An Architect Breaks Down the Design of New York City Subway Stations, from the Oldest to Newest

in Architecture, Art, Design, History, Travel | March 13th, 2023

With 26 lines and 472 sta­tions, the New York City sub­way sys­tem is prac­ti­cal­ly a liv­ing organ­ism, and way too big a top­ic to tack­le in a short video.

Archi­tect Michael Wyet­zn­er may not have time to touch on rats, crime track fires, flood­ing, night and week­end ser­vice dis­rup­tions, or the adults-in-a-Peanuts-spe­cial sound qual­i­ty of the announce­ments in the above episode of Archi­tec­tur­al Digest’s Blue­prints web series, but he gives an excel­lent overview of its evolv­ing design, from the sta­tions them­selves to side­walk entrances to the plat­form sig­nage.

First stop, the old City Hall sta­tion, whose chan­de­liers, sky­lights, and Guas­tavi­no tile arch­ing in an alter­nat­ing col­ors her­ring­bone pat­tern made it the star attrac­tion of the just-opened sys­tem in 1904.

(It’s been closed since 1945, but savvy tran­sit buffs know that they can catch a glimpse by ignor­ing the conductor’s announce­ment to exit the down­town 6 train at its last stop, then look­ing out the win­dow as it makes a U‑turn, pass­ing through the aban­doned sta­tion to begin its trip back uptown. The New York Tran­sit Muse­um also hosts pop­u­lar thrice year­ly tours.)

Express tracks have been a fea­ture of New York’s sub­way sys­tem since the begin­ning, when Inter­bor­ough Rapid Tran­sit Com­pa­ny enhanced its exist­ing ele­vat­ed line with an under­ground route capa­ble of car­ry­ing pas­sen­gers from City Hall to Harlem for a nick­el fare.

Wyet­zn­er effi­cient­ly sketch­es the open exca­va­tion design of the ear­ly IRT sta­tions — “cut and cov­er” trench­es less than 20’ deep, with room for four tracks, plat­forms, and no frills sup­port columns that are near­ly as ubiq­ui­tous white sub­way tiles.

For the most part, New York­ers take the sub­way for grant­ed, and are always pre­pared to beef about the fare to ser­vice ration, but this was not the case on New Year’s Day, 2017, when rid­ers went out of their way to take the Q train.

Fol­low­ing years of delays, aggra­vat­ing con­struc­tion noise and traf­fic con­ges­tion, every­one want­ed to be among the first to inspect Phase 1 of the Sec­ond Avenue Sub­way project, which extend­ed the line by three impres­sive­ly mod­ern, airy col­umn-free sta­tions.

(The mas­sive drills used to cre­ate tun­nels and sta­tions at a far greater depth than the IRT line, were left where they wound up, in prepa­ra­tion for Phase 2, which is slat­ed to push the line up to 125th St by 2029. (Don’t hold your breath…)

The design­ers of the sub­way placed a pre­mi­um on aes­thet­ics, as evi­denced by the domed Art Nou­veau IRT entrance kiosks and beau­ti­ful per­ma­nent plat­form signs.

From the orig­i­nal mosaics to Beaux Arts bas relief plaques like the ones pay­ing trib­ute to the for­tune John Jacob Astor amassed in the fur trade, there’s lots of his­to­ry hid­ing in plain sight.

The mid-80s ini­tia­tive to bring pub­lic art under­ground has filled sta­tions and pas­sage­ways with work by some mar­quee names, like Vik Muniz, Chuck Close, William Weg­man, Nick Cave, Tom Otter­ness, Roy Licht­en­stein and Yoko Ono.

Wyet­zn­er also name checks graph­ic design­er Mas­si­mo Vignel­li who was brought aboard in 1966 to stan­dard­ize the infor­ma­tion­al sig­nage.

The white-on-black sans serif font direct­ing us to our desired con­nec­tions and exits now seems like part of the subway’s DNA.

Per­haps 21st-cen­tu­ry inno­va­tions like count­down clocks and dig­i­tal screens list­ing real-time ser­vice changes and alter­na­tive routes will too, one of these days.

