DOCSLIB.ORG

Denise Scott Brown: Wayward Eye

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Denise Scott Brown: Wayward Eye Denise Scott Brown: Wayward Eye Betts Project Pigeons of Piazza San Marco, Venice 1956 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “Robert [Scott Brown] and his father had a hobby of doing photography together, with an old Leica. Robert had the skill to develop black and white photographs. When we went to Venice for CIAM Summer School we fell in with another American architect, Lou Sauer, and his wife Liz. We were all in love with the pigeons and we have a postcard that says Coca Cola in pigeons. We used to go to Piazza San Marco with the elder architects from the conference, people like Franco Albini and Ignazio Gardella. Gardella could stand there, suddenly swoop down, pick up a pigeon and launch it. That’s a real Venetian skill. I observed the pigeons with their wings out and thought they were marvelous. I had the idea of photographing them. In Piazza San Marco we got in the middle of those pigeons and photographed them, we had very fast film, you actually see their wing curling round. You could see a pigeon as a Perret Bridge, with its wings out, like an engineering structure. Then we accidentally inverted the image, getting the negative turned around as the positive slide was made.” Lagoon, Venice 1956 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “We were on a boat because gondolas were too expensive and so were gondalettos. The whole time we were there we didn’t ride anything but a traghetto. CIAM hired them to take us around so we went on them often. You would stand and wobble. So here we’re photographing as we’re going somewhere the school was taking us. I love this view — you’ll see it in my photography showing the approach to Philadelphia and New York and other places. It’s also a comment on what became very important later: vast space. How do you design in vast space? Here is a vast space, and here are the lines defining where you should look in the vast space, and at the end is a vista. In Venice it’s San Marco. In Las Vegas it’s a sign twenty-two stories high that you can see from the air. And in Egypt it’s the Pyramids.” Pico Boulevard, Santa Monica 1966 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “I was getting to know my surroundings in Santa Monica, where I was living up in Ocean Park. I’d get going with my camera and just walk. Eventually you approach the main part of Santa Monica and Pico Boulevard is on this edge. It’s a long street that goes all the way into Los Angeles, a kind of everyday strip serving this village of Santa Monica. This photograph is about viewing the everyday landscape. We had later, in Learning from Las Vegas, many different ideas about how you map what you see. At this point, I was building up my data by photographing what I loved. I’d read The Image of the City and The View From the Road and all of those things about seeing, and I’d already written my article called ‘Meaningful City.’ What they all discuss is how you actually see. What I’m interested in — and I was made this way partly by Dave Crane — is what you perceive and understand from what you see. If you study Camillo Sitte and apply it to the Strip, it’s the same principle. You see things from afar and they guide you. Los Angeles freeways will sometimes have a line for a mile and at the end will be a billboard, which is like Sitte — like his church tower — pulling you to it to tell you something. Billboards are contraptions made for a purpose, and the purpose is to be readable. They’re set on steel supports and shaped so you see them differently from each side and you can see the supports inside. If you think of it not as oppression or persuasion, a billboard is as much a contraption as a camera.” Industrial Romanticism, Los Angeles 1966 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “This is Los Angeles, and it’s probably the Santa Monica Freeway. There’s a small red car in the forefront. I love to have a small red car in my photographs. There are also pylons, which are part of the industrial landscape, and then right under them, houses much smaller than you find in Philadelphia. Some of them are rural scale, like little farmhouses. And they live happily among all these pylons. Then you get this huge speed and scale of the whole thing. It is world-scale. They belong together, in Orange County, near an orange orchard maybe. I love that picture. ” Totemic Surfboards, Santa Monica 1966 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “When you exited my cottage, you turned right and got to the Pacific Ocean. I would do my supermarket shopping by walking along the beach barefoot. It was really very nice, this teeny little cottage. As I walked along toward Santa Monica Pier, I went by Muscle Beach and on Sundays families would go there. I was intrigued by these people throwing balls in the air, sometimes fathers with little babies, doing acrobatics together. These are my totems, surfboards and sérci of the gondola