Mimi Zeiger

Critic, editor, curator and instigator.

Modernism marks the beginning of linear time and the end of circular time, commented novelist Alvaro Enrigue. His remarks came amid an exchange with artist Adrián Villar Rojas— one of seventeen performances, keynotes, and dialogues presented as part of AIR Aspen: Life as No One Knows It, a weeklong interdisciplinary conference organized by the Aspen Art Museum. The inaugural festival, held in late July to time with the Aspen Art Fair and ArtCrush Gala, is the latest ideas summit to mine the Bauhaus-inflected legacy of the Aspen Institute’s legendary International Design Conference and gather minds in the Rockies.

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I couldn’t sleep last night. LA was having another heatwave and rather than lay awake I read a back issue of The New Yorker, catching up on a report that said a Cascadian earthquake was overdue and would knock out much of the Pacific Northwest. A resulting tsunami would break across the West Coast devastating all architecture and infrastructure west of Interstate 5. “Toast,” noted author Kathryn Schulz.

After falling into a fitful slumber, dreaming of higher, more stable ground, I awoke to another blazing day courtesy of climate change. The sky was singed brown at the edges from wildfires taking out homes somewhere more easterly and the sound of helicopters – the vernacular “ghetto birds” – circled overhead. The reason for police action was neither immediately clear nor personally threatening. I made a note – “get earthquake kit” – then brewed coffee. Pending crisis averted.

Over the last decade, especially with the rise of research-oriented design practices, architecture has tried (and struggled) to address crisis. Specific methodologies vary, but two modes dominate: pre- and post-natural disaster. The second we recognise as social-impact design from the likes of Shigeru Ban and others. MacGyver-like, architectures responsive to aftermath are deployable, agile, and cheap. They may even earn you a Pritzker. Read More …

The Tokyo architect takes us behind the scenes of the Tamedia headquarters in Zurich, a modern mid rise employing ancient Japanese joinery construction.

Having explored material in every format – from his cardboard tube emergency shelters to his Centre Pompidou-Metz, with its glulam timber roof – the Tokyo architect and his firm now turns their attention to miyadaiku and sukiya-daiku, the Japanese carpentry techniques of tea houses and temples, which use no nails, screws or other hardware. This sophisticated joinery is the main feature of the 10,120-square-metre Zurich head-quarters of Tamedia, a major publisher of newspapers, magazines and online media. Azure contributor Mimi Zeiger spoke with Ban about what makes this style of wood construction both innovative and sustainable. Read More …