If Wyet­zn­er is open to film­ing the fol­low-up view­ers are clam­or­ing for in the com­ments, per­haps he’ll weigh in on the new A‑train cars that debuted last week, which boast secu­ri­ty cam­eras, flip-up seat­ing to accom­mo­date rid­ers with dis­abil­i­ties, and wider door open­ings to pro­mote quick­er board­ing.

(Yes, they’re still the quick­est way to get to Harlem…)

Relat­ed Con­tent 

A Sub­way Ride Through New York City: Watch Vin­tage Footage from 1905

How the Icon­ic Col­ors of the New York City Sub­way Sys­tem Were Invent­ed: See the 1930 Col­or Chart Cre­at­ed by Archi­tect Squire J. Vick­ers

Design­er Mas­si­mo Vignel­li Revis­its and Defends His Icon­ic 1972 New York City Sub­way Map

The Sound of Sub­ways Around the World: A Glob­al Col­lec­tion of Sub­way Door Clos­ing Announce­ments, Beeps & Chimes

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

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The Dos & Don’ts of Driving to West Berlin During the Cold War: A Weird Piece of Ephemera from the 1980s

in History | March 6th, 2023

As gen­er­a­tions have come of age with few or no mem­o­ries of the exis­tence of the Sovi­et Union, a com­mon mis­con­cep­tion about Berlin has become more com­mon. Because the Ger­man cap­i­tal was divid­ed between the for­mer East and West Ger­many, it’s easy to assume that it must have lay on the bor­der between the two states. In fact, the whole of Berlin, East and West, was com­plete­ly sur­round­ed by East Ger­many, and to dri­ve from West Ger­many to West Berlin entailed more than 100 miles on the auto­bahn through Sovi­et ter­ri­to­ry. How, exact­ly, this was done is ful­ly explained in “Des­ti­na­tion Berlin,” the 1988 video from the Roy­al Mil­i­tary Police above.

“You do not need to wor­ry about the trip,” says the north­ern-accent­ed nar­ra­tor, an announce­ment that  rather under­cuts it own intend­ed mes­sage. And few dri­vers, affil­i­at­ed with the British mil­i­tary or oth­er­wise, could watch the mate­r­i­al that fol­lows with­out spec­u­lat­ing on the host of false moves that could result in an invol­un­tary extend­ed stay on the wrong side of the Iron Cur­tain.

You must nev­er pull off at a rest stop. If you break down on the high­way, you must accept assis­tance only from Allied dri­vers. When salut­ed by any of the Sovi­et offi­cers inevitably encoun­tered along the jour­ney, “you must, irre­spec­tive of your sex, sta­tus, or form of dress, return his salute.”

“Should you be spo­ken to by a Sovi­et or East Ger­man nation­al,” the nar­ra­tor explains, “you must do the fol­low­ing: remem­ber as much detail about the con­ver­sa­tion as you can, as well as the phys­i­cal descrip­tion, dress, and rank of the indi­vid­ual. Remain non-com­mit­tal through­out, and do not agree to any­thing.” (And remem­ber, “you only attract atten­tion to your­self by speak­ing in Russ­ian to the Sovi­et check­point per­son­nel, so don’t do it.”) These stern warn­ings evoke the Cold War era as pow­er­ful­ly as the audio­vi­su­al pro­duc­tion of “Des­ti­na­tion Berlin” itself, even in the minds of those who did­n’t live through it. Could any­one watch­ing back in 1988 — anx­ious about just which doc­u­ments to present at which guard sta­tions, to say noth­ing of the poten­tial geopo­lit­i­cal con­se­quences of a fend­er-ben­der — have imag­ined that the Berlin Wall would fall the very next year?

via Metafil­ter

Relat­ed con­tent:

Louis Arm­strong Plays His­toric Cold War Con­certs in East Berlin & Budapest (1965)

Pro­tect and Sur­vive: 1970s British Instruc­tion­al Films on How to Live Through a Nuclear Attack

Bruce Spring­steen Plays East Berlin in 1988: I’m Not Here For Any Gov­ern­ment. I’ve Come to Play Rock

The East Ger­man Secret Police’s Illus­trat­ed Guide for Iden­ti­fy­ing Youth Sub­cul­tures: Punks, Goths, Teds & More (1985)

