ARCHILEPSYmagazine IssueTWO

savvy designers

The shit list

In theory

BRICWORKS1 BRAZIL: STUDIO GUILHERME TORRES

LEARNINGFROM INDIE

ARCHITECT BARBIE GETSTHE AXE

BRICWORKS1BRAZIL: STUDIO GUILHERME TORRES

LEARNINGFROM INDIE

ARCHITECTBARBIE GETSTHE AXE

do designers have better tattoos? ...let's find ouT

+

volume ONE

issue two IN YOUR typeFACE!TOP 10 WE BUILT: NEW YORK

http://issuu.com/action/page?page=2

KEVIN FRANKeditor in chiefit may come as a surprise to many of us, but we are not alone in this world. I know...shocking, isn't it? It can be so easy to get caught up in our own everyday micro-dramas (guilty) and lose sight of the bigger picture. Many of us make the requisite trip to Europe at some point during college and spend the rest of our career patting ourselves on the back for being so worldly and open-minded (guilty)...

But the world of design is bigger than our back yard, and it's certainly bigger than a well-thumbed Fromer's Guide to Western Europe. There are literally millions of designers out there, just like us. In the U.S. alone there are over 200,000 registered architects...that's more than the entire population of Reno, Nevado (which is the Biggest Little City in the World, mind you). And I would venture to guess that less than a quarter of you have braved the

torturous Architectural Registration Exam yet. Now, I've never claimed to be a mathlete (ok, not true) but with some basic arithmetic accounting for unregistered architects, students, and related design professionals around the world, it's easy to conclude that our true numbers fall closer to 10 million. That's more like the population of Beijing proper, which happens to be the city from which I'm writing this editorial.

As the newest capital of the People's Republic of China, this place is MASSIVE...and it's getting bigger every single day. I've spent two of the last three months here in China--working in both Beijing and Shanghai--and it has been a completely eye-opening experience. East of the Iron Curtain, the countryside is urbanizing at unbelievable Sim City speeds, with no signs of slowing down. In other parts of the world, the BRIC Countries (Brazil, Russia, India, and China) are experiencing unprecedented development. In our lifetime, many of these cities will eclipse Los Angeles, Chicago, and even New York (cue dramatic refrain by Alicia Keys) in international prominence.

With the emergence of this new global society, designers will be faced

with a wealth of rich historical and cultural influences...along with a host of pressing urban design problems to solve. No revolution is without its growing pains, and the coming decades will certainly challenge all of us to hone our skill sets and broaden our perspectives. The savviest designers will find that tenuous balance between global awareness and local sensitivity.

It is with these poignant issues in mind that we bring you BRICworks: a four-part series on international design practices who are producing incredible

works around the globe. Our hope is that you will be inspired by their innovative design solutions, and compelled by their discerning craft.

The great Albert Einstein (a prolific designer in his own right) once said: "He who can no longer pause to wonder, and stand rapt in awe, is as good as dead. His eyes are closed." I, for one, am in complete agreement with the silver-tongued physicist. Over the next few months, I hope you will join me for a few moments of rapt admiration for the world beyond our back yard. Safe travels...

3

we are not alone

He who can no longer pause to wonder, and

stand rapt in awe, i s as good as dead . his eyes are closed.

-albert einstein

want to become a contributor?send a resume + work samples to

[email protected]

ISSUE two

VOLUME ONE

march 2011

editor in chiefkevin frank chicago

associate editorsbryan finnegan chicago

dominick gallegos chicago

breeze glazer new york

alexi karavokiris los angeles

jenny pelc new orleans

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EDITORIALWE ARE NOT ALONE

ps, if you're looking for this, it's a page-flip

backwards.

SAVVY DESIGNERS

STUDIO GUILHERME TORRES Our BRICworks series on

emerging countries begins with one of Brazil's finest,

Guilherme Torres.

THERE'S MORE TO LIFE THAN BUILDINGS

MORE OF THE STUFF WE LOVEAyn Rand returns to the silver

screen, Radiohead proves that it can release anything and still appease

rabid fans, the iPad2 fails to exceed the astronomical expectations we

invented for it.

2

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mailto:dominick%40archilepsymagazine.com?subject=Hi%20Dominick.

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PLUS...TOP 10 WAYS TO WASTE YOUR COMPANY'S OVERHEAD 8ARCHISPEAK 14IN YOUR typeFACE! 91BOOK REVIEWS 92TATTOO FACE-OFF! 94THIS IS WHO WE ARE 106

this is

click any article to flip directly to it!

5

What’s inside

80

6

10

IN THEORYLEARNING FROM INDIEWhat can designers learn from Detroit's indie-folk hero Sufjan Stevens? More than you know...

WE BUILT THIS CITYNEW YORK: GROUND ZEROGet a first-hand glimpse of life in the center of the universe.

96

THE SHIT LISTARCHITECT BARBIEThe Princess of Plastic gets a pink slip, though the irony is completely lost on her.
















the shit list!

EVERY ARCHITECTURE FIRM

On The, Planet 90210

www.neverapplyhere.again.com/seriously312-867-5309

EVERY ARCHITECTURE FIRMOn The, Planet 90210

www.neverapplyhere.again.com/seriously 312-867-5309

Dear Barbie,We regret to inform you that your position as an architect has been terminated, effective immediately.

Your inability to progress as a designer has resulted in several lost commissions. If you ever hope to succeed in this profession, you must realize that no one in their right mind wants a pink house in the Plastic Rococo style.

Further, you have repeatedly conducted yourself in an uprofessional manner, which reflects poorly on our firm, and the entire design community.

You regularly attempt to make visits to the construction site wearing a skirt and three-inch heels. The prescription eyeglasses that you expensed to the company health plan don't even have lenses, and your custom-ordered fuschia drawing tube depleted our entire Supplies Budget. Ken, our Creative Director, has filed several complaints with HR about your unwanted sexual advances, and our clients regularly complain about the inappropriate bustline of the repulsive pink and purple dress that you insist on wearing to work every day.

Please clear your desk by the end of the day. Leave the hard hat.

Sincere Regrets,-Every Architecture Firm on the Planet

the shit list! A better Use For

BARBIE?

Margaux Lange’s Plastic Body

Series utilizes salvaged Barbie doll parts with sterling silver and pigmented

resins to make wearable pop art jewelry.

www.margauxlange.com

7

http://www.margauxlange.com

TOP 10Use the office

plotter to print a 5-foot high lifesize portrait of

Justin Bieber for your...uh...

sister. Yeah, it's for your sister.

Upholster your entire apartment with carpet

tile samples.

Use the office plotter to

print a 5-foot long March Mardness

Bracket for your living

room

Change every employee's

homepage to LOLcats.com

Take your sweetheart

out to a "marketing dinner" on

the company AMEX.

Spend the morning reading

webzines.

Print your portfolio on

the office inkjet. On

glossy paper. For that

interview next week.

Work from home. And by "work" I mean drink. And by

"home" I mean the bar.

Update your facebook

status from the bathroom

stall.

Stop what you're doing to try to beat my high score on the Space

Invaders video game

on Guilherme Torres's website.

9

ways to waste your company's overhead

http://www.guilhermetorres.com


RADIOHEAD MAKES MORE NOISEIn honor of The King of Limbs, the latest esoteric offering from RADIOHEAD, I'm excited to present this album review in an equally perplexing and introspective format, using the WATCH OUT 4 SNAKES paragraph generator:The irrespective blackboards pinch Radiohead against this winner. The King of Limbs exists behind the sequential continents. Over each track progresses an advanced misery. Does another proven artist sigh against Radiohead? We think not. ($9-$53)

www.thekingoflimbs.com

there's more to life than buildings

EXACTLY WHAT YOU WANTIf you're reading this, there's a

good chance you know a thing or two about 3D modeling.

And if you've ever wished you could turn your 3D designs into reality, this company is

for you. SHAPEWAYS offers you the opportunity to create

ANYTHING that you can imagine...from light fixtures to custom jewelry, you can produce beautiful objects

that are rigid and durable at a surprisingly reasonable cost.

www.shapeways.com

http://watchout4snakes.com/CreativityTools/RandomParagraph/RandomParagraph.aspx

http://www.thekingoflimbs.com

http://www.shapeways.com

11

OK, SO IT'S NOT THE FOUNTAINHEAD, BUT...More than 50 years after it was first published, Ayn Rand's epic manifesto on the virtues of selfishness is finally making it to the big screen. The first installment of the three-part modern adaptation of ATLAS SHRUGGED will hit select theaters on April 15th. Zac Efron's alleged sweetheart Taylor Schilling will play the heroic role of Dagny Taggart, alongside a relatively unknown cast.

www.atlasshruggedpart1.com

GROW YOUR OWN...CLOTHES?Although the Silence of the Lambs vibe is a little creepy, these homegrown fabrics are pretty incredible. London-based BIOCOUTURE, investigates the growth of clothing through the use ofbacterial cellulose.(not for $ale...yet)

www.biocouture.com

I FOUND OUT WHO JOHN GALT WAS AND ALL I GOT WAS THIS AWESOME T-SHIRT

In celebration of this momentous cinematic event, why not sport a vintage t-shirt from one of the ficticious

companies in the novel? From Taggart Transcontinental and Wyatt Oil, to Rearden Steel and d'Anconia Copper,

CAFE PRESS has you covered. ($22-$30)

www.cafepress.com

http://www.atlasshruggedpart1.com

http://www.biocouture.com

http://www.cafepress.com

there's more to life than IPAD

LOW-TECH SKETCHPADIn the tablet world, the iPad may be the sexy, athletic, good-at-everything know it all. But allow us to introduce NOTESLATE, iPad's un-athletic younger sibling (or possibly the lovechild of the iPad and Kindle, we can't decide). But we mean that in a good way. In a display of functional simplicity similar to the uber-popular Kindle, the NoteSlate is intended to do one thing well: replace paper.

