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[July 27 2015] : PURPLE STORY WITH KENNY SCHARF STYLED BY @cgaimari TO BE PRINTED FOR THE NEXT @purplefashionmagazine OUT END OF AUGUST. LV OZ #purplediary

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[July 27 2015] : BACK AT THE PRINTER FOR THE NEXT PURPLE / PIC BY @katesimonphotography @purplefashionmagazine @giannioprandi @cgaimari #purplediary LIEGE LV OZ

[July 27 2015] : Art

GRID[LESS] a group show at 171 Canal St, New York
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GRID[LESS] a group show at 171 Canal St, New York

“The grid is, above all, conceptual speculation.” – Rem Koolhaas, Delirious New York.

For millennia, the grid—in which straight lines intersect consistently at right angles—has dictated our spatial relationships. We might add to Koolhaas: the grid, as conceptual speculation, has proven to be such a useful structure that it now pervades our physical and digital lives. It defines our urban topology, organizes our images, and orders our time. The grid is fundamentally an equalizer. Each city block consists of the same area as the blocks adjacent to it, creating a network ofarchitecture that cannot forgo its rigid Euclidean base. Google arranges its results so that an image of Picasso exists next to one of your pet. In our calendars, we format our... Read More

Text and photo Elise Gallant

purple fashion magazine
— S/S 2015 issue 23

Choux de Créteil


Gérard Grandval’s spectacular but controversial Choux de Créteil (the Cabbages of Créteil) housing project was constructed southeast of Paris between 1969 and 1974 on an old cabbage farm, as part of Paris’s futuristic suburban “Villes Nouvelles” (New Cities).
The utopic architect built 10 white, 15-story apartment buildings in a cluster. Each was ringed with large balconies, which added living space to public dwellings. As if to anticipate green architecture, Grandval dreamed of plants growing from balcony to balcony, festooning their façades in greenery.

 
photography by GIANNI OPRANDI
text by DAVID LIAUDET


 

The créteil project directed by Gérard Grandval has become an icon of large-scale utopic architecture and of “new cities” concepts. The controversy concerning this architecture has basically ignored the intelligence — and even the poetry — of such historical architecture.

We shouldn’t fight the architectural history of “new cities,” delighting in one, regretting others. We should realize that the power of an architectural image is as responsible for its success as the conceptual intelligence and monumental value Grandval’s buildings offer those who live there; a recognizable urban sign is an important statement.

Choux de Créteil [the Cabbages of Créteil] is at the very least a recognized place to live. Everyone has his own idea about the petal-shaped balconies, which resemble ginkgo biloba leaves rather than the cabbage leaves of its nickname. The balconies were designed to support vegetation, which was never planted because the first developers were worried about the risk of residents not caring for them. Remaining bare, without their verdant decor, without their vegetalized surface, Grandval’s towers have nevertheless become iconic.

Nowadays, when we are shown a wall of greenery as a sort of panacea for urban anxiety, when we are asked to think that architecture dressed up in greenery is actually more appealing, it is quite possible that the earlier refusal or resistance to add vegetation to Grandval’s buildings has, in a curious, elliptical fashion, further validated the ancestral status of what we call green architecture. Large groups of buildings were surrounded by parks that now look flirtatiously at urban designers seeking density, but very few programs included a plant-covered façade overrun like the vines creeping over the ruins in Piranesi’s famous etchings. Grandval dreamed of a certain image. He seems to have...

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[July 24 2015] : Art

An interview with Hanna Liden on her public art installation “Everything,” New York
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An interview with Hanna Liden on her public art installation “Everything,” New York

Hanna Liden’s “Everything” is a 4-piece public exhibition installed in the Hudson River Park and Ruth Wittenberg Plaza on New York’s West Side. Presented by the Art Production Fund and Kiehls, the sculptures mimic a photograph from her earlier exhibition, “I Hope These Ruin Your Perfectly Bad Day” at Maccarone, in which Liden placed a tulip within a stack of bagels. Over a couple of bottles of Budweiser at a small bar overlooking the Hudson, she explains why she chose the staple New York baked good as the subject for her first public piece. “Everything” is on view until the September 30th, New York.

Interview and photos by Paige Silveria

 

PAIGE SILVERIA – This is a great little bar.

HANNA... Read More

[July 24 2015] : Love

“Dad” a series by Aneta Bartos
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“Dad” a series by Aneta Bartos

The series is my attempt to capture childhood memories focusing on my father. He has lived all of his 70 years in a small city in Poland and has been shaped by its culture, rural lifestyle, and decades under communist rule. Since he was a young man, he’s strutted proudly in his habitat displaying his sculpted body – a gentle giant, a man unmotivated by greed and always true to his principles.

Visiting him and being in his presence takes me back to my youth, to what felt like an endless stretch of days in a worry-free world anchored by my powerful and loving father. I reflect on how his commitment to education, fitness, organic food,... Read More

Text and photo Aneta Bartos

[July 23 2015] : Love

A portrait of actress Rinko Kikuchi, Tokyo

A portrait of actress Rinko Kikuchi, Tokyo

Photo Chikashi Suzuki