facing that way and this way. I loved the blue and the beach and these totems, and then the people make a very good foil. Look at their positions and the way they’re focusing, and someone’s possessions completing the composition.” Again, it’s forms that have meaning, and what are these forms, what do the forms of surfboards mean? They’ve been made as if they are totem poles. And the palm trees look like totem poles too.” Las Vegas, Architettura Minore on The Strip 1966 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “That’s one of my very favorite photographs from Las Vegas and it’s one of the first I took. The very permanent mountains are visible in back, and there is a blue Mediterranean sky that’s neither in Athens nor in Las Vegas. I look at this and think, do you love it or do you hate it? Then I’m reminded that Greek architecture, although I love the Pentelic marble, was brightly painted. So the picture recalls brightly painted, primary-colored Greek temples and their columns. Look at the business of this. I’m sure if you’re looking for a motel you’ll find one in there — you won’t be mistaken and turn into a gas station. The road signs are really small but they’re repeated shapes. They’re square, intense, with strong white arrows. You sure as hell know some are road signs and others are inviting you in. So you understand this environment, even if people think you won’t. For me, it’s a photograph that pulls everything together. Do I hate it or do I love it? I just shoot it.” (No) Vacancy, Las Vegas Before end of 1968 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “That’s on The Strip in Las Vegas. It went along with some other signs, and it looks to me as if I didn’t quite get all I wanted there. The sign is quite small but look how bright it is, even though it’s very thin lettering. You get the back ends of cars sticking out and this big parking lot, so hot it shines. This blue sky faded, and this sign — it’s just perfect. The scale’s not really very big, and the No is turned off; they had vacancy. I photographed all sorts of interesting signs. One said, Ask Us Anything — another said Aspirin Available — another, Wedding Chapel / Credit Cards Accepted. They’re full of irony. Someone should do a doctoral dissertation on words in signs. The best sonnet I found was for a West Philadelphia car body shop: O. R. Lumpkin, Body and Fender Straightening, Wrecks Our Specialty, We Take The Dent Out Of Accident.” La Concha Motel, Las Vegas Before end of 1968 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “That is a Paul Revere Williams. He’s a modernist and he finds a way to make parabolic arches iconic. It’s clever and elegant. He doesn’t lose his probity as a modernist, though some people would say he did. Up above is another shell, a container for some rather spectacular self-made fonts. I love these curves; what modernist doesn’t? I love the way they’re used for another purpose, a very vulgar purpose: making a sign in Las Vegas. In the photograph, I’m trying to show a group of signs and that there’s no space between them. I’m trying to show what happens at night. I took all of these to- gether to show that, at a certain point, there’s no sense of space at all. And that’s interesting in itself.” Signs, Las Vegas Before end of 1968 Pigment print. Printed 2018 Ed. of 10 45.5 x 30.3 cm (framed) Hand signed “I’d been looking at art galleries and Tintoretto and Mannerist space.
Load more

Recommended publications
  • Remembering Robert Venturi, a Modern Mannerist
    The Plan Journal 4 (1): 253-259, 2019 doi: 10.15274/tpj.2019.04.01.1 Remembering Robert Venturi, a Modern Mannerist In Memoriam / THEORY Maurizio Sabini After the generation of the “founders” of the Modern Movement, very few architects had the same impact that Robert Venturi had on architecture and the way we understand it in our post-modern era. Aptly so and with a virtually universal consensus, Vincent Scully called Complexity and Contradiction in Architecture (1966) “probably the most important writing on the making of architecture since Le Corbusier’s Vers une architecture, of 1923.” 1 And I would submit that no other book has had an equally consequential impact ever since, even though Learning from Las Vegas (published by Venturi with Denise Scott Brown and Steven Izenour in 1972) has come quite close. As Aaron Betsky has observed: Like the Modernism that Venturi sought to nuance and enrich, many of the elements for which he argued were present in even the most reduced forms of high Modernism. Venturi was trying to save Modernism from its own pronouncements more than from its practices. To a large extent, he won, to the point now that we cannot think of architecture since 1966 without reference to Robert Venturi.2 253 The Plan Journal 4 (1): 253-259, 2019 - doi: 10.15274/tpj.2019.04.01.1 www.theplanjournal.com Figure 1. Robert Venturi, Complexity and Contradiction in Architecture (London: The Architectural Press, with the Museum of Modern Art, New York, 1977; or. ed., New York: The Museum of Art, 1966).
