A Daily Dose of Architecture

Today's archidose #557

2012-02-07T16:00:00.000-05:00

ThyssenKrupp : Essen, originally uploaded by diet_sch.

ThyssenKrupp Quarter in Essen, Germany by JSWD Architekten and Chaix & Morel et Associés. The building was featured previously in my post on undulating metal fins.

To contribute your Flickr images for consideration, just:

Monday, Monday

2012-02-06T22:30:00.000-05:00

My weekly page update:

This week's dose features National September 11 Memorial in New York City by Michael Arad and Peter Walker:

The featured past dose is National September 11 Museum in New York City by Snøhetta:

This week's book review is The Wayfinding Handbook: Information Design for Public Spaces by David Gibson:

american-architects.com Building of the Week:

Sigal Museum in Easton, Pennsylvania by Spillman Farmer Architecture:

Some unrelated links for your enjoyment:

Half Dose #101: 100 William Street

2012-02-05T23:30:00.000-05:00

Cutting diagonally from John Street (above) to the intersection of William and Platt Streets is the covered pedestrian space of 100 William Street. Dating back to 1974, it is "the first covered pedestrian space built under the covered pedestrian space bonus provisions of the Zoning Resolution," according to Jerold S. Kayden in his survey of New York City's Privately Owned Public Spaces. Designed by Emery Roth and Sons, the building has a muted facade of black slate panels alternating with horizontal windows, but the POPS was more theatrical with numerous reflections coming from surfaces like the chrome column covers.

[L: The previous condition (image source) | R: "Airstream meets Chia Pet" installation by Kevin Kennon Architects (image source)]

In between the gaudy chrome and its current incarnation of backlit-glass columns in a more simplified and transparent space was a retail installation by Kevin Kennon Architects, which inserted a bit of whimsey (are those over-sized pigeon spikes on top?) but was temporary. The current design is attributed to Rogers Marvel Architects in this CB#1 document (PDF, page 4), though the project is nowhere to be found on the architect's website. Regardless it looks like a Rogers Marvel design to me, given its level of detail and their track record with public spaces.

Above is the view across William Street, looking northeast. A new pylon is emblazoned with the building address, branding the space that features a handful more glowing column covers. Below is the view from John Street, looking southwest. One striking aspect of the design comes across here: the covered pedestrian space is highly transparent. People moving through the space have glimpses into the lobby at left, not to mention up into some of the office spaces on the second floor.

Looking again from the intersection of William and Platt Street (below), the same glimpses up into offices can be seen. Of course, this is not new to the space; it is part of the original design. But the new design accentuates the transparency of what borders the space, rather than competing with it like the chrome.

This transparency is most pronounced at the 100 William Street lobby (bottom left, again looking from John Street), which features tall ultra-clear, butt-glazed glass. The lobby is basically put on display, as an almost seamless part of the pedestrian space. The CB#1 document indicates that the renovation removed an escalator to the cellar (a TKTS booth used to be located in that lower level), so the whole pedestrian space is now at grade. The whole may not result in "a vastly improved amenity for the public," as the same document contends -- retail is minimal and no seating is provided -- but it makes for a nice diagonal walk, especially from John Street towards the rusticated Federal Reserve Bank of New York.

Two Magazines

2012-02-04T21:45:00.001-05:00

Recently I received a couple magazines that are both fairly new, albeit completely new to me. Based out of Italy, Boundaries: International Architectural Magazine is "a quarterly international journal on contemporary architecture, with texts in English and Italian, that offers a critical view over the architectures that today deal, in many different ways, with the challenges of the contemporariness and of sustainability intended as a balance between cultural, environmental, economic and social matters." And then there is the Chicago-based Design Bureau (published by ALARM Press), which "delivers an honest and inspirational global dialogue on design from diverse disciplines and points of view. ...[towards] discovering great design and the people who make it happen." Below are some thoughts on a recent issue of each magazine.

Boundaries:
Unlike many architecture publications put out a few or more times a year, Boundaries gives each issue a theme and strictly makes the content fit the topic. The first issue (July-September 2011), for example, is called "Contemporary Architecture in Africa" and does an excellent in job in presenting buildings, projects, books, and histories on the continent. Each issue is structured into sections: News, Perspective, Architecture, Ideas, That Was the Year..., and Book Reviews. The Architecture section makes up the bulk of each issue and highlights particular types of buildings or related strands within the theme. In this regard, issue 2 -- "Architecture for Emergencies" -- collects buildings but also monuments, theories/research, and reporting around the timely and complex theme. That Was the Year is a great part of the magazine, as it features flashbacks usually decades back (a reprinted article or some such piece) that of course fit the issue's theme: Aldo van Eyck's 1959 essay on the Dogon is one found in the first issue, and Jean Prouve's 1956 "House Built in Less Than Seven Hours" is one of the old projects highlighted in the second issue.