The WiFi equipped NoteSlate aims to be the true sketchbook replacement we yearn for, with a resistive touch surface (like paper) that allows for fine line writing (oh iPad, how you must lust for our fat finger tips). We love the sexy black hardware and optional bright colored accents that apparently influence the writing color. Three buttons simplify the usage and work in unison with a pencil like stylus, which sports a fine tip writing side and wider erasing side…tapping into our elementary instincts. No wall mounted pencil sharpener required! ($99)

www.noteslate.com

With much fanfare, the iPad 2 was announced on March 3rd and there’s still no denying Apple's dominance in the tablets market. However, the latest release from 1 Infinite Loop felt more like spec matching than groundbreaking innovation. Conan O’Brien’s commercial parody summed it up pretty well:

“The iPad 2 is the culmination of literally 2-3 meetings. It’s truly incredible how little we did. We knew if we changed the color, put pictures of water droplets on the desktop, made it a little faster, added two holes with cheap cameras in it, and then just kind of flattened it a bit…people would just go nuts!”

In all honesty, we thought that the new covers were more innovative than anything else. Like the iPhone bumper, Apple has introduced an all-but-required (but admittedly minimalist and sexy) accessory to protect your iPrecious from those sneaky little hobbits! ($499-$829)www.apple.com/ipad

http://www.noteslate.com

http://www.apple.com/ipad

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THAT CAP IS SO STYLUSThe MORE/REAL Stylus Cap turns a Sharpie, a Bic, or a Pilot Fineliner into a touchscreen stylus that works with any capacitive touch screen. You get all the benefits of a marker that can write on paper, with a stylus that gives you superior control to sketch on touchscreens such as the iPad. The Cap is machined from stainless steel and the design is clean and free of decoration which allows you to focus completely on the task at hand. The Tip is made of a conductive rubber that offers superior control compared to other styluses on the market. ($20-$55)

www.more-real.com

http://www.more-real.com

Desperate Designer's Phrasebook We all deal with project managers breathing down our necks, incessantly rambling on about the cursed trifecta: scope, schedule and budget!

This month’s ARCHISPEAK was designed especially for managing your client... getting you more of what you need. Just start in the middle, and then, depending on your circumstances, navigate your way to the totally indescipherable jibberish archispeak phrase that will perplex your client into saying "YES!". Your PM can thank us later…

archiSPEAK

Still not sure how to receive empathy

for your predicament? Combine any assortment of

words in BOLD. The resultant combination will boggle your client's mind...forcing them to

say "yes" to anything.

The guiding parti requires a thorough study of all

possible resolutions prior to formal commitment.

[Be sure to have a number of compelling, but

super-complex sketches posted around the room.]

The metamorphosis of an original concept

into a realized work involves a commitment

of creative capital from the designer as well as

critical investment by the benefactor. [A grand

sweep of the room with your arm suggests

that everyone is a key player.]

The performance metrics of the current scope

ultimately lead to an end result that is devoid

of critical, creative rigor. [At this point, it’s

important that you look down, shake your head

in disappointment and then extend your glance

slightly upward with a glazed stare.]

TIME

FREEDOM

MONEY

POSITIVE

NEGATIVE

LEGEND

Still not sure how to receive empathy

for your predicament? Combine any assortment of

words in BOLD. The resultant combination will boggle your client's mind...forcing them to

say "yes" to anything.

I JUST ROYALLY

SCREWED UPI'M ABOUT TO

SOLVE THE WORLD'S

PROBLEMS

MY CLIENT OWNS

11 YACHTS

MY CLIENT IS FILING CHAPTER 11

The clarity of the business enterprise

that you visualize [pause and lock

eye contact with several indviduals]

demands a responsive design,

exuding aesthetic richness and

intellectual depth.

GOOD DESIGN

REQUIRES CREATIVE

ENGAGEMENT

Although the conceptual basis for the

resolution demands thoughtful articulation,

we understand that creative analysis is not

a priority and will disengage the design from

these efforts. {send invoice later.}

WHAT DO YOU NEED?

SOMETIMES

BILLS JUST NEED TO BE PAID

Your dynamic programmatic requirements in

combination with the sophisticated user group [motion

to the audience and maximize eye contact with key

decision makers] necessitates considerable deliberation

which was unforeseen in the original proposal.

15

BRIC works

BRAZILPopulation: 194 millionCapital:

BrasíliaArea:

3.3 million sq mi

A Four-Part Series on theEmerging Design World

17

PThis month we’re introducing a four-

part series on the BRIC countries: Brazil, Russia, India, and China. Many of

the cities in these burgeoning countries are growing at unfathomable rates, representing

an emerging world that is unlike anything we’ve seen before. In social, political, and

cultural fronts, the world as we know it will be completely influenced by these countries in the

coming years.

As designers, we must not only accept this evolution, but embrace it. Beyond the boundaries of our Western

world-view lies a wealth of cultural knowledge…and no short supply of urban, architectural, and social problems for us to unravel.

Among the fastest growing economies in the world, Brazil is projected to emerge as one of the leading economies in the coming decades. The diverse landscapes

of this country have long provided Brazil with rich natural resources. More recently, Brazil also plays an

advanced role in the technology sector – its involvement in the construction of the International Space Station as

just one example. Their economic position has grown since the institution of democracy in the 1980’s and has recently

found significant strength under President Lula da Silva’s implementation of conservative fiscal policies. The combination

of these initiatives has left Brazil relatively unaffected through the international economic downturn.

Introduction By: Jenny Pelc

That being said, Brazil is not without its growing pains: an examination of the favelas epitomizes the virtually ignored infrastructure and extreme poverty. Favelas developed as early as the late 1800’s out of a need for housing where none was provided – such as soldiers returning from war or slaves that suddenly found themselves freed. These collections of informal structures largely lack water and sewerage and are often without electrical services. The darker side of these communities manifests itself in the crime – not atypical in impoverished areas – where a huge number of favelas are controlled by drug traffickers. As a result of the recent economic growth, many social policies have been implemented to the benefit of these communities, but a substantial amount of work will be required to successfully re-integrate them into the formal urban structure. Although it’s unfortunate that major international events are required to prioritize this effort, the recent

selections by FIFA and IOC of Brazil as the host for the 2014 World Cup and 2016 Olympics, respectively, provide a tremendous opportunity for Brazil to address these infrastructural and developmental challenges.

Despite the situation within the favelas, there is a rich culture that originates from many of these neighborhoods – food, art, music. The persistence of a strong culture is not foreign within the Brazilian context. Architectural contributions from the country have historically showcased a respect for the current movements while providing a latent cultural context. This dates back to Brazil’s Baroque period where an admiration of expressive formal gestures and bright colors could be seen. When modern architecture was introduced to Brazil, the local architects – notably Lúcio Costa and Rino Levi – created their own interpretations, ignoring the rigidity of early modern design in order to

Jenny Pelc [[email protected]]

deal with different climatic conditions, cultures, and local vernacular.

In the 1920’s, Gilberto Freyre – a sociologist, anthropologist, historian and congressman – advocated for a Brazilian cultural/artistic response that was based upon both the tangible and intangible aspects of the Brazilian nationality. This ideology lent a more fantastical basis for architectural design and had on obvious influence on the work of Le Corbusier, who lectured frequently in the country during his later career.

Brazil is home to two Pritzker Price winners: Oscar Niemeyer (1988) and Paulo Mendes da Rocha (2006). Their legacy of inventive forms and thoughtful construction detailing continues with architects such as Marcio Kogan, Isay Wenfield and Guilherme Torres.

19

mailto:jenny%40archilepsymagazine.com?subject=Brazil%20Intro...

brilliant brazilian

savvy

designers

Article By:Kevin FrankPhotographs and Illustrations Provided By:Studio Guilherme Torres

brilliant brazilian

21

Studio Guilherme Torres

> architectural model

Guilherme Torres is a perfectionist. I only use the word "perfectionist" here because the first two words that come

to mind when trying to describe Guilherme Torres are "awesome" and "badass"...neither of which seem like the most appropriate way to begin what is supposed to be a scholarly and unbiased critique of his work. So just bear with me here...

Guilherme Torres is a perfectionist. It says so on his arm. Not in so many words, but via the Daft Punk quote that graces both his skin and the walls of his Londrina studio.

WORK IT HARDER, BETTER, FASTER, MAKE IT OVER.

This unofficial motto describes a work ethic and commitment to quality that is readily apparent in his work. The crisp forms, minimalist details, and rich-but-reserved material palettes that characterize his designs are consistently applied across single-family residences, interior renovations, retail fit-outs, and of course...his

own home and office. Balancing the rigorous aesthetic of the architecture, a certain playful levity can be found in the interior design of his projects. The stark forms and subtle surfaces provide an appropriately quiet backdrop for the lively furnishings within, while the thoughtfully arranged spaces benefit from an astute attention to natural light. Taken together, his portfolio of work is an exceptional achievement, especially for someone so young. Up-and-coming designers everywhere would be wise to take note.

savvy designers

> Londrina, Brazil

23

VITAL STATISTICS

Location >Londrina & São Paulo, Brazil

Education >Architecture Degree from The University UNIFIL (1998)

MBA in Management from The Fundação Getúlio Vargas (1999).

Bonus >His website phenomenal. The intro is a Galaga-esque video game that features the icons from his portfolio as the "bad guys". The music and videos may induce epileptic seizures. Which means, naturally, we love it.www.guilhermetorres.com

> Guilherme Torres + Boris

BRAZIL

rio de janeirosão paulo

londrinabrasília


savvy designers

25

Which architects or designers have influenced you over the years?