    [Show full text]
  • Allen Memorial Art Museum Teacher Resource Packet - AMAM 1977 Addition
    Allen Memorial Art Museum Teacher Resource Packet - AMAM 1977 Addition Robert Venturi (American, 1925 – 2018) Allen Memorial Art Museum Addition¸ 1977 Sandstone façade, glass, brick. Robert Venturi was an American architect born in 1925. Best known for being an innovator of postmodern architecture, he and his wife Denise Scott Brown worked on a number of notable museum projects including the 1977 Oberlin addition, the Seattle Museum of Art, and the Sainsbury addition to the National Gallery in London. His architecture is characterized by a sensitive and thoughtful attempt to reconcile the work to its surroundings and function. Biography Robert Venturi was born in 1925 in Philadelphia, PA, and was considered to be one of the foremost postmodern architects of his time. He attended Princeton University in the 1940s, graduating in 1950 summa cum laude. His early experiences were under Eero Saarinen, who designed the famous Gateway Arch in St. Louis, and Louis Kahn, famous for his museum design at the Kimbell Art Museum in Texas and at Yale University. The AMAM addition represents one of Venturi’s first forays into museum design, and was intended to serve as a functional addition to increase gallery and classroom space. Allen Memorial Art Museum, Oberlin College For Educational Use Only 1 Venturi was also very well known for his theoretical work in architecture, including Complexity and Contradictions in Architecture (1966), and Learning from Las Vegas (1972). The second book presented the idea of the “decorated shed” and the “duck” as opposing forms of architecture. The Vanna Venturi house was designed for Venturi’s mother in Philadelphia, and is considered one of his masterworks.
    [Show full text]
  • From Lasvegas
    .c .~ OJ ~ ~ <Il ~ u [) o >­ --~----- -- r t'11 >­ ~ ,....z z o "'!j ~ ~ r >­C/l <: M Copyright ©1977, 1972 by ~ The Massachusetts Institute of Technology C/l Originally published as Learning from Las Vegas <: All rights reserved. No part of this book may be reproduced in any form or by any means, eke­ i1> tronic or mechanical, including photocopying, recording, or by any information storage and re­ ::l LEARNING trieval system, without permission in writing from the publisher. =.2 V! 8 >: b:I Library of Congress Cataloging in Publication Data 3 ,>. Venturi, Robert. ::l FROM Learning from Las Vegas. ,... N i1> Bibliography: p. ::l o 1. Architecture-Nevada-Las Vegas. 2. Symbolism in architecture. I. SCOtt Brown, Denise, C.., 1931- ,joint author. II. Izenour, Steven, joint author. III. Tide. NA735.L3V4 1977 720'.9793'13 77-1917 ISBN 0·262·72006-X (paperback) LAS VEGAS 20 Revised Edition 11111\1. Robert Venturi Denise Scott Brown Steven Izenour OJ ,­ J::"' (l) -l-J 01: ..... u Ql " ~ 4 LEARNING FROM LAS VEGAS THE ARCHITECTURE OF THE STRIP 35 lot required along the Strip because interaction is by car and highway. distances between buildings; because they are far apart, they can be {ou drive from one casino to another even when they are adjacent be­ comprehended at high speeds. Front footage on the Strip has not yet ause of the distance between them, and an intervening service station reached the value it once had on Main Street, and parking is still an ap­ ; not disagreeable. propriate filler. Big space between buildings is characteristic of the Strip.
    [Show full text]
  • Protecting Postmodern Historicism: Identification, Ve Aluation, and Prescriptions for Preeminent Sites
    University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 2013 Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Jonathan Vimr University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Vimr, Jonathan, "Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites" (2013). Theses (Historic Preservation). 211. https://repository.upenn.edu/hp_theses/211 Suggested Citation: Vimr, Jonathan (2013). Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/211 For more information, please contact [email protected]. Protecting Postmodern Historicism: Identification, vE aluation, and Prescriptions for Preeminent Sites Abstract Just as architectural history traditionally takes the form of a march of styles, so too do preservationists repeatedly campaign to save seminal works of an architectural manner several decades after its period of prominence. This is currently happening with New Brutalism and given its age and current unpopularity will likely soon befall postmodern historicism. In hopes of preventing the loss of any of the manner’s preeminent works, this study provides professionals with a framework for evaluating the significance of postmodern historicist designs in relation to one another. Through this, the limited resources required for large-scale preservation campaigns can be correctly dedicated to the most emblematic sites. Three case studies demonstrate the application of these criteria and an extended look at recent preservation campaigns provides lessons in how to best proactively preserve unpopular sites.