These first two themes make it clear that Boundaries is not concerned with the same issues as other architecture magazines; the editors prefer to focus on the under-served and the places of crisis today. This is evident not only in the themes but in the projects included in each issue (only the ultra-modern houses in "Contemporary Architecture in Africa" stand out...as designs that would probably be in other magazines but don't really belong in this one) and the position that "Boundaries receives no public funding, and has no advertising." The only "ads" to be found are for the Italian Red Cross and other emergency organizations. This makes me hope the magazine gains enough following to continue its exploration of architecture that is timely and relevant but often overshadowed by the usual big names and commissions that value form over social concerns. Boundaries may not be as photogenic as other magazines, owing to its dealing with the "social awareness of the profession," but it makes up for that small defect (for lack of a better word) in its thorough coverage on a topic, varied viewpoints on the same, and a strong sense of history that makes one realize our problems are not new and neither may be the solutions.

Design Bureau:
Before moving to New York City from Chicago I was a contributing editor to TENbyTEN, a now defunct magazine on art, fashion, design, and architecture. I was sad to see it go some years ago, but when I recently heard about Design Bureau (DB) that frown was turned upside down, as now the Windy City has a magazine on design (in its varied facets) to call its own. (MAS Context is another Chicago publication that I'm glad exists, but it is print-on-demand where DB is available on newsstands.) Issue 08 (November/December 2011) features "Renegade Architecture" on the cover, but that is an anchor to the magazine not a theme, a long piece on architectural designers, those that can't legally call themselves architects but nevertheless shape spaces and cities. The rest of the issue is thick on architecture -- be it Austin, Seattle, New York City, DC, Kentucky, Mexico, California -- but other types of design make it into the magazine's tripartite sections: Informer (brief coverage), Design Thinking (Q&A with a designer), and Features (pretty self explanatory).

DB should be commended for a sharp curatorial eye that highlights a wide range of designs and designers. As well their choices of buildings and architects show that they are not concerned with the latest and greatest; it is more about quality and insight rather than the same projects and personalities covered ad nauseum elsewhere. DB should also be praised for the sharp layout of the magazine and the eye towards the illustrations that make up the pages. It seems that even the advertisements, like Wallpaper*, are selected for their attention to graphic detail. Speaking of advertisements, one curious aspect of DB is the way ads for players within an article are found alongside it, such as one for a home builder at the end of a piece on houses in Austin, Texas. Not only is the company mentioned in the article, but they also have ad space on half a page. Did their ad pay for the article? Did their ad drive the content? Or did DB find the right advertiser for the right spot? I'm not sure, but in some cases the relationship between ad and editorial content was a little too close for comfort.

Today's archidose #556

2012-02-03T15:00:00.000-05:00

Here are some photos of the Riggio-Lynch Interfaith Chapel at CDF Haley Farm in Clinton, Tennessee by Maya Lin Studio with Bialosky + Partners, 2004. Photographs are by ken mccown.

To contribute your Flickr images for consideration, just:

It's Groundhog Day!

2012-02-02T14:30:00.000-05:00

This year my Groundhog Day post is for all the Ned Ryerson fans out there.

(If you're not a fan of Ned click "7" on your keyboard to skip to the best part.)

Today's archidose #555

2012-02-01T20:30:00.000-05:00

A couple colorful residential projects for today's archidose.

Affordable Artist Housing in Hamden, Connecticut by Ben Ledbetter Architect in association with Graftworks Design and Research, 2011 (photos by David Joseph Photography):

Reversibe Destiny Lofts in Mitaka, Tokyo, Japan by Arakawa + Gins, 2005 (photos by Ken Lee 2010):

To contribute your Flickr images for consideration, just:

Fully Retractable Living Room Facade/Wall

2012-01-31T14:00:00.000-05:00

Looking to buy a distinctive home in New York City? Perhaps one featured in my Guide to Contemporary New York City Architecture? Or one with a "fully retractable living room facade/wall"? If so, then you're in luck: The garden apartment at 226 East 14th Street, designed by Bill Peterson Architect, is on the market at Corcoran for just under $2.5 million. Look very closely at the bottom three images below to see the second-floor facade retract into the unit; the result is the photo at top left.

