Eyes of the Flaneuse: Women Photographers of New York City
Johnson Museum of Art
Thursday Mar. 12, 5:15 p.m.
In conclusion of the Johnson’s exhibit “Well-Behaved Women Seldom Make History,” Prof. Mary Woods, a professor from the College of Architecture, Art and Planning will be speaking about a series of female photographers from the early 20th century. Woods’ brings a critical eye towards the stereotypical understanding of architecture and urbanism through her interest in photography, film and other representations of American culture. Give this timely union of art and feminism a spin; it’s Women’s History Month, after all. — A.L.
Ithaca Ink Shop
Mar. 6 – Mar. 27
A self-confessed “music nerd”, Adrianne Ngam ’13 loves to find humor in every little thing she does, be it playing doo-wop beats on the cello or designing a soaring skyscraper, and considers music more personal than professional. Sitting across a table in The Green Dragon, every architect’s favorite hangout spot, this winner of the fifth annual Cornell Concerto Competition and guest performer at the Cornell Symphony Orchestra’s recent concert talks about her passion, her profession and their confluence.
Sun: What was it about the cello that attracted you?
After students protested earlier this week over the lack of transparency within the College of Architecture, Art and Planning, students, faculty and administrators gathered yesterday in Sibley Hall to discuss concerns regarding the future path of the college.
Issues raised included the selection process of a new architecture department chair, the lack of tenured faculty, the relationship between permanent and visiting faculty, the transparency of the administration and the morale of the college.
The meeting came just several days after architecture students plastered signs inside and outside Sibley Hall criticizing the College for insufficient communication.
On Wednesday, Feb 19, The Sun sat down with Peter Eisenman ’55, who was in town for a week as the Frank H. T. Rhodes Class of ’58 Professor. The perenially hard-to-define architect spoke about everything from football in Arizona to why the media loves him.
The Sun: Your work has sometimes been criticized for being hostile to its viewers, while other people see your work breaking open new spaces of possibility. I was wondering: do you design buildings for people?
World-renowned architectural provocateur Peter Eisenman ’55 gave his inaugural lecture in Sage Chapel on Tuesday as the new Frank H. T. Rhodes Class of ’58 Professor, a position which brings top scholars or practitioners in various fields to reside at Cornell for one week of intense activity. Eisenman, who also teaches at Yale, used recent projects undertaken by his firm to reflect on the inherently politicized nature of public memorials.
At some point in the midst of last semester’s finals heyday, fifth-year architecture majors Andre Abrahamian and Sheyen Ikeda started to ask themselves if their studio projects, visually represented and described in architectural standards and building form conventions, could take on other meanings and interpretations. They had spent significant amounts of time staring at computer screens and condensing their concepts into three-dimensional, experiential forms and spaces in virtual and physical models — yet outside of models, these constructions could only take two-dimensional drawing and rendered forms. Even in photographs, spaces become flattened and performativity limited and up to the interpretation of the viewer.
When Peter Eisenman ’55 (Frank H. T. Rhodes Class of ’56 professor) attended Cornell, he moonlighted as our sports mascot the Big Red Bear. For a man whose post-graduation work has been revered as changing the field of architecture, it’s a pretty big surprise that when Eisenman attended C.U. he wasn’t always a studious architect, living in Rand Hall. Rather, there was a side to him that was about big lights and game night. Current students now have the opportunity to see Eisenman, live in performance, when he visits this week.
In an auditorium filled to the brim with students, faculty and administrators, the Faculty Senate Committee met yesterday to discuss Cornell’s state in the recent financial downturn. After Provost Kent Fuchs discussed Cornell’s reaction to the economic crisis, Prof. Abby Cohn, linguistics, introduced a resolution to pause construction of Milstein Hall, the proposed new building for the College of Architecture, Art and Planning that has been in the works for over a decade.
“This resolution is neither for nor against Milstein Hall, but is about the process and decisions made during these difficult [financial] times,” Cohn said.
Two fifth-year architects have teamed up to display their very different artworks in Sibley’s Hartell gallery. Both artists explore the way their objects interact with the viewer’s body: physically and culturally provoking the viewer to imagine the contours of what one chooses to embrace and what one chooses to give up. Like the image of Rubin’s face/vase (replaced by the artists’ profiles), which they display on their lone curatorial placard, absence always hugs and contains the material as its unacknowledged background.
Where can you find the tomb of a secret society built into the side of a cliff, a building with no doors or windows and a secret research laboratory beneath a waterfall? No, it isn’t Hogwarts, it’s here in Ithaca on your way to class, by the road on your way home. Cornell’s campus has more secrets than a Dan Brown book: a closer look at some of the mysterious architecture around Ithaca reveals that the glossy brochure pictures of the Arts Quad are just the tip of a strange, strange iceberg. Some legends remain mysteries (catacombs beneath Sage Chapel, a secret exit from Uris) while others have been confirmed — you can walk through a tunnel between Olin and Uris on Slope Day, and the Cornell Synchotron accelerates particles under your feet while you run at Barton Hall.