#architecture author

[spiralsinshadows]

The dappled sun dances

across my gooey eyelids

as the birds take their chances

witch-notes whistling through their fragile ribs

— Nikola Sojka

[vox-anglosphere]

The Old Curiosity Shop

[door]

more queer houses!

Klovharu Summer Cottage by Raili Pietilä for Tove Jansson and Tuulikki Pietilä

1964-1965, Klovharu Island, Porvoo Archipelago, Finland

Tove Jansson and Tuulikki Pietilä spent every summer in this cottage for nearly 30 years. Tove chose the site by camping on various places on Klovharu, and they designed it with Tuulikki's sister-in-law, based on a fisherman's cabin on the island of Pellinge. It lacked electricity and running water, and if guests arrived, Tove and Tuulikki would give up the bed and camp outside. the cottage is a single room, with a cellar underneath--for food storage and a small sauna--built into the rock. the cottage is now an artist residency--with the original interiors preserved--but can be visited during one week in July. More about the cottage. Interview with Raili Pietilä. Tuulikki's films.

Hangover House by William Alexander Levy for Richard Haliburton

1937, Laguna Beach, California, USA

Hangover House, or Halliburton House, was designed by William Alexander Levy (he later dropped Levy from his name) for celebrity explorer Richard Halliburton and his ghostwriter and lover Paul Mooney. Supposedly, by the time the house was completed Halliburton and Mooney's relationship had expanded to include a third: Alexander himself. The house was built of concrete, with large public rooms and three small bedrooms, one for each of the men. Sadly, Halliburton and Mooney were lost at sea in 1939, and Halliburton's family sold the house and buried all references to his queerness. The house still stands today and is a private residence. More images here.

Azurest South by Amaza Lee Meredith 1938, Ettrick, Virginia, USA

Azurest South might be the first International Style home to have been built in Virginia, and instead of in a wealthy white enclave like you might expect, it's located just off of the campus of Virginia State University, an Historic Black College/University. it was built by pioneering artist, architect, and educator Amaza Lee Meredith for herself and her partner, Dr. Edna Meade Colson. colson was the head of the education department at VSU, and meredith was head of the art department (which she had created in 1930). we know from her scrapbooks that meredith was looking at european designs and experimenting with them in the house. the result was something unlike everything around it--flat roofs, glass bricks, bright paint and tilework inside--an antidote to traditionally conservative virginia architecture. azurest south today belongs to the vsu alumni association. it is not open to visit, but has received increased attention and grant funding over the past few years, so it may well be someday! More about Meredith as architect. More about Azurest South. And more! (additionally, if you're near richmond va there's an exhibition about meredith & azurest south at the institute for contemporary art until march 9 2025)

Six Acres by Mary Imrie and Jean Wallbridge 1954-1957, Edmonton, Alberta, Canada

Mary Imrie and Jean Wallbridge were partners in work and life, establishing the first all-female architectural firm in Canada. in the 50s, they built a house to serve as their home and office along the banks of the north saskatchewan river and called it "six acres" after the size of the lot. they traveled enthusiastically and widely (pdf) and were avid outdoorspeople. like a lot of women architects at this point in the 20th century, they were largely relegated to residential commissions, which they found frustrating. that said, they gained a reputation for helping clients who were struggling with construction costs by encouraging gatherings of friends and neighbors to assist with the work, something they had hands-on experience with, having assisted in the building of their own home. the house is still standing and is now the office of the alberta land stewardship centre. timeline of their lives and careers. more about the house itself.

Finella by Raymond McGrath for Mansfield Duval Forbes c. 1850, renovated 1929, Cambridge, England, UK

Mansfield Forbes was an english don at clare college, cambridge. in 1928 he leased a victorian home called "the yews" and spent the next year working with Raymond McGrath (previous seen here) to transform it into a modern fairyland, named in tribute of Finella, a 10th century Pictish queen. the interiors were a celebration of new materials--there were floors made of induroleum (wood and asbestos powder), walls painted with iridescent cellulose paint, something called copper plymax (??), and the entry hall had a vaulted ceiling covered in glass panels backed with silver leaf. forbes intended it to be a gathering place of sympathetic minds, to host salons in celebration of modern art and architecture in a setting a queer and future-looking as he himself was. unfortunately, he vastly overspent in outfitting Finella, and when he died suddenly in 1935, the contents of the house were auctioned off. Finella is still part of Cambridge and houses fellows of gonville & caius college. the college recently restored the hall, which can apparently be toured on specific days. interior photos from 1929 and 2004.