[224 East 14th Street - Apt: GRDN 1 | image source]

The description from my book:

And the description from Corcoran:

Monday, Monday

2012-01-30T22:30:00.000-05:00

My weekly page update:

This week's dose features 3D Athletics Track in Alicante, Spain by Subarquitectura:

The featured past dose is Platypusary in Healesville Sanctuary, Australia by Cassandra Complex:

This week's book review is The Architectural Detail by Edward R. Ford:

american-architects.com Building of the Week:

School of Art & Design at New York State College of Ceramics in Alred, New York by ikon.5 architects:

Unrelated links will return next week.

Book Review: 100 Ideas that Changed Architecture

2012-01-29T23:30:00.000-05:00

100 Ideas that Changed Architecture by Richard Weston
Laurence King Publishing, 2011
Paperback, 216 pages

Laurence King Publishing's 100 Ideas series has to date covered fashion and architecture, with soon-to-be-released titles tackling film and graphic design. It is a simple format: chronicle the most important influences on an art/design field with one idea per spread, 100 total. I'm surprised it hasn't been done before (I don't think it has). It serves to reflectively look at the state of contemporary architecture, in the case of Richard Weston's contribution to the series, and straddles the line between history and theory by tracing architecture in a roughly chronological order and by focusing on the ideas that have shaped it. Yet the book is more history than theory because, as the author asserts in his introduction, an "architectural idea" is not necessarily one that is philosophical or theoretical, since all creations exist as ideas before realization. Therefore the 100 ideas encompass building elements, materials, technologies, styles, as well as the occasional theoretical concept.

With each idea given one spread, just under half is devoted to Weston's description, the rest is taken over by illustrations -- photographs mainly -- and these dominate the book visually and in terms of how one understands the ideas. Weston is a capable architectural writer and historian -- evidenced by his monograph on Alvar Aalto -- but the size and quantity of the illustrations means the choice of subject works to influence one's consideration of an idea. For example, "Form Follows Function" discusses Pugin, Sullivan, Mies, Le Corbusier, and Aalto, but the illustrations are limited solely to the last; this might indicate a personal preference on the author's part but it also implies that the expression of function in form is strongest in Aalto's Paimio Sanatorium or a similar building. Regardless, this reliance on large illustrations (most ideas have one large photo or drawing with one or two smaller ones) works towards making the book accessible to a larger audience and offering the potential for multiple readings, be it the full text, illustrations and captions, or a combination thereof.

A minor quibble is the means of cross-referencing ideas, good in theory but not in practice: ideas found elsewhere are highlighted in bold text, but since they are in roughly chronological order, not alphabetical, and since the ideas in the index refer to various locations in the book, it's quite difficult to find another idea when it is referenced. An alphabetical list for reference would easily remedy this and offer yet another way of reading the book -- a "choose your own adventure" through the ideas based on relevance.

US: CA: UK:

Today's archidose #554

2012-01-29T22:00:00.000-05:00

B.U.G.S, London Zoo by Wharmby & Cozens by Iqbal Aalam, originally uploaded by Iqbal Aalam.

B.U.G.S (Biodiversity Underpinning Global Survival), London Zoo's house for "creepy-crawlies" by Phil Wharmby and Mike Cozens, 1999.

To contribute your Flickr images for consideration, just:

Kundig Mechanics

2012-01-27T23:30:00.000-05:00

On Wednesday architect Tom Kundig -- of Seattle-based Olson Kundig Architects -- spoke at the New York Public Library, conversing with Town & Country editor Mark Rozzo about Tom Kundig: Houses 2, published by Princeton Architectural Press.

In the lecture portion of the evening Kundig spoke about his inspirations, ranging from his architect-father to the landscape of eastern Washington state where he grew up and even hot rodding. In line with the DIY mechanics of the latter is Jean Tinguely's fountain in Basel, what Kundig described as straddling the "thin line between highbrow and lowbrow art." See for yourself:

The aspect of Kundig's architecture that these kinetic sculptures influence is obviously the moving walls and other elements found especially in his residences. One case in point is the Chicken Point Cabin in northern Idaho, found in the first monograph on his houses:

The project features a huge 7-ton window wall that is raised and lowered by a mechanism that even a child can operate:

Kundig acknowledge the important contribution of Phil Turner, whom he met while designing Chicken Point Cabin and whom developed the below gizmo -- a flyball governor, which safely regulates and maintains the speed of the gears when in motion (Phil now works in the office). It's like a house meets a hot rod*:

*Kundig designed a later house in Seattle that actually goes by the name Hot Rod House.

