stimulation. When the onset of World War I sent many of them home to Olmütz, they tried to maintain that high level of cultural exchange they had experienced in the Kaiserstadt.
By Bansie Vasvani
Built, World investigates architecture and structural forms as articulations of injustice and longing. For some artists, freedom from oppression is expressed through their constructed worlds, while the impact of loss and displacement reverberate through some of the strongest works in the show.
By Krystina Mierins
In March 2015, the Carnegie Museum of Art announced that Ingrid Schaffner will curate the next Carnegie International (CI), the second oldest survey of contemporary art in the world. Over the next three years, Schaffner will attempt the Herculean task of assessing and distilling contemporary art from around the globe. Of particular interest is the Hall of Sculpture, a room that has proven to be highly appealing to artists and curators, but is riddled with challenges.
By Krystina Mierins and Carrie Paterson
Gregor Schneider’s Die Familie Schneider is part haunted house, part palimpsest, an installation shown originally in two doppelgänger East London counsel flats, and which has now been compiled into an illustrated book. The lauded German artist, who has made his name building claustrophobic rooms, has a secret—and he’s not telling.
Interview by Anne Hars
A founder of Sci-Arc, Glen Small is “one of the dear eccentrics of American architecture … and an early leader in the movement for green building,” according to Michael Sorkin. In a series of email exchanges with Anne Hars, Small sheds light on present conditions of urbanity and ecological crisis through a brief lesson on the megastructure movement in architecture.
By Martina Dolejsova
Kyong Park’s project 24260 Fugitive House has been an exploration into the nature of Detroit as a “white flight” city, as well as the destruction and devaluation of homes. House 24260 needed to escape before it was next.
By Seth Hawkins
In a city with the motto “Keep Austin Weird,” The Austin Contemporary—known for its avant-garde, edgy programming—has renovated its flagship, the Jones Center. From January through March 2014, the Jones Center hosted artist Charles Long’s massive collaborative installation “CATALIN,” a true Gesamtkunstwerk combining sculpture, music, scent, light, kinetics, video, theater, and new technology into one spectacle.
By David Pasek
“Terrestrial architecture must learn from extra-terrestrial architecture” says space architect David Nixon, “as today’s architecture consumes pure products and leaves waste.” Nixon reminds today’s architects to concentrate on the basic human needs; for example, on housing concepts that could be erected in disaster areas within hours. He also dislikes architecture that reduces the task to formal questions.
Architecture … is truly a fine art when its capabilities are once understood, when its true nature is once known, when its plasticity, its power for eloquence, its dramatic, its lyric resources, its fluency of expression are once grasped by the mind and the heart.