The surprisingly spatial quality of Stephen Batchelor’s Buddhism

In a gently humorous interview with theologian/broadcaster Krista Tippett on the wildly popular podcast “On Being”, Buddhist teacher and author Stephen Batchelor explores the particular aspect of Buddhism that he practices, called secular, or atheist, Buddhism.  In it he delves into the issues and value of such practices as doubt, questioning, and transcendence.

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Best of 2015: Architectstasy’s Top 6 Articles

2015 is a special year for Architectstasy, being its first.  It’s been a phenomenal year of architectural conversations; from the inaugural Chicago Architecture Biennial to Ann Arbor’s struggle with its version of the Roman Forum, the following were Architectstasy’s most-read articles of 2015.  Thanks for following along so far, and here’s to a new year of even more and more interesting conversations in 2016.  See you next year!

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Social Media Roundup

Architectstasy fans!  Wishing you could get a little more Architectstasy in your life than just these essays?  Then find and follow all of Architectstasy’s platforms!

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“Writing Architecture”: A Panel on Architectural Criticism

Our clients and education deserve the very best work that we are capable of producing, and this means doing some intellectual and philosophical heavy lifting about our projects and practices. This means understanding the formal and historical contexts in which our work finds itself and interpreting the design briefs and problems we’re given within the larger body of work in which it naturally exists.

But really…who has time for all that?

Enter architectural criticism.

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How Buildings Collapse

In 1989, architectural critic Herbert Muschamp wrote an essay for the New York Times, “How Buildings Remember”, that was in part the first review of the Holocaust Museum in Washington, D.C.  In it, he discussed Modernism, transparency, the uneasy intimate relationship between art and politics, wondered aloud how much a museum should be responsible – or even can be responsible – for in terms of absolution, the Holocaust Museum type, and ended on an unsettling parallel between old and new propaganda and the timeless persistence of denial.  He describes carefully, almost tenderly, James Freed’s formal, spatial, and material answers to the question, “How does a building represent a catastrophe?”

But sometimes, the building IS the catastrophe.

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