Dear Concept Of Phenomenology In Architecture As Developed By The Norwegian Theorist Christian Norberg-Schulz,

2012-01-26T22:00:00.000-05:00

This is too funny -- to architects that read history and theory books, at least -- not to pass along. In an issue last September The Onion's advice column was Ask The Concept Of Phenomenology In Architecture As Developed By The Norwegian Theorist Christian Norberg-Schulz. I'll guess this elicits either a smile that something so architecturally esoteric would make it in The Onion, or a "huh?"

[Christian Norberg-Schulz | image source]

Here's a taste:

Read more Ask The Concept Of Phenomenology In Architecture As Developed By The Norwegian Theorist Christian Norberg-Schulz at The Onion.

Bau des Jahres

2012-01-25T14:30:00.000-05:00

The 2011 Bau des Jahres -- Building of the Year -- at Swiss-Architects.com is Janus, the redevelopment the City Museum in Rapperswil-Jona by Biel-based :mlzd. The selection is the result of readers choosing from the 50 projects featured in the Swiss-Architects.com eMagazine last year.

Today's archidose #553

2012-01-24T16:30:00.000-05:00

Here are some photos of ROC Leiden Lammenschans Park in Leiden, The Netherlands by RAU, 2011. Photos are by Klaas Vermaas.

To contribute your Flickr images for consideration, just:

Monday, Monday

2012-01-23T23:00:00.000-05:00

My weekly page update:

This week's dose features Shou Sugi Ban in Maarn, Netherlands by BYTR Architects:

The featured past dose is Palmwood House in London, England by Undercurrent Architects:

This week's book review is Wonderland Manual for Emerging Architects edited by Wonderland - Platform for Architecture, Silvia Forlati, Anne Isopp:

american-architects.com Building of the Week:

Caterpillar House in Carmel, California by Feldman Architecture:

Some unrelated links for your enjoyment:

Today's archidose #552

2012-01-22T20:30:00.000-05:00

Here are a couple photos of Unipark Nonntal (University of Salzburg) in Salzburg, Austria by Storch Ehlers Partner, 2011. Photos are by M. Correia Campos.

To contribute your Flickr images for consideration, just:

Wrapping a Diamond

2012-01-21T00:15:00.000-05:00

The other day I was in Midtown and caught my first glimpse of the facade going up on the International Gem Tower, designed by SOM and developed by Extell. Unfortunately I only had my phone with me to snap a photo from the plaza on 46th Street east of Sixth Avenue:

Located on a stretch of West 47th Street that is home to the Diamond District, the building is appropriately billed as "New York's only 21st century commercial condo designed specifically for the diamond, gem and jewelry trade." And while SOM's web page does not have any mention of the project, it seems like a safe bet that diamonds and gems influenced the building's skin. Here's a close-up of the above photo.

The bulk of the facade is made of mirrored glass that is faceted along the spandrel and in verticals that alternate on every floor. These combine to give the whole wrapper a repeated stepping pattern. Renderings, like these and the one below, give the wall more transparency than the current reality. Eventually nighttime will reveal some of what is behind the faceted skin, but during the day it will be all mirrors and reflection. Granted it's appropriate for the Diamond District, but more in the vein of tacky than elegant jewelry.

[International Gem Tower exterior rendering | image source]

"Cityscape Census"

2012-01-19T22:00:00.000-05:00

Today The Architect's Newspaper posted a review by Jan Lakin of my Guide to Contemporary New York City Architecture (W. W. Norton, 2012). Lakin's review is very thoughtful, picking up on my predilection for architecture at the level of the pedestrian rather than of the skyline. To wit: "Hill is focused on assembling contemporary designs that engage us in interesting ways at street level throughout New York’s neighborhoods. The result is a nuanced perspective of the city’s recent architecture."

I could easily pull more flattering quotes like the one above, but instead head over to Archpaper to read Lakin's review.