    [Show full text]
  • NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents
    NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 Contents 1 Message from the Chair The National Building Museum explores the world and the Executive Director we build for ourselves—from our homes, skyscrapers and public buildings to our parks, bridges and cities. 2 Exhibitions Through exhibitions, education programs and publications, the Museum seeks to educate the 12 Education public about American achievements in architecture, design, engineering, urban planning, and construction. 20 Museum Services The Museum is supported by contributions from 22 Development individuals, corporations, foundations, associations, and public agencies. The federal government oversees and maintains the Museum’s historic building. 24 Contributors 30 Financial Report 34 Volunteers and Staff cover / Looking Skyward in Atrium, Hyatt Regency Atlanta, Georgia, John Portman, 1967. Photograph by Michael Portman. Courtesy John Portman & Associates. From Up, Down, Across. NATIONAL BUILDING MUSEUM ANNUAL REPORT 2003 The 2003 Festival of the Building Arts drew the largest crowd for any single event in Museum history, with nearly 6,000 people coming to enjoy the free demonstrations “The National Building Museum is one of the and hands-on activities. (For more information on the festival, see most strikingly designed spaces in the District. page 16.) Photo by Liz Roll But it has a lot more to offer than nice sightlines. The Museum also offers hundreds of educational programs and lectures for all ages.” —Atlanta Business Chronicle, October 4, 2002 MESSAGE FROM THE CHAIR AND THE EXECUTIVE DIRECTOR responsibility they are taking in creating environmentally-friendly places. Other lecture programs, including a panel discus- sion with I.M. Pei and Leslie Robertson, appealed to diverse audiences.
    [Show full text]
  • Blueprintsvolume XXVII, No
    blueprintsVolume XXVII, No. 1–2 NATIONAL BUILDING MUSEUM In Between: The Other Pieces of the Green Puzzle in this issue: HEALTHY Communities, GREEN Communities Word s ,Word s ,Word s Winter & Spring 2008/2009 The Lay of the Landscape Annual Report 2008 in this issue... 2 8 13 18 19 21 23 In Between: The Other Pieces of the Green Puzzle The exhibition Green Community calls attention to important aspects of sustainable design and planning that are sometimes overshadowed by eye-catching works of architecture. The environmental implications of transportation systems, public services, recreational spaces, and other elements of infrastructure must be carefully considered in order to create responsible and livable communities. This issue of Blueprints focuses on the broad environmental imperative from the standpoints of public health, urban and town planning, and landscape architecture. Contents Healthy Communities, ! 2 Green Communities M Cardboard Reinvented Physician Howard Frumkin, of the Centers for Disease Cardboard: one person’s trash is another Control and Prevention, brings his diverse expertise as B an internist, an environmental and occupational health N person’s decorative sculpture, pen and pencil expert, and an epidemiologist to bear on the public health holder, vase, bowl, photo and business card holder, above: Beaverton Round, in suburban Portland, Oregon, was built as part of the metropolitan area’s Transit-Oriented Development Program. implications of community design and planning. p Photo courtesy of the American Planning Association and Portland Metro. stress toy, or whatever you can imagine. Bring out your o Creating Sustainable Landscapes creativity with these durable, versatile, eco-friendly LIQUID h CARDBOARD vases that can be transformed into a myriad from the executive director 8 In an interview, landscape architect Len Hopper discusses s his profession’s inherent commitment to sustainability and of shapes for a variety of uses in your home.
    [Show full text]
  • Robert Indiana
    ROBERT INDIANA Born in New Castle, Indiana in 1928 and died in 2018 Robert Indiana adopted the name of his home state after serving in the US military. The artist received his BFA from the School of the Art Institute of Chicago in 1954 and following the advice of his friend Ellsworth Kelly, he relocated to New York, setting up a studio in the Coenties Slip neighborhood of Lower Manhattan and joined the pop art movement. The work of the American Pop artist Robert Indiana is rooted in the visual idiom of twentieth-century American life with the same degree of importance and influence as Andy Warhol and Roy Lichtenstein. As a self-proclaimed “American painter of signs” Indiana gained international renown in the early 1960’s, he drew inspiration from the American road and shop signs, billboards, and commercial logos and combined it with a sophisticated formal and conceptual approach that turned a familiar vocabulary into something entirely new, his artworks often consists of bold, simple, iconic images, especially numbers and short words like “EAT”, “HOPE”, and “LOVE” what Indiana called “sculptural poems”. The iconic work “LOVE”, served as a print image for the Museum of Modern Art ‘s Christmas card in 1964 and sooner later the design became popular as US postage stamp. “LOVE” has also appeared in prints, paintings, sculptures, banners, rings, tapestries. Full of erotic, religious, autobiographical, and political undertones — it was co-opted as an emblem of 1960s idealism (the hippie free love movement). Its original rendering in sculpture was made in 1970 and is displayed in Indiana at the Indianapolis Museum of Art.
    [Show full text]
  • Seven to Receive Honorary Degrees UM Sweeps CASE Awards
    VERITAFor the Faculty and Staff of the University of Mi: March-April 1997 VolumSe 39 Number 6 Seven to receive honorary degrees oted architects Denise Scott sy-nthesis of nucleic acids. He is the Bethune-Cookman College and Florida affiliated with a number of the great Brown and Robert Venturi. a recipient of numerous other awards, Memorial College, chairman emeritus medical institutions in the United Nhusband-wife team, will be including the Max Berg Award for Pro­ of the United Protestant Appeal, and States, including Cornell Medical Col­ honored at this year's Commencement longing Human Life and the Scientific vice president of the Black Archives lege, the Mayo Clinic, and the Univer­ on May- 9, along with a host of famous Achievement Award of the American Research Foundation. Among his many- sity of Pittsburgh. His books and achievers including Sarah Caldwell; Medical Association. honors are the Greater Miami Urban teachings have influenced the way mil­ William H. Gray III; a\rthur Romberg; Garth C. Reeves, reporter, editor, League's Distinguished Service Award, lions of children were raised. Garth C. Reeves, Sr.; and Benjamin publisher, banker, entrepreneur, and the American Jew-ish Committee's Robert Venturi. a Philadelphia McLane Spock. In addition to receiving community activist, attended Dade Human Relations Award, the Boy- native, graduated from Princeton Uni­ an honorary- doctorate. Reeves will County Public Schools and received Scouts Silver Beaver award and the Sil­ versity. His firm. Venturi, Scott Brown deliver the Commencement address. his bachelor's degree from Florida ver Medallion of the National Confer­ and Associates, Inc., has made its mark Denise Scott Brow-n, a principal A&M College.
    [Show full text]
  • The Things They've Done : a Book About the Careers of Selected Graduates
    The Things They've Done A book about the careers of selected graduates ot the Rice University School of Architecture Wm. T. Cannady, FAIA Architecture at Rice For over four decades, Architecture at Rice has been the official publication series of the Rice University School of Architecture. Each publication in the series documents the work and research of the school or derives from its events and activities. Christopher Hight, Series Editor RECENT PUBLICATIONS 42 Live Work: The Collaboration Between the Rice Building Workshop and Project Row Houses in Houston, Texas Nonya Grenader and Danny Samuels 41 SOFTSPACE: From a Representation of Form to a Simulation of Space Sean tally and Jessica Young, editors 40 Row: Trajectories through the Shotgun House David Brown and William Williams, editors 39 Excluded Middle: Toward a Reflective Architecture and Urbanism Edward Dimendberg 38 Wrapper: 40 Possible City Surfaces for the Museum of Jurassic Technology Robert Mangurian and Mary-Ann Ray 37 Pandemonium: The Rise of Predatory Locales in the Postwar World Branden Hookway, edited and presented by Sanford Kwinter and Bruce Mau 36 Buildings Carios Jimenez 35 Citta Apperta - Open City Luciano Rigolin 34 Ladders Albert Pope 33 Stanley Saitowitz i'licnaei Bell, editor 26 Rem Koolhaas: Conversations with Students Second Editior Sanford Kwinter, editor 22 Louis Kahn: Conversations with Students Second Edition Peter Papademitriou, editor 11 I I I I I IIII I I fo fD[\jO(iE^ uibn/^:j I I I I li I I I I I II I I III e ? I I I The Things They've DoVie Wm.