The Psy­che­del­ic Ani­mat­ed Video for Kraftwerk’s “Auto­bahn” from 1979

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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The Military Adventures of Alexander the Great: An Animated Documentary Shows How He Conquered Most of the Known World (336–323 BC)

in History | March 1st, 2023

To learn about his­to­ry is to learn about war, or so it can feel when you go far back enough in time. And in any era of antiq­ui­ty, few could have matched Alexan­der the Great’s mas­tery of that art. After becom­ing kind of the Mace­don in 336 BC, at the age of 20, he spent a decade con­quer­ing oth­er lands in order to build a vast empire stretch­ing from Greece to India. How he man­aged to pull it off is the sub­ject of the near­ly hour-long Epic His­to­ry TV video above, which traces Alexan­der’s life and reign over ever-vaster swathes of the then-known world.

Re-cre­at­ing all the bat­tles of Alexan­der’s con­quest with not just maps but 3D ani­ma­tion as well, the pro­duc­tion makes clear­ly leg­i­ble the kind of vio­lent con­flicts that, no doubt chaot­ic when expe­ri­enced on the bat­tle­field, can also be dif­fi­cult to fol­low in the pages of a text­book.

Its graph­ics and nar­ra­tion break down every­thing from how Alexan­der ini­tial­ly arranged his troops to how he respond­ed, blow by blow, to the moves of ene­my forces. All of it added up to a mil­i­tary strat­e­gy that kept Alexan­der unde­feat­ed in bat­tle despite often hav­ing been out­num­bered, and whose details are still stud­ied today.

By his mid-twen­ties, Alexan­der had con­quered the once-mighty Per­sian Empire. But with the ambi­tion befit­ting a vic­to­ri­ous young man — not to men­tion one who’d been tutored by Aris­to­tle him­self — he would set­tle for noth­ing less than rul­ing the world, or at least the world as a Greek in the fourth cen­tu­ry BC would have con­ceived of it, and he man­aged to get quite close to that goal before his death at the age of 32. That he was felled by an ill­ness rather than in war is one of his­to­ry’s great ironies, giv­en that he’d per­son­al­ly led his troops into all their bat­tles. As for the fact that we remem­ber Alexan­der’s name well over two mil­len­nia after his death, it’s safe to say that it would­n’t sur­prise him.

Relat­ed con­tent:

The His­to­ry of Ancient Greece in 18 Min­utes: A Brisk Primer Nar­rat­ed by Bri­an Cox

The Rise and Fall of the Great Library of Alexan­dria: An Ani­mat­ed Intro­duc­tion

The His­to­ry of the Byzan­tine Empire (or East Roman Empire): An Ani­mat­ed Time­line Cov­er­ing 1,100 Years of His­to­ry

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

Sun Tzu’s The Art of War: An Ani­mat­ed Chap­ter-by-Chap­ter Break­down of the Ancient Chi­nese Trea­tise

Learn Ancient Greek in 64 Free Lessons: A Free Online Course from Bran­deis & Har­vard

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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When a UFO Came to Japan in 1803: Discover the Legend of Utsuro-bune

in History, Sci Fi | February 22nd, 2023

For the enthu­si­ast of uniden­ti­fied fly­ing objects, we live in inter­est­ing times indeed. Back in 2021, as we pre­vi­ous­ly fea­tured here on Open Cul­ture, the CIA declas­si­fied and pub­lished thou­sands of pages of UFO-relat­ed doc­u­ments. In just the past few weeks, three UFOs were shot down over North Amer­i­ca. In the span of time between those events, much else has also occurred to stim­u­late the imag­i­na­tion of those who’ve kept watch­ing the skies. Fas­ci­na­tion with UFOs may have strong cul­tur­al asso­ci­a­tions with twen­ti­eth-cen­tu­ry Amer­i­ca — and the sub­ject can now feel a bit passé for that rea­son — but it knows few­er cul­tur­al or tem­po­ral bound­aries than we may think: wit­ness, for exam­ple, the Japan­ese folk­tale of Utsuro-bune.