Charles Renfro, J.Crew-Wearing Architect

2012-01-18T20:00:00.000-05:00

Regular readers of this blog may have noticed I have a thing for the intersection of architecture and advertising, be it iconic buildings used as a backdrop for a product, clothiers using the profession for style "cred," or an architect hawking merchandise. The last two converge in a J.Crew ad I noticed today on the inside cover of February's Fast Company:

Pushing the Ludlow Suit, the ad features six gents sporting six variations on the "bespoke-inspired" suit. Two are restauranteurs, one is a journalist/activist, one is a business analyst, one is a creative director, and one is an architect, Charles Renfro of Diller Scofidio + Renfro. Given the firm where he is partner, his name is fairly well known with architects, but not his mug. This ad will certainly change that, while also making people wonder what his sock drawer looks like.

Each of this six stylish professionals has their own idiosyncratic way of personalizing the J.Crew suit. Renfro has those socks; the creative director ditches socks altogether; one restauranteur shows off a wallet chain; you get the idea. Architecture, or any other profession, does not prevail over others. Instead five are used to cover a larger stylistic and professional spectrum, leaving out only jobs like caddy, dishwasher, and bookstore clerk (all hats I donned before architect), where bespoke-inspired fashion just isn't that important.

Today's archidose #551

2012-01-17T23:00:00.000-05:00

A potpourri of buildings from the archidose flickr pool:

[Bilbao City Hall in Bilbao, Spain by IMB Arquitectos, 2011 | Photograph by Wojtek Gurak]

[House K 05 in Buggenhout, Belgium by Graux & Baeyens, 2012 | Photograph by Philippe Brysse]

[Menomonee Valley Community Park Pavilion in Milwaukee, Wisconsin, designed and built as part of the SARUP Marcus Prize by students at the University of Wisconsin-Milwaukee's School of Architecture and Urban Planning, taught by Barkow Leibinger Architects and Kyle Talbot, 2008 | Photograph by trevor.patt]

[Tenement House in Prague, Czech Republic by DaM spol. s r.o., 2011 | Photograph by M. Correia Campos]

[Euskalduna Conference Centre and Concert Hall in Bilbao, Spain by Federico Soriano & Dolores Palacios, 1999 | Photograph by Wojtek Gurak]

To contribute your Flickr images for consideration, just:

Monday, Monday

2012-01-16T15:30:00.000-05:00

My weekly page update:

This week's dose features Pier 15 in New York City by SHoP Architects:

The featured past dose is Porter House Condominium in Manhattan, New York by SHoP Architects:

This week's book review is SHoP: Out of Practice by SHoP Architects:

Some unrelated links for your enjoyment:

Today's archidose #550

2012-01-15T19:00:00.000-05:00

Here are a couple photos of the REM Island Restaurant in Amsterdam, Netherlands by Concrete, 2011. The restaurant occupies a re-purposed ~~helicopter landing platform from~~ "offshore broadcast platform [built] to circumvent Dutch licensing laws in the 1960s" that was moved to Minerva Harbor in Amsterdam. Photographs are by Klaas Vermaas.

To contribute your Flickr images for consideration, just:

Half Dose #100: Frick Portico Gallery

2012-01-14T17:00:00.000-05:00

[Looking northeast from the Fifth Avenue Garden.]

On December 13, 2011 The Frick Collection opened its doors with its first major addition in 35 years, The Portico Gallery for Decorative Arts and Sculpture. The small 815-sf spaces is a former outdoor loggia in the Carrère and Hastings original from 1914, then the Frick Mansion. Over time the elements, particularly the exhaust from Fifth Avenue traffic, did some damage to the loggia's limestone, pointing towards eventually enclosing the space as a gallery.

[Looking north from the Fifth Avenue Garden with the library's shuttered windows just visible at right.]

The opportunity to do such a thing came about when collector Henry H. Arnhold promised The Frick a gift of porcelains. With this gift and the institution's recent focus on sculpture it made sense to put the loggia to good use, taking advantage of the southern light the Fifth Avenue Garden affords, a situation that makes the space unsuitable for paintings. Not surprisingly the space's initial exhibition displays a selection of Meissan porcelain from Arnhold's gift.

[Detail of existing building and new glass wall.]

The Portico Gallery, designed by Davis Brody Bond (DBB), is accessed from inside the museum, from the library that is steps away from the covered central Garden Court. Therefore the public will not be granted the above views from the garden, which is closed to the public; these photos go to show how the new glass wall knits itself behind the loggia's three sets of paired columns. The addition required Landmarks Preservation Commission (LPC) approval, so DBB's design lets the original Ionic columns take precedence from the exterior, and the glass wall works such that it can be removed without any physical damage to the existing building.