    [Show full text]
  • A Field Guide to Gas Stations in Texas
    Historical Studies Report No. 2003-03 A Field Guide to Gas Stations in Texas By W. Dwayne Jones A Field Guide to Gas Stations in Texas by W. Dwayne Jones Prepared For Environmental Affairs Division Historical Studies Report No. 2003-3 Prepared by Knight & Associates October 2003 A Field Guide to Gas Stations in Texas Copyright © 2003 by the Texas Department of Transportation (TxDOT) All rights reserved. TxDOT owns all rights, title, and interest in and to all data and other information developed for this project. Brief passages from this publication may be reproduced without permission provided that credit is given to TxDOT and the author. Permission to reprint an entire chapter or section, photographs, illustrations, and maps must be obtained in advance from the Supervisor of the Historical Studies Branch, Environmental Affairs Division, Texas Department of Transportation, 118 East Riverside Drive, Austin, Teas, 78701. Copies of this publication have been deposited with the Texas State Library in compliance with the State Depository requirements. For further information on this and other TxDOT historical publications, please contact: Texas Department of Transportation Environmental Affairs Division Historical Studies Branch Lisa J. Hart, Supervisor Historical Studies Report No. 2003-3 Bruce Jensen, Series Editor Editing and production of this report was directed by Knight & Associates 3470 Jack C. Hays Trail Buda, Texas 78610 ISBN 1-930788-51-7 A Field Guide to Gas Stations in Texas Table of Contents Introduction . 1 Looking at Gas Stations . 11 1910-1920: Drive-Up Gas Stations . 23 1920-1930: Full Service / Corporate Identification Gas Stations . 33 1930-1940: Machine Made / Streamlined – The Depression Era .
    [Show full text]
  • React/Review | Volume 1 13
    react/review | volume 1 13 Outside of Architecture: Between Mediating and Navigating the Air Katarzyna Balug Air is the physical connection between us and our environment, transmitting our sense experience of light, heat, sound, taste, smell and pressure. But its very transparency prevents us from observing its continuous transformations. Atmosfields and pneumatic environments aim to reveal the aesthetic of air, both in the natural states which make up the atmosphere and by using thin membranes to manifest their motions and forces, in order to extend and change our direct experience of air and our relation to our atmospheric environment. – Graham Stevens1 Reveal, make manifest, extend, and relate: English artist Graham Stevens was uniquely articulate in capturing, in words and structures, the capacity of the inflatable form to condition the human’s relationship with her environment. Throughout 1960s Western Europe and the United States, young architects and artists like Stevens adopted the materials and aesthetics of the lunar Space Race to create immersive air-filled environments especially attuned to Earth. However, there was a significant difference in the operating logics of space structures and the Earth-bound forms they informed. While the pursuit of spaceflight had, since the mid-nineteenth century, emphasized the keeping out of the environment and the production of an artificial, fully controlled and enclosed atmosphere, inflatable architectures invited the outside in. These forms continually registered and mediated the relationship 1 Graham Stevens, “Pneumatics and Atmospheres,” Architectural Digest, no. 3 (1972): 166. react/review | volume 1 51 between circulating air and the plastic membrane, which together formed a structure without rigidity, and the body that occupied the resulting space.
    [Show full text]
  • Forumjournal Fall 2011 | Vol
    ForumJournal FALL 2011 | VOL. 26 NO. 1 Protecting the Place ForumJournal Contents NATIONAL TRUST FOR HISTORIC PRESERVATION FALL 2011 | VOL. 26 NO. 1 STEPHANIE K. MEEKS President DAVID J. BROWN Executive Vice President Preservation Heroes’ Ongoing Fight and Chief Preservation Officer TABITHA ALMQUIST to Protect Mount Taylor Chief of Staff JERRY ROGERS ........................................ 3 DAVID COOPER Chief Development Officer PAUL EDMONDSON Interview: How the Wilderness Battlefield Chief Legal Officer and General Counsel Coalition Faced Down Walmart ROSEMARIE RAE KERRI RUBMAN ........................................ 11 Chief Financial and Administrative Officer TERRY RICHEY Thinking about Shrinking Chief Marketing Officer ROYCE YEATER . .21 NATIONAL TRUST FORUM VALECIA CRISAFULLI Vice President, Partnerships “Moving Modern”: Modern Architecture SUSAN WEST MONTGOMERY as “Moveable” Heritage Director, Information and Technology MARY KAY JUDY ...................................... 27 ELIZABETH BYRD WOOD Content Manager KERRI RUBMAN Assistant Editor Miami Marine Stadium: Making MARY BUTLER Creative Director the Case for Exceptional Significance AMY VAINIERI JORGE L. HERNANDEZ ................................. 36 Graphic Designer Protecting the Neighborhood: Historic Preservation and Community Development TRENT NICHOLS ....................................... 41 The National Trust for Historic Preservation ON THE COVER: Miami Marine Stadium, Miami, Fla. works to save America’s historic places for the next generation. We take direct, on-
    [Show full text]