David
Chipperfield

Guest Editor 2020

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Author
A G Fronzoni Ajmone Giuseppe Alchimia Alessandro Mendini Almòdovar Pedro Alviani Getulio Anonimo Archigram Azuma Kengiro Basilico Gabriele Bass Saul Bayer Herbert Beeke Anthon Bernard Pierre Bernik Jenez Berns Bill Max Boullée Etienne-Louis Brian e Evans Brody Neville Bubbico Mauro Buszewicz Maciej Byrne David Calder Alexander Canova Antonio Carmi Eugenio Caron Sarah Carson David Casali Giorgio Casati Cesare Castelli Clino Castro Lourdes Cerri Pierluigi Chermayeff Ivan Chin Hsiao Christo Ciuti College of Fine Arts Saar Colvin Calum Confalonieri Confalonieri Giulio De Dominicis Gino Depero Fortunato Di Salvatore Nino Dibbets Jan Diens Sari Domus Academy Dorfles Gillo Dumbar Gert Eames Charles Elisava Escola Superior de Disseny Esterson Simon Fancello Salvatore Fazel Ramak Fiume Salvatore Fletcher Alan Fletcher Alan/Pentagram Fontana Lucio Fukuda Shigeo Funi Achille Gambetta Mario Gentili Moreno Gilbert & George Glaser Milton Gnoli Domenico Gottschalk, Fritz Greiman, April Grignani Franco Gruppo 65 Gruppo N Gruppo Ufo Gui Alessandro Hammacher Arno Hardis George Haus-Rukker Holmes John T. Holzer Jenny Igarashi Takenobu Jodice Mimmo Kalman Maira Kato, Ken Kawaguchi Yoichiro Kepes Gyorgy Klee Paul Klein William Kostabi Mark Lambreckt Laurie Latham William Laval Manuel Le Corbusier Loesch Uwe Long Richard Luna Bigas Lupi Italo Mack Heinz Mari Enzo Marini Marino Marotta Gino Martial Raysse Matta-Clark Gordon Mattiacci Eliseo McConnell John/Pentagram Merz Marisa Minkkinen Arno Rafael Miralda Antoni Monguzzi Bruno Monti Paolo Munari Bruno Müller Rolf Negri Newton Helmut Occhiomagico Ohtake Shinro Ott & Stein Paladino Mimmo Palma Urano Panseca Filippo Parcero Tatiana Peret Pfund Roger Piccoli Augusto Pirtle Woody / Pentagram Pistoletto Michelangelo Pizzo Greco Alfredo Pozzi Provinciali Michele Rambow Gunter Ricas Riccardo Rice Rosenquist James Rotella Mimmo Scandola Daniele Schedegger Ernesto Schlemmer Oskar Schneider Thomas / Wired Schulze Andreas Segal George Semenghini Simon Esterson Sims Karl Sottsass Ettore Spuybroek Lars - NOX St. Florian Friedrich Tahara Keiichi Tanaka Ikko The Blue Chemist The Royal College of Art Tibor Tillmans Wolfang Tissi Rosmarie Tony Tovaglia Pino Van Hees Emile Vargas Rafael Veronesi Luigi Vignelli Massimo Warchol Paul Webb Boyd Wolf Henry Woods Lebbeus Works Zush

1042 - January 2020

1043 - February 2020

Also known as the Psychology Tower at the University of California, Los Angeles, Shepard Ivory Franz Hall II opened in 1967. Franz Hall II is not primarily notable for its design (a square structural concrete grid), nor its scale (although when new it was the tallest building on campus) but because of its architect. Paul Revere Williams was the first black member of the American Institute of Architects, and later its first black fellow. He fought to transcend the prejudices of his predominantly white client base, and indeed was largely successful in doing so. He designed hundreds of buildings across Los Angeles, in a wide variety of styles, from sober middle-class homes to Beaux Arts mansions, from modernist civic structures – including parts of Los Angeles Airport – to Beverly Hills hotels. The most frequently told story about Williams is that he learnt to draw upside down to avoid making his clients feel uncomfortable by sitting next to them during design meetings. In fact, in his own telling of the story, Williams mastered the skill in order to deflect attention from his race and direct it instead towards his impressive technical facility. Thomas Demand was attracted to the rational, modular efficiency of Franz Hall II, which corresponds with his own technique of cutting repeating paper shapes for his models with a digital plotter. The thinness of his construction, too, here resonates with the identity of the building: a neutral facade that occludes not only the complexity of Williams’s biography but also the disfunction and pain that was addressed within. This is the first time Williams’s work has been featured on the cover of Domus.

1044 - March 2020

In October 2017, on the Otay Mesa, a barren patch of land near San Diego, President Donald Trump unveiled eight prototype sections of free-standing wall. These were designed to be tested along the US-Mexican border, the fortification of which was a pillar of Trump’s election campaign. While a border wall is widely seen as an ineffective, symbolic solution to what conservatives consider to be the United States’ immigration problem, these prototypes represented Trump’s determination to follow through on the promises that got him elected. Built at a cost of 3.3 million dollars in federal funds, the competing prototypes [later dismantled, see photo], if commissioned, would constitute a monumental contract for the winning company. The prototype chosen for this issue’s cover by Thomas Demand was produced by Elta North America, a defence manufacturer based in Maryland and owned by Israel Aerospace Industries. The flow of capital and military resources between the US and Israel lends this prototype a further layer of symbolism – urging a loaded comparison with the defence of Israel’s borders against states which threaten its very existence. Trump – a real estate developer and a social climber – has built a fortune on the design and sale of aspirational structures. In October 2018, he described his intended wall as “artistically designed steel slats”; Demand observes that Elta’s design mirrors the Renaissance convention of the piano nobile sitting above the humbler ground floor. All the prototypes turned out to be far from impregnable, so, as with many of Demand’s subjects, these models were impossible fantasies.

1045 - April 2020

1046 - May 2020

Purdue Pharma, Stamford, Connecticut

1047 - June 2020