[Looking west along The Portico Gallery's new glass wall.]

Spanning from floor to ceiling -- but structurally cantilevered from the floor via a 16"-deep steel shoe -- are the 14'6" pieces of glass in bronze frames. As can be seen, from inside the glass prevails over the original columns, but reflections of the gallery on the surfaces bring the focus back to the artwork on display. The bronze finish, akin to Mies van der Rohe's Seagram Building, also sets up a nice contrast with the limestone in terms of dark and light, yet the two materials work well together, in that up close the bronze is as variable as the stone.

[Looking west down the gallery with new display cases mounted on the limestone walls on the right.]

Since the LPC's approval extended to interior surfaces of the loggia (given that it was an outdoor space), DBB, under the leadership of partner Carl F. Krebs, cleaned the limestone, replaced the paving with bluestone that matches the previous flooring's pattern and finish, and commissioned new lanterns that match the Garden Court's John Russell Pope-designed fixtures.

[Looking east from the Rotunda.]

At the western end of The Portico Gallery is the Rotunda, an elliptical space that is now permanently occupied by Jean-Antoine Houdon's sculpture Diana the Huntress; fittingly the sculpture overlooks Central Park. This sculpture is a strong anchor at the end of the long space, and its presence draws the eye and body towards it and a view of the park beyond. From within the Rotunda the new glass walls disappear (as in the photo above), but even within the gallery space they have a diminished presence that seems appropriate for The Frick and its architecture.

The bronze frames begin to recall Carlo Scarpa's interventions in historic buildings, but without the idiosyncratic ways of accommodating art that Scarpa incorporated. Here the new is paradoxically big in order to have minimum impact; large panes of glass and sizable mullions (scaled and detailed appropriately with the Ionic columns -- not too small, not too big) are used to make as large a visible opening as possible. The new recedes in one's mind as they take in the art and the garden views.

Book Review: ARCHIZINES

2012-01-12T12:30:00.000-05:00

ARCHIZINES edited by Elias Redstone
Bedford Press/AA Publications, 2011
Paperback, 152 pages

Compared to market and professional publications, 'zines are more personal in nature, reflecting an individual or small group's passion for a particular topic. Driven by a love for a subject and the desire to explore it in ways not afforded by other publications, 'zines are as diverse as the people making them. In the realm of architecture these "little magazines" -- as they were called in the 2010 exhibition and book Clip, Stamp, Fold -- are going strong today, as is evidenced by the website, exhibition, and publication ARCHIZINES, curated and edited by London-based Jack-of-all-trades Elias Redstone.

The book is the third installment for ARCHIZINES, following on the heels of a recent exhibition at the Architectural Association and the website that has been online since early last year, and which continues to catalog the growing number of 'zines produced internationally since 2000. The website is the most comprehensive of the archives, presenting snapshots of some of the of spreads inside the various 'zines, not just their covers. The latter is how the various publications are illustrated in the slim book; each 'zine occupies one page, described through a short paragraph, the cover of a recent issue and its stats -- page size, number of pages, and print run.

Interspersed throughout the alphabetical catalog of 60 titles are essays by producers of 'zines: Pedro Gadanho (Beyond), Iker Gil (MAS Context), Adam Murray (Preston is my Paris), Rob Wilson (Block), Mimi Zeiger (Maximum Maxim MMX/loudpaper), and Matthew Clarke, Ang Li & Matthew Storrie (PIDGIN). These essays serve to make the book a unique piece of the ARCHIZINES triumvirate, and they are worth it. Each contribution gives a unique perspective on a different aspect of 'zines, while giving background on how they are made, obviously stemming from them all having done so.

As Redstone recounts in his introduction to the book, ARCHIZINES began as a personal interest, as he started collecting fanzines about architecture some five years before the website. I've had a fondness for 'zines, but never enough to amass more than a few, Evil People in Modernist Homes in Popular Films being the most recent. Nevertheless, being passionate for printed matter in various shapes and sizes (magazines, books, newsprints, maps), I am certainly sympathetic towards a desire to collect something like architectural fanzines. (It should be noted that many of the publications that Redstone catalogs are peer-reviewed academic titles and magazines with advertising, extending the reach of ARCHIZINES beyond 'zines in the limited sense of the term.) ARCHIZINES contributor Mimi Zeiger has opined about collecting collections in the digital realm, but bits and bytes are no replacement for actual 'zines. So Redstone's website and book only whets our appetite for getting our hands on the real things.

US: CA: UK: