WHAT'S THE FREQUENCY, KENNETH?

  • Retrospecta, the Yale School
    of Architecture's annual review
    of its student design, published
    in its 2003/04 issue an exchange
    that took place that year between Columbia architectural historian Kenneth Frampton and architect/
    theorist Demetri Porphyrios.
    Both had been guests of Yale — Porphyrious as a visiting professor, Frampton as a guest juror of the
    work of Porphyrios's students. In
    this excerpt from a conversation
    that developed in the course of a student jury, Frampton was talking about architecture. He might as well have been talking about the culture
    in general:

    Kenneth Frampton There is an aphorism by Adolf Loos that goes as follows: “There's no point in inventing anything unless it's an improvement.” It’s an ironic remark, but also a challenge to this moment in time, where everyone seems to be losing it.

    Commerce will tell you that this is ridiculous from the point of view
    of architecture. Now you can say,
    "Well I don't give a damn about
    commerce, this is an artistic work!"
    But Architecture is not...Fine Art in that sense. [Architecture] is a modus, which has to deal with certain kinds
    of reality. Its poetic comes through
    its transformation of reality....

    The question is, What are the limits in which this transformation can take place? You have to talk to society in some way — in a way in which you can appeal to some kind of evident values. It can be money values, but also can, at the same time, can it be other values?

    Otherwise it's like a conversation between the deaf and the dumb! There's no reason why we're to do anything! I could tell you to cut six more slots into this thing, and it wouldn't make a difference. It's a negative critique of the project, but
    it's also a critique of the whole
    goddamn situation.

    You have to have a principle; otherwise you cannot communicate anything to anybody. Why should I invest my money in this, as opposed to some other project? You have to have a reason! Otherwise the architects don't even talk to the society! Don't you see that predicament?

    These computer renderings produce aesthetic affects very well, seamless, very seductive, but they are not about anything. They are delusions! They are mirages! I'm sorry, it's very aggressive to say this, but aren't we going to start talking? It's just ridiculous to say,
    "OK — individual interpretations," so
    on and so forth. One has to talk about something fundamental; otherwise we're never going to talk about anything anymore!

    Demitri Porphyrios I'm not sure what you're talking about.

    KF I'm talking about the fact that there is a total degeneration in the capacity to discuss anything.

    DP Do you want some coffee?

    KF No, I don't. Sorry, I don't...

    DP Look, look, look. This is a disgusting situation. It's not right
    to get upset.

    KF It's something to get upset about! We always have polite discussions; we have to sometimes get upset, because otherwise we just don't talk about the things that matter.

IN ROTATION

  • Antony and the Johnsons
    I Am a Bird Now
  • Phil Kline
    Zippo Songs
  • Louis Philippe
    Azure
  • Ron Sexsmith
    Retriever

NOW POURING

  • Torrontes
    Plata, 2005

EAT THIS CHOCOLATE

« March 2007 | Main | November 2008 »

16 July 2007

At Grand Central, Time for Flags to Leave the Station

Grand_central_sky_ceiling
The Grand Central sky, as it always was — and should be again

On 10 July 2007, The New York Observer published an abbreviated version of the following essay arguing that it's time for the flags in Grand Central's main hall to come down. You can read the Observer essay here.

Of the more than 1,100 New Yorkers who responded to a Gothamist poll based on the Observer essay, fully two-thirds agreed that the Grand Central flags have overstayed their welcome.


::  ::  ::


Unbidden, they came. Not in response
to any appeal, official or otherwise,
but as visceral, desperate, speechless inarticulations of solidarity and resolve.
In a matter of hours after 9/11 morning, there were thousands of them, and they were everywhere in New York — on storefronts; in building lobbies; on bumpers, subway cars and lapels; lining the avenues.

Among all those impromptu American flags were two
placed in the iconic main hall of Grand Central Terminal: The first, a flagpole standard, soon was joined by an enormous 40-foot-by-20-foot banner, vertically suspended over the center of the room. Smaller flags have been hung in Grand Central's main hall before, especially during times of war, according to Metro-North spokeswoman Margie Anders,
but a flag of this size
nearly four stories tall is
"basically unprecedented".

Both flags hang there still. But they can no longer mean
what they meant in the days and weeks after 9/11. Now, four-plus years into a war that, according to a recent CBS poll, more than three-quarters of Americans think is going "badly" and more than 60 percent think we should never have started in the first place, the flags at Grand Central don't unite us; they divide us. This is only the most obvious reason they must come down.

Continue reading "At Grand Central, Time for Flags to Leave the Station" »

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  • ORIENTATION
    18 years. Same house, same
    street, same Southern Baptist
    church, same western Kentucky
    town. That's how it started. A stint
    as a classical-singer-in-training in Nashville (yes, Nashville). A master's degree in religion and philosophy at St. Andrews University in Scotland.
    A 3-year turn in the postgraduate
    theory mills of Duke University. Liberal church, then none.
    Emigration to Manhattan, 1998. Escape to Brooklyn, 2003.

    These (sometimes polemical) observations and speculations on architecture, design, media, politics, religion, and, occasionally, music
    and wine are part of an attempt to understand that everything we encounter creates our sense of place.

    Why the effort? Because most of us — including me — have not begun
    to appreciate what a radical and necessary enterprise "making the world a better place" is.

    COORDINATES
    I live in Brooklyn, with my wife, my dog, and a benchmade, all-stainless Parsons table that I would make love to if I could.

    horizonr
    www.johnlumea.com

    contact
    john@johnlumea.com

GUN

  • For hire...

    Writer.
    Editor.
    Singer.

    With a voice you wouldn't believe. Forget the classical training (see Orientation, above). Think David Bowie. John Cale. Middle Tom Waits. Randy Newman. Neil Hannon. Maybe a little Tony Bennett for good measure.

    contact
    john@johnlumea.com

META

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