Portrait by August Sander, from Citizens of the Twentieth Century at The Great Leap Sideways (found via the Office for Urban Scenarios) / You’ll Never See My Face in Kansas City, an ‘artcore’ project that splices an Chris Burden performance with Americana music / a short history of Zones, the physical location and spatial arrangement of ‘the Free Trade Zone, Foreign Trade Zone, Special Economic Zone, Export Processing Zone, or any of the dozens of variants — is a dynamic crossroads of trade, finance, management and communication.’ (via mammoth).
This machine-translated article about the gap between fantasy and reality in architectural renderings (and how easy it is to be taken in) has resulted in some rather poetic language: ‘The fact that he takes with the truth not exactly see the long nose of Pinocchio… The strategy of secrecy in melodious words … He appears as a prisoner of his own longings and dream worlds and proves that with the replacement of the craft of creative styling and the advent of computer technologies not only the sensitivity is lost for material matter but also the reference to reality.’
Many object to the Shard on the grounds that it is a pure speculation, unbridled capitalism, an overseas investment vehicle. All of this is true: it is largely funded by the Qatari royal family, part of their vast programme of overseas investment (the original very London developer, Irvine Sellar, is still in charge and still keeps a financial stake however). It is not a necessary civic building. Nobody clamoured to have it, nobody would feel an absence had it not been built. But this is a strange reason to dismiss it. Buildings appear for all kinds of reasons, investment being one of them, particularly in ultra-commercial London where overseas investment in buildings is scarcely novel.
Time to update the monograph
Daydream Nation-era Sonic Youth Live in Vilnius, full show, 1989 / Don Caballero’s final tour diary (via MeFi) / Kampground, America, a visual survey of ‘American car camping, and in particular the nation’s 8,000 privately operated campgrounds’, by Martin Hogue / The Uncannily Accurate Depiction of the Meth Trade in “Breaking Bad”, by Patrick Radden Keefe / there’s something rather poignant and moth-eaten about this set of photographs taken at The Horniman Museum.