Brazil has an incredible architectural production. When I was a kid I was fascinated by Brasilia, which I considered the most incredible city in the world. On the one hand, I still think like that, considering that it's a rare case of a city that was built from scratch and has so many iconic buildings. Niemeyer was undoubtedly my first reference. When I was at university my interests turned to Corbusier, Mies van der Rohe, Richard Neutra, Frank Lloyd Wright, Luis Barragán. I always admired the fact that their works remained elegant, surviving for decades. Today, in Brazil, I revere Paulo Mendes da Rocha who is another global icon, Marcio Kogan and Isay Wenfield.

Describe your typical design process.Normally, I start all my projects in a

very introspective way. At first, I think of all the references that I carry in my subconscious mind, then I do more objective research. I used to use books for research, but now I tend to use

the internet. Then, I design a simple plan and start working in 3D. The 3D process has really changed my whole design conception.

How did you begin your career?I began working as a draftsman

in an engineering office in my hometown, in Brazil. I was only 12 years old and was an assistant to senior designers. I did a little of everything, as an apprentice. This experience gave me a solid foundation of the building process and helped me a lot when I joined the professional market.

You have built a very successful business at a relatively young age. How has your MBA degree in Management helped with this?

I realized that I would have more opportunities if I learned how the economy works. In Brazilian universities we are not encouraged to develop entrepreneurship. We are trained as technicians. The MBA was essential for me to develop leadership skills, planning and marketing techniques.

INTERVIEW > Guilherme Torres

We recently had the opportunity to ask Guilherme a few questions about his burgeoning practice and unique design principles. His

candid answers revealed a passion for hard work, a great respect for the influential designers before him, and a spirited enthusiasm for the future of Brazil . Here is what he had to say...

savvy designers

Your projects appear to be detailed and constructed exceptionally well. How do you ensure the proper level of precision and craft on the job site?

Actually, I always have the opposite impression. I only see the mistakes! Our work as architects requires continuous improvement. We are always seeking to improve the designs, to know the materials better and always looking for reliable suppliers. We learn from our mistakes and we try not to repeat them in future works. And the big secret: work harder, faster, better (look at the tattoo on my arm; it’s also written on the walls of my studios in Londrina and Sao Paulo).

How does Brazilian culture and history influence your work?

Well, I'm Brazilian! I imagine how difficult it could be for foreigners to understand that the Brazilian people have had a rich mix of cultures over the centuries. In architecture, although we work for the elite, we must learn to live with budget constraints and low technology. We have serious labor work problems. Everything we have achieved in this country is the result of hard work and perseverance.

You have traveled extensively. What is your impression of the architecture in Brazil, compared to the rest of the world?

In Brazil we have a unique opportunity to build a country! We need to build more houses, conceive great works of urban design, and now we have a World Cup and the Olympics coming up in 5 years! We

have everything to build! Another important factor is that Brazil has grown at an incredible rate and the population’s purchasing power has increased. We live in a totally different scenario from the European or American recession. I find it exciting to live in a country with so many opportunities.

From the video game on your website, the figurine collections on your shelves, the tattoos on your arms, and the Pac-Man ghosts on your office...you seem to maintain an exuberant and light-hearted personality. How does this relate to your professional work?

I am an idealist and I believe that architecture and good design can really change the world. We can see it throughout the development of various cultures. Buildings and objects can communicate with us and translate aspirations and ideals. When I present my universe to people, I let my playful side show clearly. This connects me to people, bringing the children inside them back out. Good humor is the key to many evils in the world!

What advice would you give young designers just starting their careers?

Learn from the elderly. Search the less obvious sources. Be connected with your people and your culture and bring the best of it, developing your own language. Stay humble to learn more and more. Be faithful to your ethical precepts. And above all, do everything with passion.

27

"Above all, do everything with passion."

savvy designers

STUDIO GT > Londrina : Brazil

> Mix of stoic forms and playful signage

> aerial

29> Mix of stoic forms and playful signage

Every single morning, Studio Guilherme Torres employees are greeted by two things: an

elegant assemblage of minimalistic volumes, and Blinky the Ghost from Pac-Man. And if you don't notice this classic pop-culture reference on your way across the inviting local wood deck, and in case you miss the scrolling LED welcome message as you bounce up the deftly detailed black steel staircase, you will probably begin to realize that this is not a "typical" architectural office by the time you reach the oversized mirrored front door and hear the pensive sounds of French punk music through the stereobox overhead. Only

after entering the small renovated house that now accommoates half-a-dozen designers would it become clear that the enticing introductory tunes from the entry vestibule are actually a part of the studio itself...being transmitted directly from the sound system that's motivating these brilliant Brazilians as they produce some of the most intriguing examples of "Tropical Modernism" since Oscar Niemeyer.

The working spaces of the studio are arranged so that they flow from one to another, with large sliding metal doors to provide privacy when necessary. Poured concrete shelves provide stable support for quintessential architectural

savvy designerssavvy designers

resources like books, drawings, Darth Vader figurines, etc. The floors are also concrete, which reduced construction costs.

The setting sun proved to be particularly challenging because the primary views of a nearby scenic lake were to the northwest (remember, we're talking about the Southern Hemispehere here). To mitigate potential glare and solar gain issues without completely compromising the sight lines, a random pattern of vertical wooden slats was designed to cover the affected windows. These slats are integrated seamlessly into the facade of what is articulated as a perforated wooden volume. Without adding superflous shading structures or clumsy interior window treatments, a sustainable strategy was exectuted within the conceptual framework of the building parti. Well done Mr. Torres.

> Warmth and color are provided by the

contents, not the container

> Workspace

31

Both inside and out, a finely-tuned material sensibility is evident in the composition. From the exterior, three primary mediums are presented: Brazilian wood paneling, athermic concrete panels (they don't store heat), and black painted plaster. The wood represents the most natural or organic element of the compostition--especially considering its context within a lushly vegetated environment--but yet it's crafted in an extremely precise manner, with no visible tooling, fasteners, or joinery present. The concrete panels are bound together with mortar in a conventional stack bond masonry pattern, despite concrete's innate ability to be poured monolithically. The use of traditional plaster is certainly no surprise, except that it's been painted black... completely de-materializing the substance while greatly emphasizing the form (one of

Torres's trademarks). The ancillary materials are camoflauged by either matching the adjacent materials (the black crushed stones in the garden) or by reflecting the surrounding environment (the mirrored entry door).

Overall, the effect of this deliberately haphazard tectonic approach is certainly not chaotic. In fact, it's quite the opposite. The subtle overlap of volumes which can be seen in many of Guilherme Torres's houses is expertly carried out here. The composition is balanced and the scale seems appropriately responsive to both the surrounding neighborhood and the occupants within. The disciplined material pallette effectively emphasizes the building's presence on the street without screaming. By virtue of its elegance and craft, it is the perfect signage for Studio Guilherme Torres.

> Design inspiration takes many forms

savvy designers

BL HOUSE > Londrina : Brazil

> Entry balcony hovers over pool below

Simplicity is the key to many of Torres's residential projects, both in terms of form and materiality.

This strategy is evident in the design of the BL House in Londrina. The main body of the house is finished with white plaster, and detailed to appear monolithic. Neither the fenestration, nor the parapet, nor the soffit conditions offer much insight as to the hidden means of construction.

Projecting from this volume is a wooden entry tower that receives guests in dramatic fashion. From the sidewalk, visitors are led onto a cantilvered balcony with a glass railing that precariously overlooks the pool and courtyard below. From there, they are allowed to enter the house through a grand doorway that's almost invisibly integrated into the wooden form. On the oppostie of the entry tower, a low plane of aggregated stonework hovers over the carport before folding down

to the ground for support. The relentless rigor of these

geometrical forms harks back to the International Style, while the material sensibilities relate strongly to the Brazilian climate, referring more to the timeless context-driven designs of Mexico's Luis Barragán or Finland's Alvar Aalto. Purity of form is diligently maintained in the

> aerial

33

> Elegant formal language

savvy designers

> Minimal material palette

alignments of these overlapping volumes. Purity of surface is also emphasized, with the textured materiality of the wood, stone, or plaster being rendered in a near homogenous state.

The material richness that characterizes the exterior of the house is also pronounced throughout the interiors, with several of the exterior facade treatments slipping inside to make an appereance. Further connecting the inside and out, there is a wall of sliding glass doors in the lower level living room to provide access to the semi-private pool courtyard. Seen in many of Torres's works, this convertible window-wall gesture extends the living space into the great outdoors while allowing the tropical breezes to provide evaporative cooling. The structural columns here are wrapped with fiberous twine, removing any reference to their true tectonic function.

Torres does not hesitate to use monochromatic color palettes, combining lush black curtains, white flooring, and grey furniture with warmer natural woods and tactile fiberous materials. Many of the furnishings, cabinetry, and decorative elements also fall within the same tonal range, creating a cohesive experience inside

> Wood entry tower and carport

35

> Living space opens into a

courtyard

savvy designers

> Low, expansive seating

37

savvy designers

> The mix of finishes and furnishings creates an environment that is both subdued and eclectic

GT HOUSE > Londrina : Brazil

> Bedroom

> Living Room

39

For his own apartment in Londrina, Torres chose to renovate the interior of an

existing two-bedroom artist's studio. In the living room, the cool concrete walls and rubber-coated concrete floors allow indirect daylight to wash into the space from oversized windows along the south facade. An exposed wood ceiling and cream-colored shag rug add warmth to the loft-like volume, along with a myriad of colorful cushions featuring fabric patterns designed for Micasa by Brazilian stylist Adriana Barra. Torres also designed a custom poured-concrete table for both dining

and working in the space between the living room and kitchen.

In the bedroom, the natural tones of an exposed brick wall contrast with the crisp black International Style window wall and accompanying black and gray bedding. Throughout the studio, the electrical conduit is expressed as a compostition of choreographed vectors dividing the surfaces and mediating the scale of the space. This industrial aesthetic was inspired by the iconic Brazilian architect Paulo Mendes da Rocha (Pritzker Laureate 2006) who famously explored Brutalist Architecture.

"In Brazil, in the 70’s, it was very common to build furniture in concrete. That became a part of my emotional memory so I decided to rescue this reference."

VM HOUSE > Londrina : Brazil

Stretched across a severely sloped terrain, the VM House was conceived as a balance between

light and shadows. Despite the site constraints, Torres aimed to provide a sensual, intimate atmosphere that stimulates curiosity arouses the senses.

The house is entered on the middle level, which contains the kitchen, dining, and formal living spaces. The private bedroom suites were placed safely away upstairs, while the informal living and entertaining spaces are allowed to spill downstairs and out across the descending landscape.

> Linearity emphasized throughout

41

savvy designers

> White plaster roof element envelops wooden garage doors

watch my dive!

> Architectural "moat" > Black plaster reveals

43

This clever arrangement of spaces takes advantage of the site to provide varying levels of privacy and interconnectivity between adjacent spaces. In response to the long slender property, many architectural elements throughout the house seem to be extruded or stretched. This effect can be seen on the low slung carport canopy, the elongated furniture, an extended fireplace mantle and the made-for-happy-hour bar that seats ten people on the lower level.

Elsewhere, the formal language is in keeping with Torres's signature style, featuring distinct volumes, folded planes, and rich materials.

The placement of pools along the edges of the house is especially interesting. These "moats" provide a subtle privacy buffer without resorting to guardrails or fences, while simultaneously acting as an evaporative cooling source. On the exterior of the building, Torres again coats certain sections of the plaster with black paint, to create a formal hierarchy between volumetric elements. The result is a balanced composition of black plaster, white plaster, Cumaru (Brazilian Teak) wood, and white concrete blocks arranged in a rigid Richard Meier-esque grid.

savvy designers

> Plenty of room for guests

"It is necessary to feel the house as a whole in order to perceive the dynamic

quality of the spaces."

45

savvy designers

> Study Models

47

> Lower Floor

> Ground Floor

> Upper Floor

ola, boa aparencia

-

^

Although the plan looks complicated,

the strategy is quite simple. enter in the middle, then go up for privacy or go down to socialize.

savvy designers

FF HOUSE > Londrina : Brazil

> Hidden garage

49

In another impressive display of material richness Torres pulls off an elegant residential design.

Sharp lines and clearly defined rectilinear forms wrap the exterior of the FF House, hinting at the program that lies within. A large vertical window (2mx5m) gives the visitor a glimpse into the entry hall and the dining area beyond. Hovering above the carport is a white volume framing the windows of two bedrooms that overlook the streetside. Warm, horizontal bands of wood create a backdrop to the carport which is recessed beneath the white volume. This provides an elegant and more subdued alternative to the garages which sometimes dominate the entry of homes in auto-centric neighborhoods.

Acting to provide a sense of privacy, the restrooms and service rooms line the streetside as well as the right side of the house. These spaces define the boundaries within which the gathering spaces converge. Centered around an outdoor courtyard, the living room, dining room, grill area, and veranda all open up to the gardens and pool, forming an interconnected series of open spaces that merge both indoor and outdoor elements. While each area is clearly defined by material and orientation, no gathering space is a visually enclosed volume. The dining area and living room are divided by a suspended partition which hangs from the ceiling. While this helps to define the spaces, there is still has a clear visual relationship from one room to another as you peer through

savvy designers

> Rear courtyard

> Dining Area> Millwork adopts formal language of the building

51

the shelves within the suspended partition, or walk around either side from one room to the next.

Integral to the outdoor space is a minimal deck of wood planks which frames the pool. The pool deck merges into the adjacent veranda and grill, as the material transitions from wood to tile.

Materially, the house is defined by Torres's signature palette: bright white volumes, warm woods, and an aggregate stone tile that envelops the entry hall. On the interior, wood is used selectively as a space defining agent. Wood defines at least one side of each gathering space, acting as floor, wall, and ceiling. This is contrasted by white walls and light grey tile which provide a visual balance that enhances the character and rustic nature of the wood.

The minimalist style of the FF Houses lends a museum-like feelto each of its spaces, providing sharp lines and visual clarity with a strict use of materials. These spaces provide the backdrop for the furniture and art work which give the space it’s character. It is the juxtaposition of light and dark, texture and clean lines, indoors and out, which make this such an elegant and well balanced design.

> Complete dissolution of exterior wall

> Custom table

savvy designers

> Stoic forms emphasized by dramatic lighting

53> Believe it or not, that's the front door

What happens when the everyday needs of a family are placed into the hands

of an architect with firm resolve? Total failure, most of the time. Our industry is often criticized for its inability to respond to real programmatic needs. For the execution of the interior renovation of the MC House, Guilherme Torres takes this paradigm and turns it straight on its head.

As one walks through the front door, it is obvious that clean design aesthetic is king in this space: carefully choreographed horizontal volumes strike datum lines and create perfectly subtle shadow. Cool, concrete walls are adorned with minimally framed contemporary black and whites. Even the threshold into the powder room is carefully framed. Where reflective surfaces exist, they do so in a way that reinforces the minimalist aesthetic. Every welcoming moment

is formidable. (Record scratches...crowd goes silent)

Wait! Did I say “welcoming?” Every designer understands that clean lines aren't welcoming...they're supposed to be imposing! Be careful not to touch anything, and God forbid you sit on any of the furniture...

Among the annals of contemporary design, there is definitely something different here… something that makes you stop and ponder. It could be that smile sneaking onto your visage as you eye the careful placement of the orange striped chaise and matching beachball ottoman. This space challenges its user to live comfortably among technology and the rigors of the fast-paced society. It encourages a pause in life where one can consider the artwork on the wall, rather than simply accepting it as an acceptable means of ornament. (Sorry, Mr. Loos – we still love you)

Now for the proverbial meat

savvy designers

MC HOUSE > Curitiba : Brazil

> Playful furnishings

> aerial

55> Elegant materials create a reserved but dignified space

> Child's roomsavvy designers

57

> Rich Brazilan wood

> Vanity Portal

and potatoes: how to deal with children? (Record scratches… again. Now the audience is really captivated) A splash of fun here and there within a living space is acceptable, but if there is one tenet of contemporary design, it is: Adult Swim Only! Give the children their Modernseed and Mini Boden, but those are “outside toys.” Well, it seems Torres left the back door open…

An oversized wagon sits in for the crib. The bed is low enough that when Junior falls onto the short fiber (not to mention, super cleanable) carpet, he will likely just sleep on through the night without hesitation. Plenty of storage for toys, and what’s more: it will actually get used! The millwork’s undulations promote safe climbing, encouraging maximum accessibility.

Now to the walls: talk about adornment! (Loos: stick your fingers in your ears and start humming) For the most part, these images are totally foreign, but undoubtedly, any child’s imagination would send the graphics dancing around the room. Furthermore, there is a beanstalk that tracks growth. Forget chalkboard paint: these walls were made for sharpies! After all, what’s a fresh coat if not a blank slate?

Torres take the opportunity to remind us that sometimes it is the adult who needs to temper the child, but more often than not, we find greater enjoyment if playful exuberance is allowed to flourish.

> Child's room

In the hyper-saturated world of retail design, the pristine blank canvases of white light at the Londrina

Queen Shoes store invite customers inside with a language of brilliant luminosity. Inspired the by the iconic colorless spaces in such sci-fi classics as Star Wars, 2001: Space Odyssey, and even Superman's Fortress of Solitude, the space was designed as a surrealistic vision of the future.

The volume of the space is formed by a serial progression of 42cm wide segments, which shift and skew as they advance through the space to accomodate the programmatic requirements of the shop. The very first segment epitomizes the clever dexterity of the system, as it arches upward to form an entry way, dips slightly to frame the signage, then folds down and back across to form a retail display window.

savvy designers

QUEEN SHOES > Londrina : Brazil

> This is what the gift shop on the Imperial Star Destroyer would look like

59

rawr!

Moving forward into the space, these everchanging segments are sandwiched together to form a variagated ceiling, which provides excellent acoustic performance. The lighting is seamlessly integrated into the segments by way of tensioned polyurethane screens that distribute light incredibly evenly across the entire surface. These panels are backlit with T5 light bulbs, which provide consistent light levels without emitting excessive heat. In fact, the renovation allowed the client to save 70% in energy costs because the cooling system was downsized in response to the significantly lower lighting heat loads. The ceiling also facilitates the ventilation system, which is subtly expressed with linear slot diffusers in select segments.

Here again, we see Torres using the flooring to add warmth and texture the space, with the uneven battens providing a material richness to balance the sterility of the clean white panels. Additionally, a partition wall that screens a service stair is highlighted with bright red graphics to announce the freestanding service desk, which is formed with the same white segmented panels as the ceiling and walls.

The entire assemblage is executed with a strict level of precision, and an impressive array of well-crafted details. From the mirrors and shelves, to the store-front

savvy designers

> The graphic panel can be changed seasonally

> The service desk adopts the language of

the ceiling segments

61

> Backlit layered ceiling segments create a surreal perspective

savvy designers

> Continuous mirrors run

along the baseboards

63

do you have this boot in a size awesome?

windows, the materials are connected without reference to their construction, with seams and joints hidden in almost all instances. This allows the dramatic, nearly shadeless lighting and futuristic spatial effects to highlight the product, which is what every shop owner really wants in a space.

From a branding perspective, the space is extremely effective in two ways. First, the innate sexiness of

the architectural forms, and the quality the craftsmanship serve to strengthen the Queen Shoes brand, which derives its intrinsic value from those same two qualities. Secondly, by reinterpretting the visionary sets of classic sci-fi productions, customers will subconsciously relate products in this space with the future. Everyone wants to have the next big thing, what better place to buy it from than the future?

The use of exposed concrete as a primary finish can be seen again in the FJ House in São

Paulo, where Torres utilized many of the same strategies that were deployed in his own studio. Commissioned by a young, single businessman/DJ, this interior renovation of an existing apartment was designed to represent a youthful contemporary lifestyle, and was inspired in part by the dance clubs frequently patronized by the client. Torres's strategy was again to allow the contents of the space to provide most of the eclectic diversity, while charging the architecture to facilitate as a fitting backdrop.

In the living space, low-sitting furniture and a warm white shag rug balance the cool gradiated concrete walls. Throughout the apartment, the most striking feature is the lighting, which is articulated as a continuous series of recessed LED illuminated alcoves. This playful linear slit creates a three-dimensional effect in the volume, rendering the planar walls and ceiling surfaces as parts of a singular "box" of space. The effect is emphasized by the fact that the ceiling and walls are both constructed in the exact same manner with polymer cement over plasterboard.

Along with some clever space-planning in the tight service areas, the renovation transformed a generic space into a unique manifestation of contemporary urban living.

savvy designers

> LED light alcove as a bedside lamp

FJ HOUSE > São Paulo : Brazil

> Industrial ladder used as a DJ table

> Living area

65

> Polymer cement walls distribute daylight throughout the living space

savvy designers

LA HOUSE > Londrina : Brazil

> A formal expression of stacked boxes makes a statement from the street

67

savvy designers

> Four distinct materials are used litigiously across the facade

> The balcony is detailed to emphasize depth of space

Torres's formal obsession with overlapping boxes takes on its clearest

manifestation in the LA House. The stacked cubes display very little overlap, and are materially distinct from one another. The ground floor living area is clad in white plaster, and provides privacy from the neighbors below (this property is at the highest point of this particular subdivision). A nested volume of sepia-colored Brazilian wood is perched on top of the first, cantilevering out to form a semi-private balcony off of the bedroom area. Fastened to the side of this volume is a third cube, clad in dark metal and articulated with a perforated screen that mitigates solar gain while providing textural relief to an otherwise relentless facade.

The house is allowed to spill into the courtyard and pool area by way of five double-height pivoting doors in the wooden volume. This seamless connection between inside and outside is quintessential to tropical architecture, allowing breezes and sunlight to fill the primary living spaces. The living room itself is dominated by an over-sized graphic from the classic Space Invaders arcade game. Adjacent to this double-height living space, the upper floor rooms are fitted with glass walls, allowing them to look down into the common area.

From the staircase to the kitchen cabinets, the entire house is esquisitely detailed and constructed with a high-level of craft not often found in Brazilian work.

69

> Pivoting doors connect living area to courtyard

> Perforated metal screen provides shading and privacy

savvy designers

> Space Invaders. Get it?

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savvy designers

AS HOUSE > Cornélio Procópio : Brazil

73

For this private residence in a small town in southern Brazil, the material palette is distilled further into only two

primary finishes: deep Cumaru wood and white. Yes, I realize "white" is not a material; but in the AS House, everything from plaster, to concrete, to crushed pebbles, to aggregated stone masonry is rendered in such a pure snowy white, that they may as well be the same material. The only difference between these subtle shades of white is the texture, which shifts from smooth leather on the dining room chairs, to rough fragments on the demising wall. The effect is a minimalistic "Less is More" experience that allows the people, books, fabrics, plants and artwork to energize the space. The monochromatic choreography of surfaces also cede center stage to light, which is after all the most important material in any architect's arsenal.

Formally, the house adopts the language of Torres's other work: simple distinct volumes, with a litigious use of materials that emphasize those volumes. The window wall between the living space and the courtyard is exceptionally light, and almost vanishes completely. The inset bedroom windows on the upper floors that look down into the courtyard are covered with a finely crafted

savvy designers

> 8 House

75

savvy designers

> Sliding wooden garage doors

wooden screen, which is articulated in the same way as the garage doors. This strategy renders the white plaster forms as a "skin" which is peeled away where fenestration is needed to reveal the wooden layers beneath.

Like all of Guilherme Torres's projects, the house is constructed with an impeccable level of craft, and a rare attention to detail. WORK IT HARDER BETTER FASTER MAKE IT OVER. With a motto like that, and the passion and work ethic to back it up, one thing is certain: we'll be seeing a lot more of this talented young Brazilian in the years to come.

kevin frank [[email protected]]

77

mailto:kevin%40archilepsymagazine.com?subject=Guilherme%20Torress%20Article

PAULO MENDES DA ROCHA BERNARDES JACOBSEN MARCELO ALVARENGA

FERNANDO BRANDÃO BRASIL ARQUITETURA GUILHERME TORRES BCFM ARQUITETOS

TAO ARQUITETURA MARCIO KOGAN

ULISSES MORATO ISAY WEINFELD

LATE 18TH C. 2016

Late

17t

h - 1

9th

cent

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Manuel da Costa Ataíde Brazilian Baroque:São FranciscoOuro Preto

1930

-194

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"Heroic Phase" of Brazilian modern architecture movement

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r 189

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"Favela" becomes the common name for the slums of Brazil, named for a skin-irritating tree

1956

Lúcio CostaBrasilia Master Plan for Brasilia

1920

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Gilberto Freyre advocates for a Brazilian cultural response

> Marcio Kogan Micasa Volume B São Paulo

BRAZILIAN DESIGNERS

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LATE 18TH C. 2016

1962

Oscar NiemeyerMInistry of JusticeBrasilia

1960

Rino LeviBanco SulAmericano São Paulo

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mer

201

4

FIFA World Cuptakes place in 12 host cities throughout Brazil

Sum

mer

201

6

Olympic Gamesfirst time ever in South American country

```

2006

Paulo Mendes da Rocha receives the Pritzker Prize

1988

Oscar Niemeyer receives the Pritzker Prize

> Isay Weinfeld Livraria da Vila São Paulo

> Marcelo Alvarenga Cozen Store São Paulo

NEW YORKNEVER SLEEPS EITHER

Article By:Breeze GlazerPhotographs By:Jeffry Gugick

81

this city we built

Historically, New York has not been known for forward thinking design, although iconic buildings are copious. New York placed 8 times on a recent poll of America’s favorite 20 buildings, from

the Empire State Building (leading the pack) and Grand Central Terminal, to the Metropolitan Museum of Art and the Brooklyn Bridge (how the first steel cable suspension bridge. landed on a list of favorite buildings is beyond us). More recently however, the city has seen an explosion of innovative new design pushing the envelope and taking greater risks.

As it stands to happen, one good design seems to beget another as the last neighborhoods of “old NYC” were quickly revitalized over the last decade...often by Starchitects eager to finally demonstrate their design chops on the greatest stage on Earth. Two specific corridors, the Bowery and the Highline, have seen the most drastic changes in recent years. These hoods now boast buildings by Pritzker Prize winners Frank Gehry, Norman Foster, SANAA, Jean Nouvel, Herzog and de Meuron, and Thom Mayne, among other notables (what, no Zaha?!).

Any visit to NYC should include a quick walking tour of both of these neighborhoods. Use the handy map on the next page to impress your friends and loved ones with a Wikipedia-like recall of each building and its designer.

we built this city

83

we built this city

15th st

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Porter HouseSHoP Architects

The CaledoniaHandel Architects

459 West 18th StreetDella Valle Bernheimer

The IAC BuildingGehry Partners

100 Eleventh AveAteliers Jean Nouvel

520 West ChelseaAnnabelle Selldorf

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the two hippest areas in manhattan also have the coolest new architecture ...........................COINCIDENCE?

I THINK NOT!

the highline the bowery


Diane Von Fusternberg HQWork AC

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52 East 4th StreetScarano Architect

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The Cooper Sq HotelCarlos Zapata Studio

Astor PlaceGwathmey Siegel

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actually my least favorite building in ny!!

stop by whole foods for a bite!enjoy the biergarten!

take a rest andenjoy the view

expansion under const.

DIRECTIONS : take the L, 1,2,3,A,C,E to 14th st. Walk a few blocks west until you see an elevated rail line with lots of attractive people milling around below.

DIRECTIONS : take the F,M to 2nd Ave. Walk a few blocks south until you see an interest-ing of mixture of museum go-ers and residents of the Bowery Mission

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DIRECTIONS : take the L,1,2,3,A,C,E to 14th St. Walk a few blocks west until you see an elevated rail line with lots of attractive people milling around below.

DIRECTIONS : take the F, M to 2nd Ave. Walk a few blocks south until you see an interesting mixture of museum go-ers and residents of the Bowery Mission

e

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the two hippest areas in manhattan also have the coolest new architecture ...........................COINCIDENCE?

I THINK NOT!




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DIRECTIONS : take the L, 1,2,3,A,C,E to 14th st. Walk a few blocks west until you see an elevated rail line with lots of attractive people milling around below.

DIRECTIONS : take the F,M to 2nd Ave. Walk a few blocks south until you see an interest-ing of mixture of museum go-ers and residents of the Bowery Mission

e

15th st

14th st

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18th st.

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DIRECTIONS : take the L,1,2,3,A,C,E to 14th St. Walk a few blocks west until you see an elevated rail line with lots of attractive people milling around below.

DIRECTIONS : take the F, M to 2nd Ave. Walk a few blocks south until you see an interesting mixture of museum go-ers and residents of the Bowery Mission

e

we built this city

Fact: New York truly is "The City That Never Sleeps"

Particularly the intersection right outside my bedroom window.

If you're ever in New York, and DON'T want to look like a tourist, here are a few things to keep in mind:

1 > Avoid brightly colored clothing. Black is always in.

2 > Pedicabs are not a cool way to get around the city. Or really anywhere.

3 > Don’t ask where the Empire State Building is. Just look up.

4 > There exists no reason to visit the M&M store. At the very least, hide the bag. 5 > Sidewalks are meant for transportation. Not congregation.

6 > If you see a famous person don’t acknowledge them. And no photos (guys, please...it’s embarrassing).

7 > I NYC t-shirts are actually cool. But not if everyone wears one at the same time.

8 > Hide the fanny pack. They’re only cool in hipster dipster Brooklyn.

9 > Understand. The horse is enjoying the carriage ride a lot less than you.

10 > They are called “dirty water dogs” for a reason.

87

On the plus side, a craving for Ethiopian food at 1am on a Wednesday can be answered with a quick phone call.

we built this city

LOCAL DESIGN TALENTARCHI-TECTONICSJAMES CARPENTER DESIGNSELLDORF ARCHITECTSTODD WILLIAMS BILLIE TSIEN

COOL BUILDINGSLEVER HOUSEFORD FOUNDATION BUILDINGGRAND CENTRAL TERMINALHEARST TOWERNATURAL HISTORY MUSEUM

FAVORITE RESTAURANTSCAFE HABANAPLAZA FOOD HALLSAL AND CARMINE'SFREEMAN'SFIG AND OLIVEDUMPLING MAN

FAVORITE BARSMILANOSEMPLOYEES ONLYMAMA'S BAR9TH WARDLIT LOUNGEDEATH + COMPANY

89

HIGHER EDCOOPER UNIONNYUCOLUMBIAPARSONSPRATT

COST OF LIVINGAVERAGE RENT STUDIO: $2000AVERAGE RENT 1 BEDROOM: $3000AVERAGE RENT 2 BEDROOM: $4500

TRANSPORTATIONWORLD'S BEST SUBWAY SYSTEMMORE TAXIS THAN PRIVATE CARS900 MILES OF BICYCLE LANES

THE SINGLE LIFE200,000 MORE SINGLE WOMEN THAN MEN (SORRY LADIES).DATING'S FUN, BUT GET READY TO $PEND (SORRY GENTS).

CITY PERKSBESIDES THE FACT THAT IT'S NEW YORK CITY?MANY MUSEUMS ARE PAY-AS-YOU-WISHGREATEST PEOPLE WATCHING ON EARTHMACY'S THANKSGIVING DAY PARADECENTRAL PARK

FAVORITE TEAMTHE YANKEESTHE YANKEESTHE YANKEES

http://www.shultzilla.com

HELVETICA: OVERWORKED?Every designer is guilty of having their own “go to” fonts. Helvetica, fellow font lovers, is probably the option that 85% of designers across the globe rely on. We made that statistic up, but we figure for any font to have a movie made about it, it must be used a lot. (By the way, if you haven’t seen the documentary Helvetica, we highly recommend it.) Design challenge: use a font you've never used before instead...break away from the mold!

TYPEFACE YOU MUST KNOWTorino Pro is a nice throwback to the vintage era. This fancy little number is a modern revival of Didone, which was originally designed in 1908. With a seemingly effortless “old world” look, this font can be used for deliberately vintage graphics, or for anything seeking a timeless look. Either way, it beckons nostalgia.

FUN FONT FACTS!Arguably one of the most influential styles of modern architecture and graphic design, the word Bauhaus technically means “School of Building.” Despite the moniker however, the school did not have an architecture department for the first five years of its existence!

in yourtypeface!

Column By:Jeremy Miller & Aimée Shultz

> Torino Pro in action

Jeremy and Aimée are the graphic dynamos behind JAM Creative, a full service graphic design studio based out of New Orleans. They also run Shultzilla, a Nola inspired clothing company that features rad tees, hip bags, and cool accessories.www.ThisIsOurJam.com > www.Shultzilla.com

> Helvetica the Documentary

91

http://www.thisisourjam.com


http://marketplace.veer.com/fonts/JBT0001068

http://www.youtube.com/watch?v=wkoX0pEwSCw

“In order to be relevant, architecture must address the contemporary, and it is with this unfolding context that we have found it imperative to engage architecture in an expanded field, or as an Expanded Practice - a practice grounded in the discipline of architecture but not limited by its boundaries.” 1

- J. Meejin Yoon and Eric Howeler

EXPANDED PRACTICE Howeler + Yoon Architecture / MY Studio

J. Meejin Yoon, Eric HowelerPublished in 2009 by:

Princeton Architectural Press, NY 7.5 x 9.25 inches papreback

208 pages, 300 color illustrations, 45 b/w illustrations

More than simply a monograph, Expanded Practice is a manifesto and an exploration

in the design methodologies Boston based firm Howeler + Yoon Architecture/MY Studio.

Through diagrams, prototypes, physical models, renderings, photographs, and line

drawings, the book explores 29 projects by the firm as they experment with design within the

context of contemporary culture. Their work spans a diverse range of scales and media from

fashion to installations to architecture.

The book is organized into five themes (Envelopes, Natures, Formats, Interactions, and Media) allowing the reader to explore

ideas free from the constraints of scale and typology that typically define how we organize

work. What’s more, these themes are part of a larger set of ideas in which the design

process accumulates knowledge and begins to influence otherwise unrelated projects.

This is manifested throughout the book in a sophisticated organizational diagram of the

firms work.

dominick gallegos [[email protected]]

mailto:dominick%40archilepsymagazine.com?subject=book%20review


savvy designers

The shit list

In theory

bricworks1 brazil: studio guilherme torres

leArningfrom indie

Architect bArbie getsthe AXe

bricworks1brazil: studio guilherme torres

leArningfrom indie

ArchitectbArbie getsthe AXe

do designers have better tattoos? ...let's find ouT

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volume ONE

issue two IN YOUR typeFACE!TOP 10 WE BUILT: NEW YORK

tattoo face-off! MAYER VS. TORRESDo designers have cooler tattoos? What better way to find out than a head-to-head FACE-OFF! In the right-hand corner, representing Designers Everywhere we have the Brilliant Brazilian himself, Guilherme Torres. In the left-hand corner, we have the Singing Sensation, John Mayer, representing Everyone Else. Let's keep it clean guys...DING DING!

MAYER TORRES

Scares small children factor

Laughs in the face of professional norms

Compensates for being a huge d-bag

Integrates personal brand

Permanent inspiration to work harder

Permanent ornamental Japanese fish

XX

X

X

X

X

CRITERIA

AND THE WINNER IS....GUILHERME TORRES!!!MORAL OF THE STORY: DESIGNERS = AWESOME JOHN MAYER = TOOL

THE POST-AMERICAN WORLDFareed Zakaria

Published in 2008 by : W. W. Norton & Company, NY and London8.5x5.6 inches paperback336 pages, no pictures, sorry :(

Despite the somewhat misleading title, The Post-American World is not about the fall of the United States. Instead, Fareed Zakaria (host of CNN's Fareed Zakaria's GPS, the editor of Newsweek International, and bestselling author of The Future of Freedom) focuses on "the rise of the rest", particularly the quickly emerging world economies of China and India.

To emphasize his basic premise, Zakaria points out several common-knowledge facts that, taken together, are quite eye-opening: the tallest building in the world is now in Dubai; the world's richest man is Mexican; the world's largest publicly traded company is Chinese; Macao has taken over Las Vegas in gambling revenue; Bollywood outsells Hollywood. Even shopping, the Great American Pastime, has been completely usurped from the US, as only one of the top ten malls in the world are found stateside. Although such statistics are admittedly arbitrary, it is striking to consider that America held many of those positions only ten short years ago.

In a straight-forward manner, this book outlines the major players that are shaping the social, cultural, and financial course of our future. With a keen eye on the big picture, Zakari paints a stunningly clear portrait of the international landscape. For anyone interested in understanding our place in a rapidly evolving global society, this book is a must-read.


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LearningFromIndie in

theory

LearningFromIndie

Let’s face it, the relationship between music and architecture has been analyzed, theorized, and examined ad nausea. Both are artistic forms of expression. Both involve complex issues of structure, rhythm, form, composition, etc. And the reputations of both have suffered from the unfortunate saturation of mediocrity in contemporary culture. Although there are many insightful correlations to be found, one particularly persistent yet deceptive conclusion that is often drawn from these comparative exercises is that both architecture and music are supposedly created by some mystically intuitive stroke of artistic genius. In a flash of blinding inspiration, supposedly, the artist’s vision is brought to life. Tracing this metaphor to its source, it seems that the painter’s brush stroke

SUFJAN STEVENS MAY BE ON TO SOMETHING...

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has become a stereotypical stand-in for all artistic creation. Detrimentally, the brush stroke has been caricaturized, generalized, and inappropriately stretched to represent a broad range of artistic endeavors including the topics of this particular discourse—music and architecture. When examined more closely, however, this underlying association between creating music and creating architecture is misleading at best. A new metaphor is needed. The inexplicable connection between music and architecture is too intriguing to be dismissed, and too significant to be reduced to such a grossly insufficient analogy. The brush stroke is simply not apt to describe the brilliantly complex and vital process of creating meaningful architecture. A more fruitful and revealing—albeit somewhat esoteric—metaphor can be made between creating a work of architecture and creating a particularly rare musical artifact known as the “concept album”. A concept album is, by definition, a collection of songs tied together by a central theme—be it lyrical, melodic, orchestral, narrative, or any combination thereof. Usually only undertaken by the most scholarly or ambitious artists, concept albums eschew the traditional rules of the music industry. Instead of presenting an assemblage of unrelated “singles” commingled with a few “b-sides”, the concept album presents a strategic procession of songs aligned and interrelated in such a way as to propagate a specific

idea, story, mood, message, or history. To illustrate this metaphor more directly, let us turn to the work of Sufjan Stevens, a talented singer/songwriter and multi-instrumentalist adept at playing the guitar, banjo, piano, drums, sitar, oboe,

English horn, French horn, glockenspiel, and vibraphone, among others. In 2003 Stevens set out on an ambitious (although perhaps hypothetical) endeavor to record fifty concept albums, each one dedicated to a different state in the union. The 2005 release of Illinois (also known as Sufjan Stevens Invites You to Come On Feel the Illinoise) marked a breakthrough in his musical journey, as the critically acclaimed

concept album won record of the year from several influential media outlets including Pitchfork Media (the Dwell Magazine of the music world). Before writing the record, Stevens spent 4 months in isolation meticulously researching and studying the state of Illinois. He read books about the state and books by Illinoisan authors. He absorbed biographies of notable locals, memorized poetry from Illinois natives, and skimmed police blogs, books on tape, and travel guides. He collected newspaper clippings and peered at microforms. He wrote letters back and forth to friends and acquaintances with ties to the state. He perused chatrooms and websites for colloquial stories and first-hand accounts of the real Illinois. He searched his own brain

sorrybob

ross

IN THEORY

to chronicle his remembered childhood experiences visiting Chicago. All of this research is readily apparent when listening to the album, although Stevens was careful not to let the songs become mired by the academic rigor of their genesis. The 22 tracks are lushly orchestrated in what has become known as the indie-baroque style. Stevens’ frequent use of the banjo and acoustic guitar land him squarely in the realm of American folk music, but his delicate falsetto, self-evident sentiment, and subtly pious disposition lend the album a complex temperament that is simultaneously more melancholy and more ecstatic than contemporary folk music. This range of emotional delivery allows him to represent the peacefulness of the rural Illinois countryside alongside the fevered excitement of the Windy City. Likewise, the lyrics shift from scholarly and verbose to colloquial and minimal. Matching his dialect to the historical context of the album, Stevens sings about such subjects as the Sears Tower, serial killer John Wayne Gacy, the Casmir Pulaski holiday, Abraham Lincoln, the Palisades, and the Columbian Exposition. So, how does this all relate to architecture? What can a relatively obscure songwriter from Detroit teach us about designing buildings? It’s quite simple, actually. In writing a concept album for Illinois, Sufjan Stevens has discovered and applied the three crucial maxims for meaningful design: Experience, Research, and Poetics. If any analogy or metaphor is to be made between creating music and creating architecture, it should be derived from these three immensely important requirements.

EXPERIENCE Man’s most important trait is his capacity to learn. Through

sufjan stevens’ (prolific)discography

The Age of Adz2010 Asthmatic Kitty Records

All Delighted People EP2010 Asthmatic Kitty Records

The BQE2009 Asthmatic Kitty Records

Songs for Christmas2006 Asthmatic Kitty Records

The Avalanche2010 Asthmatic Kitty Records

Illinois2005 Asthmatic Kitty Records

Michigan2003 Asthmatic Kitty Records

Enjoy Your Rabbit2001 Asthmatic Kitty Records

A Sun Came2000 Asthmatic Kitty Records

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IN THEORY

education, practice, trial-and-error, and ingenuity, we increase our understanding of the world around us and improve our abilities to alter or cope with it. This holds true with any art form. Take music for example—it takes years of regular piano lessons to master the 3rd movement in Beethoven’s Moonlight Sonata. It takes a composition notebook full of mediocre songs to finally write that first Billboard Top 20 hit. It takes countless late-night studio recording sessions to discover all of the ins-and-outs of ProTools software (the AutoCAD of the music industry). Along with formal training on the French horn and oboe, Sufjan Stevens learned more than a dozen other instruments on his own during his college years. He honed his skills by playing in several bands, and by accompanying his friends’ musical endeavors. He bought a 4-track cassette recorder and “painstakingly composed 90-minute concept albums for The Nine Planets, The 12 Apostles, and The Four Humors.” He discovered how to layer different sounds without inducing sonic distortion, extended the range of his emerging singing voice, and experimented with exotic Eastern instruments. These activities all furthered the development of his musical abilities and expertise. Architects gather similar experience over time. The rite of passage that is Architecture School fills our minds with the storied history of our profession. We absorb everything from classical to contemporary, from Frank Lloyd Wright to Frank Gehry. Through tedious drafting courses, nerve-racking studio pin-ups,

and brutal thesis critiques we learn which lineweights best convey the ground plane, what proportions are most pleasing to the eye, what orientation provides the best passive solar conditions. Most architects master CAD programs and other fantastic software that allow us to produce lifelike renderings of our buildings. Our internship experiences introduce us to contract documents, construction administration procedures, and detailing techniques. Further, our basic aptitude is not the only thing that improves with experience. The subtleties, nuances, and common sense lessons that are learned over time account for much of the expertise of any artist. For

example, it takes several concertos for a violinist to learn whether dark rosin or light rosin is better for an outdoor concert in the spring. It

takes the frustration of a guitarist playing out-of-key to learn that hollow-bodied electric guitars must be acclimated to the temperature on stage before they commit to staying in tune. And it only takes once for a singer to have his or her lips shocked by the microphone to learn that amplifiers must always be plugged into a grounded outlet. These lessons are just as common in the field of architecture, and they contribute just as heavily to the overall expertise of the individual. As our familiarity with building techniques and materials grows, we learn how the subtle phrases in our keynotes can influence the quality of construction on a project, for better or for worse. Eventually, we customize the shortcuts on our software interface so that more commands can be executed with

we must discriminate between van gogh’s

deliberate swirls of expressionistic color and

the hectic finger-paint smears of a toddler.

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fewer keystrokes. On a more technical level, we discover which waterproofing details are the most reliable, which curtain wall systems are most effective in cold climates, and which clauses in a contract leave us most vulnerable to undue liability. For musicians and architects, the first requirement for creating a meaningful design is this essential expertise, which is in fact the sum of our experience. The brush stroke metaphor does not account for this crucial prerequisite. It doesn’t discriminate between Van Gogh’s deliberate swirls of expressionistic color and the hectic finger paint smears of a toddler. Without expertise, any attempt to create something meaningful is futile.

RESEARCH When further examining the ineptitude of the brush stroke metaphor as it applies to architecture, it seems that one of its greatest failings lies not in the gesture, but in the canvas—it’s empty. In painting, there is a taut sheet of featureless fabric awaiting s y n c h r o n i z e d splashes of pigment. In music, it’s a vacant series of five parallel lines anticipating the coordinates of a composer’s notes. In poetry or writing, the canvas is a dusty typewriter awaiting a specific choreography of keystrokes to fill the blank paper. In architecture, however, the canvas is completely cluttered right from the start—programmatic parameters, code requirements, client considerations, budgetary constraints, environmental issues, contextual conditions, and countless other complex circumstances must be resolved. This fragmented content is the very substance of our work as architects.

This clutter upon our canvases must be masterfully organized and assembled to create inhabitable environments. It is this body of real elements and considerations that gives our work purpose. Architecture is the only art form that is not simply consumed by the senses, but is physically manifested in forms that meet our basic needs as a society. Each building serves a unique purpose, and each is created in a unique context. But we can not rely on our experience and expertise alone to determine how best to serve that purpose, or negotiate that context. Research is imperative. As architects, we can not assume to understand the complexity of a new project simply by the merits of our previous experiences. Likewise, with the swift pace of emerging technology we can not afford to rely solely on the strategies that have served well in the past. Research is the vehicle that

leads to innovation. As architects, we can never know our client’s needs well enough. We can never cease to critically analyze the building program for

inefficiencies and potential enhancements. We can never let our assumptions go unchallenged or our methods left untested. We can never stop searching for new ways to solve old problems. The stereotype of the jaded old architect is alive and well today. Resistant to change and averse to practicing outside of their comfort zone, these curmudgeons of the office usually tout their experience like a crown of laurels. Single-handedly, they represent one of the most prevalent hurdles to meaningful design in many offices today. As the old adage goes, common sense thinking has only ever

research is imperative. as architects, we can not

assume to understand the complexity of a new project

simply by the merits of our previous experiences.

IN THEORY

