Term that is used to define an epoch postioned after postmodernism and that tries to imagine a going “beyond” postmodern aesthetics.
In a previous post we wrote that Bjarke Ingels (1974), founder of the relatively young architectural practice BIG, is amongst the most prominent representatives of a generation of architects that tries and surpasses postmodern conventions, attitudes and strategies. Ingels’ approach to architecture is perhaps best described, in his own words, as Yes is More, sustainable hedonism …
‘It is only with the heart that one can see rightly; what is essential is invisible to the eye’, Antoine de Saint-Exupéry wrote in his famous novel “Le Petit Prince”. The same can be said of Lucas Ossendrijver’s designs for Lanvin Homme. While from the outset his work has been turning-heads and singular in a number …
Between October 3rd, 2010 and January 3rd, 2011, the Museum of Modern Art (MoMA) in New York held an exhibition entitled ‘Small Scale, Big Change: New Architectures of Social Engagement‘. The show presented eleven projects, across five continents, and sought to highlight both the social commitment of the architects (and others) involved and the functinonal, …
Interesting times call for interesting books. In Capitalism 4.0: The Birth of a New Economy in the Aftermath of Crisis (2010) (and elsewhere) Anatole Kaletsky, Editor-at-Large of The Times, comes up with a thoughtful analysis of the past, present and future of global capitalism. Putting the events of the 2007-2009 economic crisis, epitomized by the fall of Lehmann Brothers, into a historical perspective, he writes:
Although the Bjarke Ingels Group (2006) is a relatively young architectural practice – younger, in fact, than Facebook – it has rapidly acquired quite a name for itself and has already won numerous competitions, awards and prices. Its founder Bjarke Ingels (1974) has of late dominated magazine covers, editorials and headlines and is the 2010 …
In a previous post on The New Weird Generation I wrote that artists such as Antony Hegarty, Coco Rosie and Devendra Banhart perceive everyday life as alienating – as too rational, mature, artificial, technological, et cetera – and seek for authenticity by romanticizing the world (to paraphrase Novalis). Consider, for example, their longing for nature …