112 Charles Street by Eleanor Raymond 1868, renovated 1922, Boston, Massachusetts, USA

When Eleanor Raymond began work on 112 Charles Street, it had recently had the front 10 feet sliced off to allow for the widening of the street, so her renovation was essentially a reimagining. eleanor designed the house for her mother, who had her own apartment, as well as eleanor herself, her sister rachel, and her partner ethel powers. the three of them shared a floor. powers wrote for the magazine House Beautiful (and would go on to be its editor) and featured the home three times. in the largest feature on its interiors, she emphasized that since it was a home of three business women, it needed to be "self running." raymond would go on to design and build much more modernist houses, and the conservative appearance of this one might be due to how early in her career it was (she graduated from her architecture program in 1919), but i think it's more likely that she was aware of the necessity of appearing somewhat inconspicuous in her surroundings, as a queer woman with a career. read more about her work here. and here.

[technicallyclassyperfection]

Space Battleship Yamato by Noriyoshi Ohrai (1978)

[escapismsworld]

"Excuse me if I say nothing but nonsense, for my mind is exhausted, and dispirited."

Charlotte Brontë - Selected Letters

3. To Ellen Nussey, ? October 1836

The Letters 1832-9

[yamenpalestine]

At first glance, you might think it's a painting by a famous artist.

Sadly, this is a little girl who was bombed while in a displacement center at Al-Jarjaawi School by Israeli occupation warplanes.

Her entire family was killed, and she is the only one who survived, suffering from severe burns.

This is genocide.

Where is the world?

Where are human rights?

Where is humanity?

@xxx-sparkydemon-xxx

@sar-soor @90-ghost @sayruq @taylermadeboy @artof-mirage @artemis-fowl-wannabe @artghost-here @art-ixia

[a-very-tired-jew]

I was just reminded that the art collective Forensic Architecture exists and once again I’m disgusted.

For those of you who don’t know, it’s a collective of various artists who play at forensic science, conduct “forensic investigations”, and then make art exhibits of their “results”. Their reports and exhibits will make statements such as “the evidence shows that X is linked to Y” but the statistical output that they share will show something like a 5% confidence in the match.

That's right. They make art exhibits of their "investigations".

You want to talk about fandomizing tragedy? Making “forensic investigations” into art exhibits is the bougiest version I can think of, and it's only to serve an echelon of people who enjoy that kind of stuff. If any of the people in this art collective had a background in forensic science they would have taken ethics courses that would tell them how horrid putting on an art exhibit like this actually is. You don't honor the victims by putting on an art show for the rich and powerful to gasp and faint over so that you can fundraise for your next show.

Their founder has even stated that they’re not in forensics but “counter-forensics” and "counter-investigation". They eschew the practices and norms of the scientific community for telling their own version of investigative “truth”. They’ve even gone so far as to quote post-truth philosophies in their work and the controversial Nietzsche quote about there being no facts, only interpretations. Both are dangerous philosophies to hold in forensic science as it presents the evidence as subjective rather than objective. This is why they're an art collective and not a forensic science research group as they purport, they're rejecting objective scientific outcome for subjective interpretation.

You can go to the group's website and they have profiles on all of their team members. Almost every person is labeled as a "researcher", but once you click on their profile it quickly tells you that they're an artist, designer, activist, or some combination of the three. No mention of any scientific background whatsoever. That indicates their ability to actual conduct forensic science research is not great as they don't have any training or education on the methods involved. In fact, their entire program and personnel are out of an arts college with no science programs or faculty outside of anthropology.

That's weird, right?

A group that supposedly made a new discipline of forensic science, according to them, has no members with actual backgrounds in forensic science or scientific disciplines relating to it?

None of the team member profiles detail any scientific background that would be relevant to forensics outside of a few people with engineering and computer science degrees. Neither of the aforementioned disciplines typically train you in forensic practices anyway unless you take certain courses. Because these profiles are public you can go and checked LinkedIn profiles and find the CVs for each member as well. Guess what? No forensic science or relevant scientific backgrounds listed there as well.

But for some reason this art collective has received funding from governments and NGOs for "creating" a new discipline of forensic science. They're a "trusted" source for forensic investigations. That's worrying. That's terrifying.