led to commonplace buildings. We must challenge ourselves to overcome the burden of complacency by engaging in constant investigation, critical analysis, and meticulous research. Indeed, with the ever accelerating tempo of technological invention, the research process has become eminently necessary for the survival of our profession. The concept album requires similar due diligence to escape the bounds of the ordinary. The four months that Sufjan Stevens spent uncovering the history of Illinois provided the lyrical content for his album’s 22 songs and drove the musical development of the record. This process of examination and discovery sets the concept album apart from conventional music. There were no late-night verses scribbled on the back of cocktail napkins after a divine spark of dive-bar inspiration. Instead, the ideas were crafted out of research and developed around a principal concept. As Stevens’ asserts, “all research begins with imagination…”. Architects would do well to emulate this process, using research, along with experience, as a viable means to an end.

POETICS The mystically intuitive stroke of artistic genius that usually forms the basis of an architecture/music comparison is not in itself a totally invalid concept. On the contrary, it’s usually the most intriguing, exciting, life-giving component of the entire design process. It’s what separates musicians from mere instrumentalists, artists from mere painters, poets from mere literates…architects from mere builders. But if meaningful architecture is to be created, this stroke can not be made by an inexperienced hand, nor can it be applied to a blank canvas. It is only through the virtue of our accumulated expertise and the authenticity

of our applied research that we can achieve meaningful design in the first place. The art of our work simply can not be divorced from the substance from which it is made. Otherwise, it becomes a fruitless exercise in egoism, imitation, or frivolity—with dismal consequences on the quality of the actual built environment in which we live. As architects, we are charged to use our experience to assemble the components of our research in a truly meaningful way. The eloquence of a solution should be judged by its capacity to include the entire scope of considerations involved in any particular project. Design, at its core, is not an exclusionary process. A clever gesture that disregards certain parameters of context or utility is only as useful as our ability to ignore its ramifications. Intuition, which is an invaluable device for many artists, must fall under much more scrutiny in architectural design. The very definition of intuition entails decision-making without a rational process. We must be very diligent to discriminate between those instincts that are based on genuine architectural experiences and articulate observations, and those instincts that are based merely on the accrued library of static images in our minds, derived from the countless periodicals, monographs, websites, and coffee table books that saturate our industry. Although this collective imagery can be informative and inspiring, it should never become a surrogate for meaningful design. Kenneth Frampton , British architect and historian, uses the word “poetics” to describe the intuitive aspect of the design process. He argues that the language of architecture was written long ago, and that it is inexplicably tied to construction—the way in which we build things. This language of tectonics emphasizes craft over form, materiality

103

over iconography, experiential quality over cerebral interpretation. Swiss architect Peter Zumthor echoes these beliefs:

“…many architects are not so interested in the real building; they are more interested in the theory of the building

or only in some aspects of the building. I’m concerned about the

material, how things are put together, not the

way it looks, but the way it IS. I’m interested in the building itself, how you see it, how you feel

it, how it is made, the building as a body.”

The significance of our task is all too often underestimated. A common affliction among architects today is the reliance upon empty precedents. When a poetic solution is discovered by another architect, we do not learn from their process—we merely plagiarize their result. We substitute

surface-level observation and short-term memory for true inspiration, allowing the components of our original undertaking to remain unresolved. This regurgitation of second-hand ideas is all too often implemented in an entirely different context, in the crux of entirely different considerations, and under the influence of entirely different project objectives. The musical solutions imagined by Sufjan Stevens are far from derivative. And as with architecture, it is the poetic qualities of Stevens’ concept album that transform Illinois from an expertly executed, well-researched historical documentary into a magnificent work of creative brilliance. He effortlessly weaves together melodies and harmonies with the waxing and waning choruses of what can only inadequately be described as chamber folk music. Several songs tell entire stories without a single word, building suspense and reaching epic climaxes with lushly orchestrated passages. When lyrics are included, their relationship with the music is intriguing and complex. Over a fragile cadence of grand piano and finger-picked acoustic guitar, an articulately sympathetic yet condemning portrait is painted of reclusive serial killer, John Wayne Gayce, Jr. Historical information is never delivered with a dry intellectualism, but rather infused with personal anecdotes and humanizing references. For instance, in the context of a regional holiday celebrated by Illinoisans, Stevens intimately tells the personal story of losing one of his best friends to bone cancer. Likewise, seemingly trivial events are given significance through their lucid descriptions, such as on the album’s opening song in which a community’s unexplained encounter with a UFO is delicately interpreted as a singular spiritual experience.

hehe...stupid

architects

IN THEORY

CONCLUSION We should do well to heed the enlightened approach of Detroit’s most eccentric and prolific singer/songwriter. While almost all of the music aired on today’s Top 40 Radio would serve terribly and insufficiently as an analog for the sacred endeavor that we call architectural design, Sufjan Stevens’ Illinois stands tall and proud. Surrounded by a landscape of strip malls and decorated sheds, this concept album emerges as a shining tower of impressive regard, at once subtly familiar and progressively new. As a profession, we must approach design in the same way that Sufjan Stevens has used his diverse experience as musician to poetically assemble his immense body of research into a masterfully executed concept album. Experience. Research. Poetics. Remove any of these three components, and the work of architecture will be severely compromised. Without experience, it is impossible to piece together the components of a building in a skillful way. We have an obligation to our clients and to our profession to design long-lasting, functional, efficient buildings—and without the expertise that is gained with experience, that task is insurmountable. If critical research is not part of the design process, no amount of experience or artistic talent will result in a meaningful work of architecture. Design decisions, no matter how intuitive or how expertly executed, must be driven by the content and context of the project, which can only be fully understood and integrated through meticulous research. Without poetics, the work of architecture will become yet another lifeless structure that contributes to the malignant blight on our expanding societies. Although there are as many definitions of poetry as there are poets, it is imperative that we as architects are capable of evoking emotion with our

buildings. In the famous words of Daniel Burnham, “Make no little plans, they have no magic to stir men’s blood”. In conclusion, it must be iterated that Stevens’ work is not being presented here as a key to unlock the mysteries of architectural design, but simply to provide us with a vehicle for productive discussion. The tired metaphors between music and architecture have been stretched far too thin, and thus require a new frame of reference to expand their effectiveness. Music is NOT just like architecture. But when an experienced and skillful musician labors for months conducting methodical research to produce a stunningly beautiful, articulate, cohesive, and eloquent piece of music…that is, in fact, just like architecture. Or at least how it should be.


my sincerest apologies if you’ve never heard of sufjan stevens and have absolutely no idea what i'm talking about. i encourage you to get intimately acquainted:

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http://asthmatickitty.com/illinois

is JENNY MAKING A MAGIC CARPET, OR JUST A REGULAR CARPET?

DOM AND ALEXI SURVIVING the BRUTAL CALI WINTER.

BRYAN AND ALEXI SHOW SHANGHAI HOW TO KARAOKE!

ALEXI and kevin AT THE GREAT WALL of china!

HELL YES BREEZE

KDF ATTEMPTS hAIRCUT = FAIL

captain morgan...er...BRYAN waits for the mag-lev.

DOM THE BOMB IS GONNA KNOCK YOU OUT!

BREEZE, GO STAND BY SOMETHING BEAUTIFUL

jenny powns fiber!

our apologies to SHANGHAI...

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Who

this is

are We

Bryan Finnegan

Dominick Gallegos

Alexi Karavokiris

Breeze Glazer

Kevin Frank

ASSOCIATE EDITOR > New York, [email protected]

ASSOCIATE EDITOR > Los Angeles, [email protected]

ASSOCIATE EDITOR > Chicago, [email protected]

ASSOCIATE EDITOR > Chicago, [email protected]

ASSOCIATE EDITOR > New Orleans, [email protected]

EDITOR IN CHIEF > Chicago, [email protected]

Logical and rational, a gadget freak and avid outdoorsman.

Urbane and open-minded, in love with the culture of urbanism.

Virtual cheerleader for the profession, fervent fiber artist.

Artist by training, designer by profession, badass by nature.

Sustainability champion, living and breathing the City.

Architect, graphic designer, make-believe rockstar.

Jenny Pelc

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roll credits

PHOTO CREDITS:cover photo > courtesy of Studio Guilherme Torresnew york images > Jeffry Gugick, Pixel and Poly, LLC, www.pixelandpoly.com/nyc_in_hdripad image > courtesy of Applenoteslate images > courtesy of NoteSlate, www.noteslate.commore/real stylus cap images > courtesy of MORE/REAL, www.more-real.combarbie jewelry images > courtesy of Marguax Lange, www.margauxlange.comall studio guilherme torres diagrams > courtesy of Studio Guilherme Torresstudio gt photographs > MCA Estúdio, courtesy of Studio Guilherme Torresbl house photographs > Beto Consorte, courtesy of Studio Guilherme Torresgt house photographs > Roberto Wagner, courtesy of Studio Guilherme Torresvm house photographs >Beto Consorte, courtesy of Studio Guilherme Torresff house photographs > courtesy of Studio Guilherme Torresmc house photographs > MCA Estúdio, courtesy of Studio Guilherme Torresqueens shoes photographs > MCA Estúdio, courtesy of Studio Guilherme Torresfj house photographs > MCA Estúdio, courtesy of Studio Guilherme Torresla house photographs > MCA Estúdio, courtesy of Studio Guilherme Torresas house photographs > Beto Consorte, courtesy of Studio Guilherme Torresin your typeface image > Jeremy Miller and Aimée Shultz, www.thisisourjam.comsufjan stevens photographs > courtesy of Asthmatic Kitty Recordsloop station > Jeffry Gugick, Pixel and Poly, LLC, www.pixelandpoly.com/nyc_in_hdr

THANK YOUS:Xênia Itikawa > Studio Guilherme TorresJeff Gugick > NYC photographsJohn Mayer > Please don't sue us

http://www.pixelandpoly.com/nyc_in_hdr





http://www.pixelandpoly.com/nyc_in_hdr

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COVERThe IssueTWO cover features a photograph of Guilherme Torres, this month's Savvy Designer. Instead of showcasing one of his many sexy buildings, we decided to include the designer himself...in the flesh. Because, let's face it, sometimes we forget that there are actual human beings behind all the slick buildings that we go gaga for. We also thought it was important to highlight the fact that ARCHILEPSY is a lifestyle magazine, not a trade journal.

TYPEFACESThe ARCHILEPSY masthead and logo uses a custom designed font by Kevin Frank. Our standard serif paragraph text is Adobe Caslon Pro. We use Myriad Pro (made famous by Apple) for typical san-serif paragraph text. ITC Avante Garde Gothic is our go-to headline font. All other fonts are used with permission. We respect and <3 typographers.

LAYOUTThis magazine was designed in Adobe InDesign and hosted in its online format by ISSUU. The website was designed by Kevin Frank.

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ARCHILEPSYMarch 2011Volume One, Issue TwoSuggested Retail Price $0.00www.archilepsymagazine.comP.O. Box 902 Chicago, IL 60690© Copyright 2011. All Rights Reserved.Don’t even think about printing this WEBzine, you dirty tree killer.