“In 1803, a round ves­sel drift­ed ashore on the Japan­ese coast and a beau­ti­ful woman emerged, wear­ing strange cloth­ing and car­ry­ing a box. She was unable to com­mu­ni­cate with the locals, and her craft was marked with mys­te­ri­ous writ­ing.” Such is the premise of the leg­end as retold at Nippon.com, which also offers an analy­sis by Gifu Uni­ver­si­ty pro­fes­sor emer­i­tus Tana­ka Kazuo.

“Long before the Amer­i­can UFO sto­ries, the craft depict­ed in Edo-peri­od Japan­ese doc­u­ments for some rea­son looked like a fly­ing saucer,” he says. Nor have schol­ars traced Utsuro-bune (虚舟, which means “hol­low ship”) back to only one source: to date, Tana­ka “has found eleven doc­u­ments relat­ing to the Hitachi Utsuro-bune leg­end, of which the most inter­est­ing are thought to date from 1803, the same year that the craft was said to have come to shore.”

What exact­ly hap­pened in Hitachi, a small city on Japan’s east coast, in 1803? Why do near con­tem­po­rary depic­tions of the Utsuro-bune itself (espe­cial­ly in the 1835 Hyōryū kishū or “records of cast­aways,” as seen at the top of the post) so close­ly resem­ble mod­ern-day visions of fly­ing saucers? Giv­en that the inci­dent is held to have tak­en place dur­ing the coun­try’s 265-year-long sakoku peri­od of nation­al iso­la­tion, no for­eign­er is like­ly to have crossed over to Japan­ese shores with­out caus­ing a major inci­dent. Unable to com­mu­ni­cate with this mys­te­ri­ous woman, the fish­er­men of Hitachi are said sim­ply to have returned her — box and all — to the hol­low ship, which drift­ed back out to sea, nev­er to be seen again. It was her good luck, some ufol­o­gists might say, to have turned up on Earth a cen­tu­ry and a half before the open­ing of Area 51.

via Messy Nessy

Relat­ed con­tent:

The Japan­ese Fairy Tale Series: The Illus­trat­ed Books That Intro­duced West­ern Read­ers to Japan­ese Tales (1885–1922)

The First Muse­um Ded­i­cat­ed to Japan­ese Folk­lore Mon­sters Is Now Open

The Ghosts and Mon­sters of Hoku­sai: See the Famed Wood­block Artist’s Fear­some & Amus­ing Visions of Strange Appari­tions

The CIA Has Declas­si­fied 2,780 Pages of UFO-Relat­ed Doc­u­ments, and They’re Now Free to Down­load

What Do Aliens Look Like? Oxford Astro­bi­ol­o­gists Draw a Pic­ture, Based on Dar­win­ian The­o­ries of Evo­lu­tion

The Appeal of UFO Nar­ra­tives: Inves­tiga­tive Jour­nal­ist Paul Beban Vis­its Pret­ty Much Pop #14

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Leonardo’s Lost Sketches Suggest That He Theorized Gravity Before Galileo & Newton

in History, Science | February 21st, 2023

It would be clichéd to describe Leonar­do da Vin­ci as a man ahead of his time. But in the case of the quin­tes­sen­tial Renais­sance poly­math, it may well be one of those clichés firm­ly root­ed in truth. In fact, that root­ing has just grown even firmer with the dis­cov­ery of a tri­an­gle that Leonar­do sketched in one of his note­books, the Codex Arun­del (cir­ca 1478–1518). That tri­an­gle, as the New York Times’ William J. Broad writes, had “an adjoin­ing pitch­er and, pour­ing from its spout, a series of cir­cles that formed the triangle’s hypotenuse.” This image sounds sim­ple, but it reveals that Leonar­do approached an under­stand­ing of the laws of grav­i­ty before Galileo, and well before New­ton.

This find­ing is the work of Morteza Gharib, a pro­fes­sor of aero­nau­tics at the Cal­i­for­nia Insti­tute of Tech­nol­o­gy. Cap­ti­vat­ed by this sketch, he “used a com­put­er pro­gram to flip the tri­an­gle and the adja­cent areas of back­ward writ­ing,” which clar­i­fied what Leonar­do was attempt­ing to do.