I'm a forensic scientist and to make an objective field based upon methodology and empirically supported practice into one that is subjective and throws out the empirical aspects is terrifying. Everyone should have klaxons going off in their head whenever they see Forensic Architecture's name appear in a publication. I've reviewed a few of their "investigations" and they are rife with bad practice, manipulation, and misinformation. In fact, it appears that they present their work in art exhibits more than they testify to it in court due to their methods being questionable and their intent being not to help the investigation but to be a "counter-investigation" that can be judged by the court of public opinion. What do I mean by this? In many of their investigations the collective does not actively have personnel at the scene. Meaning they are not getting first hand physical evidence and measurements. Now, it's not always possible to be there personally and as such you rely upon crime scene techs, investigators, and other personnel to collect this stuff. Typically if you're a consultant or outside firm you are getting the evidence after it has been collected for analysis. You want the physical evidence in your hands as much as possible so that you can analyze it properly. Sometimes you have to request going to the scene yourself to get the measurements and evidence you need. The worst type of evidence to receive is honestly digital images of the scene as you are now having to analyze something a general investigator, who likely does not have specialized training, took a picture of.

In situations where you cannot have the physical evidence for analysis and you are left with only photographs then a forensic expert should be tempering their responses and conclusions. You cannot confidently come to conclusions based simply on looking at photos. This is something that is hammered home repeatedly in forensic programs and professionals.

In the case of warzone crime scene analysis, as FA typically does, they are, typically, not collecting evidence first hand from the scene, nor are they receiving evidence secondarily from actual trained investigators (when they are there first hand they also rely excessively upon expensive technology instead of best practices). They rely upon third party photos and satellite imagery to do their analysis.

Time and time again, forensic experts who rely solely upon digital photos and media to make their analysis get ripped apart by a good lawyer. Being confident in conclusions based upon photographs is the easiest way to lose your credibility. But again, the art collective playing forensic scientist primarily puts their work in art exhibits where they are not scrutinized by experts. Hell, I don't think I've ever seen them present at one of our professional conferences nationally or internationally (I would love to be a fly on the wall when that happens).

And finally, if this was an actual credible scientific group that produced credible investigations and had created a brand new field with methodology that stood to scrutiny there would be publications in the forensic journals detailing this. Especially from the "creator" of the field Eyal Weizman.

Guess what there isn't?

But in the end all they’re actually doing is crime scene reconstruction from people who want to cosplay as forensic scientists.

(for more reading on the group see this article that highlights issues with FA from another perspective https://www.artnews.com/art-in-america/features/forensic-architecture-fake-news-1234661013/)

[guyawks]

Hostile Architecture

As an innovative urban planner, I was great at my job.

I knew just how to spruce up a modern city and keep it looking inviting to citizens and tourists alike. I did so mainly by keeping unsavory people out of sight and mind: namely, our city’s ghastly homeless population.

Each design proposal I drew up for the city council was more ingenious and effective than the last.

Sidewalk benches with armrests jutting through their center to prevent hobos from sleeping on them. Window ledges with spikes along them to stop hobos from begging on them. Heat exhaust grates with rippling metallic surfaces to discourage hobos from huddling there in winter. Sprinklers periodically discharging in parks to interrupt midnight hobo meetups.

“Hostile architecture is the inconspicuous solution to our homeless problem!” I’d proclaim.

The committee loved my designs, and were eager to have them eventually installed. Finally, we could keep those homeless bums from stinking up our pristine city. I didn’t care where they went, as long as it wasn’t nearby.

Satisfied with another approved proposal, I drowsily returned to my penthouse. Throwing myself back onto my luxurious bed, however, I was met with pain. Instead of hitting the soft of my mattress, I felt my back bouncing off what felt like metal bars.

I reached out and stared at the bed in disbelief. There was nothing on my linen, and yet, my fingers touched invisible metal armrests jutting through the mattress.

Thinking I must be hallucinating from tiredness, I went to my couch to sit, only to feel invisible spikes jutting into my bottom. Panicking, I tried to lay down on my carpet, but found the surface somehow invisibly curved so that I couldn’t lay straight. Now desperate, I sought refuge in my kitchen—and shrieked at the sensation of invisible freezing water spraying me from invisible sprinklers.

