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Kieran Long

So, before January is over, I’d like to post the first one in a series of posts that look back at some of the stuff that happened in 2013 but which, due to the hectic-ness of these last months, had to wait till now. So, as a starting point, I thought it would be nice to celebrate the imminent -and eminent- first anniversary of my ongoing collaboration with Uncube Magazine, a Berlin-based, online journal that has managed to make its own place in the netsphere through a steady flow of thematic, monthly issues, since August 2012.

Drifting a little from my usually elusive manners, I offered them to draw an egotistic strip, “Numerus Klausus”, commenting on current issues on and around architecture in my own section within the magazine, ‘Klaus’ Kube’. Of course, even though it started as a regular-looking comic strip, they soon talked me into doing something a little more complex -they didn’t have to try too hard. Some of the strips are still pretty elusive, but at least this time their backstory is easier to trace back. Also, the editors’ suggestions gave me the opportunity to feature a lot of guest stars, such as the inevitable Rem-the-Man, but also MVRDV, Rafael Viñoly, Renzo Piano, Kieran Long, Pink Floyd (seriously), Florian Heilmeyer, Sophie Lovell, Zaha Hadid, Gregg Lynn, sylvia Lavin, Jean Nouvel or Sigmund Freud.

Scroll down for the whole series (including two non-posted ones)

Klaus's Kube 01 Delusional EconomiesI. Delusional Economies, in Uncube’s blogklaus Kube 02 You're so Kool blogII. You’re so Kool in Uncube Magazine # 07 : Off-places.

NK 03 On Intellectuality blogIII. On Intellectuality in Uncube Magazine #9: Constructing Images

NK 04 Taylorist Designs 01 blogIV. Tayloredist Designs in Uncube Magazine #9: Constructing Images

MVRDV Cloud EncountersV. Cloud Encounters of the 911th Kind in Uncube issue #10: Wood, Paper Pulp

NK06 - DEF 03 smVI. Metropol Para-Poli in Uncube Magazine #11: Charles CorreaUncube Numerus Klausus 07  Architecture Mon AmourVII. Architecture, Mon Amour in Uncube Magazine #12: Into the Desert NK08 02 xsmVIII. One of my Turns in Uncube Magazine #13: BerlinNK09 Viñoly attacks uncube 03IX. Faulty Towers in Uncube Magazine #15: Small Towns, Big ArchitectureShardnadoX. Shardnado! in Uncube Magazine #14: Veins

NK 11 01 smXI. Form Follows Friction in Uncube #17: Construct Africa

This last one came after a suggestion (as another one preceding it and yet one more to come) by Sophie Lovell, who thought it would be better not to have me making humor of anything Africa-related, and asked me to tackle on Zaha Hadid’s vagina-like stadium instead. I have to say that, were I an editor, the prospect of myself being given free reign to draw vaginas in the magazine wouldn’t make me any less worried, anyhoo… so, consequently, I took the opportunity to throw in some of all this phallic proliferation that’s been happening lately in architecture, ranging from Jean Nouvel’s dildo to Foster’s recently-flaccid Gherkin, China’s People’s Daily Newspaper circumcised HQ, or that infamous church that looks like a penis in aerial view (if you’re interested in this highly intellectual topic, check Cabinet Magazine’s 2003 Competition for the Most Phallic Building in the World). It also gave me the chance to feature Gregg Lynn and Sylvia Lavin (not her first time in the blog), who’s the subject of a cartoon I never get to sit and draw. Over there, writing on his blog in Providence, David Brussat identified this as an ITD (Internet transmitted Disease): “Klaustoon on Koolhaas and Penises” at Architecture Here and There.

Next issue, it  will be FAT time.

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ShardnadoClick to enlarge

“Why is it the tallest? I don’t really remember. I don’t really care. It was actually taller at the beginning, it was 400 meters, but then aeronautics came and they said that you can not because you interfere with the flight of the air planes. So we broke it. The building is now 310 meters but it is still designed to go up to 400 meters. Many people still believe it is unfinished… this idea is part of the game in some way,” says Piano in the 20 minute interview.

 “As an architect you have a very dangerous job to perform. Dangerous for you but even more dangerous for other people. Because if you do something wrong it is forever. I think it [The Shard] is fine. I stopped crossing my fingers only a few months ago. You do everything you can to make it right but the truth is that you only understand at the end when it is built if it is right or wrong. I was not very good at school. I grew up with the idea that what you do is fine but it is probably not good enough. And so even now at 75 I still feel that every time I do something right it is a miracle. I don’t live in the sensation that everything I do is right. It is always a great surprise.”

Responding to criticisms that The Shard is a symbol of the welath dividie in London, Piano says that only 50 or 60 of the 10,000 people that will visit The Shard every day could be classified as rich. But he agrees that £25 is too much to charge to access the viewing platform at the top of the building.  “£25 is too much but in this town everything costs too much… I agree it is too expensive. Because one of the aims of this building is to give London back to the people and to be public. But this is the normal price. If you go to the top of the Empire State building you spend more than that.”

Er, Renzo, let me remind you. It’s that tall because you all wanted to make A SHITLOAD OF MONEY.

22 Feb

And, by the way, a ticket to the top of the Empire State building is $25/£16 which is a lot cheaper than going to the top of the Shard.

……………………………..

Nuff Said.

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