His dia­gram turned out “to split the effects of grav­i­ty into two parts that revealed an aspect of nature nor­mal­ly kept hid­den.” The first part was grav­i­ty’s “nat­ur­al down­ward pull”; the sec­ond was the move­ment of the pitch­er itself along a line. That Leonar­do drew “the pitcher’s con­tents falling low­er and low­er over time” implies his under­stand­ing that “grav­i­ty was a con­stant force that result­ed in a steady accel­er­a­tion.”

Along with co-authors Chris Roh and Flavio Noca, Gharib has pub­lished a paper on “Leonar­do da Vinci’s Visu­al­iza­tion of Grav­i­ty as a Form of Accel­er­a­tion” in this mon­th’s issue of Leonar­do — an appro­pri­ate­ly named jour­nal in this case, though one ded­i­cat­ed less to the study of Leonar­do the man than to the study of the inter­sec­tion of art and sci­ence he occu­pied. As Gharib and oth­ers see it, Leonar­do “was far more than an artist and sug­gest­ed that his fame as a pio­neer­ing sci­en­tist could sky­rock­et if more tech­ni­cal­ly knowl­edge­able experts probed the Codex Arun­del and oth­er sources” — the kind of experts who can tell that, with his pitch­er and tri­an­gle, Leonar­do man­aged to deter­mine the strength of gravity’s pull to an accu­ra­cy of about 97 per­cent. Which leads us to won­der: What else about the nature of real­i­ty must he have worked out in the mar­gins of his note­books?

via Art­net

Relat­ed Con­tent:

Leonar­do da Vinci’s Vision­ary Note­books Now Online: Browse 570 Dig­i­tized Pages

Leonar­do da Vinci’s Ele­gant Design for a Per­pet­u­al Motion Machine

How Leonar­do da Vin­ci Made His Mag­nif­i­cent Draw­ings Using Only a Met­al Sty­lus, Pen & Ink, and Chalk

Down­load the Sub­lime Anato­my Draw­ings of Leonar­do da Vin­ci: Avail­able Online, or in a Great iPad App

A Com­plete Dig­i­ti­za­tion of Leonar­do Da Vinci’s Codex Atlanti­cus, the Largest Exist­ing Col­lec­tion of His Draw­ings & Writ­ings

The Old­est Known Globe to Depict the New World Was Engraved on an Ostrich Egg, Maybe by Leonar­do da Vin­ci (1504)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Watch 80 Minutes of Never-Released Footage Showing the Wreckage of the Titanic (1986)

in History | February 20th, 2023

Per­haps, this past Valen­tine’s Day, you caught a screen­ing of James Cameron’s Titan­ic, that nine­teen-nineties block­buster hav­ing been re-released for its 25th anniver­sary. You may have even found your­self feel­ing a renewed appre­ci­a­tion for the film’s pre­ci­sion-engi­neered mix­ture of Hol­ly­wood romance and tech­no­log­i­cal­ly robust his­tor­i­cal re-cre­ation. As Cameron him­self tells it, he and his col­lab­o­ra­tors were gal­va­nized to reach such heights by mak­ing a series of under­wa­ter expe­di­tions to see the wreck­age of the RMS Titan­ic itself first­hand in 1995 — less than a decade after that most noto­ri­ous of all ocean lin­ers was redis­cov­ered.

The Titan­ic van­ished beneath the waves of the Atlantic Ocean on April 15, 1912. For near­ly 75 years there­after, nobody saw it again, or indeed had a clear idea of where it even was. It was­n’t until 1985 that its loca­tion was deter­mined, thanks to a joint expe­di­tion by Jean-Louis Michel of French nation­al oceano­graph­ic agency IFREMER and Robert Bal­lard of the Woods Hole Oceano­graph­ic Insti­tu­tion. The job neces­si­tat­ed the use of IFRE­MER’s new high-res­o­lu­tion sonar as well as the WHOI’s remote­ly con­trolled deep-sea vehi­cle Argo and its com­pan­ion robot Jason, designed to take pic­tures and gath­er objects from the sea floor.