Everywhere I went in my apartment, I was unable to gain even a small amount of rest. I felt phantom pieces of steel poking into my skin, impossible surface areas bending my spine, icy liquid jarring me awake.

I tried booking into hotels, staying at my parents’ house, admitting myself to a hospital ward. But no matter where I went or what furniture I lay on, the terrible unseen irritants followed. Unable to get even a single night’s rest, my exhaustion grew. In mere weeks, my job was long lost.

I’m on the cusp of death when at last I see my salvation—an old wooden park bench. Unlike other furniture, I don’t feel the curse’s invisible torture here. I stretch out and fall into a restful slumber. For the first time in over a month, I sleep well. I take fleeting comfort knowing there’s a place in this hostile city where I can take shelter…

…until tomorrow, when construction begins on my city architecture proposals.

[blenselche]

curious: have you ever learned something from a fanfic?

[spiralsinshadows]

I stretch through broad afternoons

tap, tap, tapping on tomorrows

April pressures

and I persist

I’ll get there sooner

with my head sun-kissed

—Nikola Sojka

[bravetotemscribe]

NAFS (Spirit)

This is my Next book i am working on.

Nafs is the story of a queen who fall in love with a Husband of a poor woman, because she want marry Him she send him to a far away and send another people to track him and capture.......

Nafs is the book which i am writing it in my native Language but the English version will available soon.

Follow me for more stories, I am an Author.

[rabbitcruiser]

NYC Transit Authority was formed on June 15, 1953.

[marchdiaries]

I’ve seen her fall asleep

Admired everything over and beneath

From the tulips

To the confused face she made beneath

That warm light

To shake off the night

I’ve seen her fall asleep

[hadiljamil]

Updated:

Thank You for Your Support

I want to express my heartfelt gratitude to everyone who has supported me, whether through donations, sharing my story, or keeping me in your prayers. Your support gives me hope and strength during these challenging times.

Unfortunately, my situation has continued to worsen despite my constant efforts to find alternative solutions without relying on donations or assistance. I have done everything I can to stand on my own, but sadly, all my attempts have failed.

Recently, I enrolled in a Master’s program in Dermatology at Al-Azhar University in Egypt. Initially, I was informed that scholarships were available for Palestinian students. However, I soon discovered that I did not qualify for any such financial support. When I inquired about the tuition fees, I was told the total cost would be around $5,000 for the entire program. I believed I could manage this amount over time without asking for help.

But in October, I was shocked to learn that the tuition fees had been increased significantly, reaching $3,000 annually. This unexpected news left me devastated and uncertain about how I could continue my studies. I am now in a difficult position, unsure of how to secure this amount or how to move forward with my education.

In the meantime, I have tried my best to find work here in Egypt to support myself and cover my expenses. However, the job market is extremely challenging, with most opportunities requiring specialized training. To improve my chances, I took a course to gain the necessary skills. Despite this, the only job I could find allows me to work just two days a week, with a monthly salary of no more than $25, which barely covers my basic needs.

I have exhausted all my options, and the situation continues to worsen. If anyone wishes to contact me or requires proof of my circumstances, I am more than willing to provide all the necessary documents and evidence.

Please, I ask for your understanding and support during this difficult time. Your help can make a significant difference in helping me move forward and achieve my dream.

Thank you so much for everything, and I hope you will continue to support me as you have always done.

[beaconforlove]

My little brother just grew an inch taller than me and, my world haven't been the same ever since. Brief reminders that time has been slipping through my fingers, barely holding onto the thin threads as faint facial hair make their appearance. The little boy who once looked at the world with mere curious and, oblivious eyes have to now step out of his haven. The little boy who thought her sister was the best one out there, now just remains as a memory of the past. The little boy whom I've seen taking his first steps has to strive without any support now. Those uncertain steps walked through my heart when his tiny hand held onto my thumb, again gazing with those curious and oblivious eyes which never fail to make my heart flutter.

Oh! another sunrise, another sunset. Another reignited hope in the glittery dawn to make much of time followed by the faint realisation and a heavy heart at dusk. Another ending, another regret. To give it my all for still trying to be his best sister. He might have grown a lot, seen a lot, might step up as a man for the world and maybe fall in love later on.

But, for now, he's still a little boy. My lil' boy...

[humanoidhistory]

New York World's Fair, 1964.

(Smithsonian Magazine)