Julian Rose

  • Eric Owen Moss Architects, Samitaur, 1996, Los Angeles.

    “A New Sculpturalism: Contemporary Architecture From Southern California”

    There is a certain irony in using the rubric of “sculpturalism” to encapsulate the influential architecture that has emerged from Southern California in recent decades, because its sculptural quality is now probably its least defining characteristic; its once-novel forms—and the pioneering digital technologies that enable them—have become ubiquitous, and what previously had the cachet of a local style has become a global export. Fortunately, the region’s architecture has always been distinguished above all by its heterogeneity and restless experimentation,

  • Philippe Rahm Architectes, Evaporated Rooms, 2011–12, Lyon, France. Apartment interior. Photo: Nicolas Pauly, 2012.


    Trading Spaces a roundtable on art and architecture Art and architecture meet more often and more profoundly today than ever before—from public art to the art-fair tent, from the pavilion to the installation. But if the interchange between these fields offers a host of new possibilities for structure, space, and experience, it also makes reflection on their status more urgent. To chart this complex constellation of interactions, Artforum invited critics HAL FOSTER and SYLVIA LAVIN; artists THOMAS DEMAND, HILARY LLOYD, and DORIT MARGREITER; architects STEVEN HOLL and PHILIPPE RAHM; and curator HANS ULRICH OBRIST—a group whose pioneering work marks the front lines of art-architecture exchange—to engage in a conversation moderated by Artforum senior editor Julian Rose.

    JULIAN ROSE: While many agree that there is an unprecedented level of interchange between art and architecture today, there is surprisingly little consensus about what, specifically, these interactions entail or where they actually take place. Which models of interaction between art and architecture are most significant, and where can we begin to locate them?

    STEVEN HOLL: Architecture is an art—the premise of a division is specious.

    THOMAS DEMAND: I do think there is a clear difference between the practices, though. Every time I’ve ever worked with an architect, the collaboration was based

  • Zago Architecture, A Big Plan for Rialto, California: Property with Properties, 2011.

    “Foreclosed: Rehousing the American Dream”

    TWO INTERRELATED CLAIMS provide the premise for “Foreclosed: Rehousing the American Dream,” a recent workshop and forthcoming exhibition organized by the Department of Architecture and Design of the Museum of Modern Art in New York. The first is that the foundation of the American dream, particularly as it has evolved over the past century, is ownership of a single-family suburban house; the second is that America’s current foreclosure crisis should force a wholesale rethinking of this dream. Barry Bergdoll (the museum’s chief curator of architecture and design) and Reinhold Martin (of Columbia


    IT’S EASY ENOUGH to see the work of Oscar Tuazon as a vehement attack on architecture. The Paris-based artist’s two most recent shows, for example—an untitled project at the Kunsthalle Bern and My Mistake at London’s Institute of Contemporary Arts this past spring and summer, respectively—each staged a dramatic encounter between installation and white cube. Both were large-scale frame constructions, assembled from eight-by-eight- or twelve-by twelve-inch beams of unfinished wood, roughly cut to size with a chain saw and bolted together. In both shows, the frames filled an entire floor, weaving

  • Julian Rose

    THE CENTRAL PROPOSITION behind architect Jean Nouvel’s design for the new National Museum of Qatar seems to be that good metaphors make good architecture. The first thing that everyone—the architect, the developer, the museum’s director—wants you to know is that the building looks like a “desert rose,” a small crystalline structure (so named because its shape is an aggregation of thin, bladelike petals) formed by salinated sand just below the desert’s surface. When the design was unveiled at the Museum of Modern Art in New York this past spring, Nouvel began his presentation with a photograph