When Bal­lard and his crew returned to the Titan­ic the fol­low­ing year, they brought a new cast of machines with them: the deep-div­ing sub­mersible DSV Alvin, the Jason’s descen­dant Jason Jr., and the cam­era sys­tem ANGUS (Acousti­cal­ly Nav­i­gat­ed Geo­log­i­cal Under­wa­ter Sur­vey). You can see more than 80 min­utes of the footage they col­lect­ed in the video at the top of the post, new­ly uploaded to the WHOI’s Youtube chan­nel. This expe­di­tion marked “the first time humans set eyes on the ill-fat­ed ship since 1912,” and most of the footage shot on it has nev­er before been released to the pub­lic.

The video offers close-up views of the Titan­ic’s “rust-caked bow, intact rail­ings, a chief offi­cer’s cab­in and a prom­e­nade win­dow,” as NPR’s Emi­ly Olson writes. “At one point, the cam­era zeroes in on a chan­de­lier, still hang­ing, sway­ing against the cur­rent in a haunt­ing state of ele­gant decay.” What’s more, “the WHOI’s new­ly released footage shows the ship­wreck in the most com­plete state we’ll ever see.” Over the past 37 years, the hand­i­work of the world of under­sea organ­isms have tak­en their toll on the Titan­ic, whose remains could van­ish almost entire­ly in a man­ner of decades — but whose pow­er to inspire works of art will sure­ly go on and on.

Relat­ed con­tent:

See the First 8K Footage of the Titan­ic, the High­est-Qual­i­ty Video of the Ship­wreck Yet

Watch the Titan­ic Sink in This Real-Time 3D Ani­ma­tion

Titan­ic Sur­vivor Inter­views: What It Was Like to Flee the Sink­ing Lux­u­ry Lin­er

The Titan­ic: Rare Footage of the Ship Before Dis­as­ter Strikes (1911–1912)

How the Titan­ic Sank: James Cameron’s New CGI Ani­ma­tion

“Titan­ic Sink­ing; No Lives Lost” and Oth­er Ter­ri­bly Inac­cu­rate News Reports from April 15, 1912

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Turning the Pages of an Illuminated Medieval Manuscript: An ASMR Museum Experience

in Books, History, Museums, Neuroscience | February 20th, 2023

Page turn­ing is to ASMR as the elec­tric bass is to rock.

The Vic­to­ria and Albert Muse­um’s pop­u­lar Autonomous Sen­so­ry Merid­i­an Response video series (find it here) has seen episodes devot­ed to icon­ic Sec­ond Wave fem­i­nist mag­a­zines and a cou­ple of late 20th-cen­tu­ry pop up artist’s books, but the parch­ment pages of this medieval antiphonary — or choir­book — make for some tru­ly leg­endary sounds.

Audio design­er and per­for­mance-mak­er Julie Rose Bow­er deserves a por­tion of the cred­it for height­en­ing the aur­al expe­ri­ence for her use of the ambison­ics for­mat.

Kudos too to Nation­al Art Library Spe­cial Col­lec­tions cura­tor Cather­ine Yvard…if she ever wants a break from medieval man­u­script illu­mi­na­tion and Goth­ic ivory sculp­ture, she could spe­cial­ize in extreme­ly sooth­ing voiceover nar­ra­tion.

It’s rare to find such plea­sur­ably tingly ASMR sen­sa­tions paired with allu­sions to the some­what bar­barous process of mak­ing parch­ment from ani­mal skins, but that’s what illu­mi­na­tor Francesco dai Lib­ri, and his son Giro­lamo were work­ing with in 1492 Verona.

Our ears may not be able to detect much dif­fer­ence between the skin sides and flesh sides of these remark­ably well pre­served pages, but Bow­er does due dili­gence, as Yvard slow­ly drags her fin­gers across them.

No need to fear that Yvard’s bare hands could cause harm to this 530-year-old object.

Experts at the British Library have decreed that the mod­ern prac­tice of don­ning white gloves to han­dle antique man­u­scripts decreas­es man­u­al dex­ter­i­ty, while height­en­ing the pos­si­bil­i­ty of trans­ferred dirt or dis­lodged pig­ments.

The stur­dy parch­ment of this par­tic­u­lar antiphonary has seen far worse than the care­ful hands of a pro­fes­sion­al cura­tor.

Pages 7, 8, 9 have been singed along the bot­tom mar­gins, and else­where, the goth­ic hand let­ter­ing has been scraped away, pre­sum­ably with a knife, in prepa­ra­tion for a litur­gi­cal update that nev­er got entered.

If your brain is cry­ing out for more after spend­ing 15 and a half inti­mate min­utes with these medieval pages, we leave you with the snap crack­le and pop of oth­er items in the V&A’s col­lec­tion:

Treat your ears to Vic­to­ria and Albert’s full ASMR at the Muse­um playlist here.

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

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The Futurist Architectural Designs Created by Étienne-Louis Boullée in the 18th Century

in Architecture, Art, History | February 15th, 2023

If a painter is ahead of his time, his work won’t sell par­tic­u­lar­ly well while he’s alive. If an archi­tect is ahead of his time, his work prob­a­bly won’t exist at all — not in built form, at least. Such was the case with Éti­enne-Louis Boul­lée, who con­struct­ed few projects in the eigh­teenth cen­tu­ry in which he lived, almost none of which remain stand­ing today. The best Boul­lée devo­tees can do for a site of pil­grim­age is the Hôtel Alexan­dre in Paris’ eighth arrondisse­ment, which, though hand­some enough, does­n’t quite offer a sense of why he would have devo­tees in the first place. To under­stand that, one must look to Boul­lée’s unbuilt works, the most notable of which are intro­duced in the video from Kings and Things above.

“Paper archi­tect” iden­ti­fies a mem­ber of the pro­fes­sion who may design struc­tures pro­lif­i­cal­ly but sel­dom, if ever, builds them. It is not a desir­able label, espe­cial­ly in its impli­ca­tion of will­ful imprac­ti­cal­i­ty (even by archi­tec­tur­al stan­dards). But as prac­ticed by Boul­lée, paper archi­tec­ture became an art form unto itself: he left behind not just an exten­sive essay on his art, but volu­mi­nous draw­ings that envi­sion a host of neo­clas­si­cal build­ings as ambi­tious in his time as they were unfash­ion­able — and often, due to their sheer size, unbuild­able.

These includ­ed an updat­ed colos­se­um, a spher­i­cal ceno­taph for Isaac New­ton taller than the Great Pyra­mids of Giza, a basil­i­ca meant to give its behold­ers an impres­sion of the uni­verse itself, a roy­al library of near-Bor­ge­sian pro­por­tions, and even an actu­al Tow­er of Babel.

 

For Boul­lée, big­ger was bet­ter, an idea that would sweep glob­al archi­tec­ture a cen­tu­ry and a half after his death. By the mid-twen­ti­eth cen­tu­ry, the world had also come to accept a Boul­lée-like pref­er­ence for min­i­mal orna­men­ta­tion as well as his con­cep­tion of what his con­tem­po­raries jok­ing­ly termed archi­tec­ture par­lante: that is, build­ings that “speak” about their pur­pose visu­al­ly, and in no uncer­tain terms. (You can hear more about it in the video below, a seg­ment by pro­fes­sor Eri­ka Nagin­s­ki from Har­vard’s online course “The Archi­tec­tu­al Imag­i­na­tion.”) When Boul­lée designed a Palace of Jus­tice, he placed a cour­t­house direct­ly over a jail­house, artic­u­lat­ing “one enor­mous metaphor for crime over­whelmed by the weight of jus­tice.” This may have been a bit much even for the new French Repub­lic, but for those who appre­ci­at­ed Boul­lée’s work, it point­ed the way to the archi­tec­ture of the future — a future we would lat­er call mod­ern.

via Aeon

Relat­ed con­tent:

The World Accord­ing to Le Cor­busier: An Ani­mat­ed Intro­duc­tion to the Most Mod­ern of All Archi­tects

The Unre­al­ized Projects of Frank Lloyd Wright Get Brought to Life with 3D Dig­i­tal Recon­struc­tions

What Makes Paris Look Like Paris? A Cre­ative Use of Google Street View

The Cre­ation & Restora­tion of Notre-Dame Cathe­dral, Ani­mat­ed

Why Do Peo­ple Hate Mod­ern Archi­tec­ture?: A Video Essay

How to Draw Like an Archi­tect: An Intro­duc­tion in Six Videos

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

 

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