I'm breaking my blogging silence to do two things:  Alert readers to the fact I am still writing reviews of architecture books under the title A Weekly Dose of Architecture Books, but over at Substack, not Blogger. Put a new post at the top of this blog so I don't have to look at those photos of me every time I come here to find an old post that I want to link to. That is all.

After 25 years of running this blog under various names — all of which can be lumped under the "Archidose" monicker — I've decided to shut it down, moving this hobby, this labor of love, to Substack, which I have used since mid-2021 and where I will continue to send out weekly newsletters focused on architecture books, but in a new format. (You can subscribe to my newsletter here or on Substack.) So, this isn't "goodbye" as much as it is "see you in your inbox."  Grayer and hopefully wiser: me, John Hill, from the mid-1990s until today Besides thinking something along the lines of, Wait! 25 years?, you also may be wondering, Why stop now? The now, January 2024, is because I happen to like fives, it turns out — so much so that every significant thing related to this blog has occurred in five five-year intervals (this is by chance, not by design, I swear): 1999: Started A Weekly Dose of Architecture (with a post about the Kimbell Art Museum) 2004: Started A Daily Dose of Architecture (with a post about the World Trade Center Memorial Design Competition) 2009: Started working with World-Architects and got my first book deal (I was out of work at the time, so the writing that I began doing as a hobby in 1999 turned into my primary focus as of 2009) 2014: Stopped A Weekly Dose of Architecture (complete with five bullet points on why) 2019: Started A Daily Dose of Architecture Books (five more bullet points!)  2024: Stopped Archidose In terms of the why, I've thought of that question a little bit, and outside of it just feeling like it's the right time, here are a handful (again!) of reasons: Very few people read blogs anymore (true, that was also the case 10 years ago, but I kept at it until now, as I liked doing it) More people subscribe, open, and read my Substack newsletter than those who click on the links to this blog or find their way here in some other manner to read my posts (the logical step, therefore, is to put everything in the newsletter...but not behind a paywall, mind you) Blogger is outdated, with infrequent updates; its themes/templates are buggy; adding content is frustrating (this list could go on near endlessly) Substack’s formatting is much easier and more elegant than Blogger (see next bullet point, too) This blog takes up too much of my time, time I'd rather spend on other things (the new newsletter will be easier to produce than this blog, but hopefully it will be helpful and therefore worth people's time in opening it and reading it) But stopping this blog also makes me wonder what it amounted to, if anything. Is there enough good content on this blog to put some of it on paper, to make it a more permanent thing? Or is the content simply of its time and therefore best to leave here in the digital ether? I don't know, to be honest, and when I dig back through some of the posts I veer from thinking the things I wrote were really good to thinking they were garbage ... okay, not quite garbage, but not special enough for a bound volume tucked away in a library somewhere. The truth is somewhere between these poles, I reckon, so hopefully I'll come up with a way to make sense of this side project, this 25-year undertaking, and turn what I did into something else even more rewarding.

Instead of digesting a new book or diving into a novel, something others do often but I do rarely, I spent my holiday break reading a five-year-old book about a trio of intertwined topics I'm particularly fond of: drawings, exhibitions, and New York City. Drawing on Architecture: The Object of Lines, 1970-1990 by Jordan Kauffman, published by The MIT Press, 2018 (Amazon / AbeBooks) As the book's subtitle indicates, Drawing Architecture covers a two-decade period — the 1970s and 80s — when architectural drawings produced by contemporary architects increased in popularity: with architects, with museums, and with the wider art market. These decades, especially the 70s, are known for its so-called "Paper Architecture," which arose due to architects encountering a glut of commissions and offsetting it through theorizing and exploring ideas on paper. Although Jordan Kauffman, a researcher at MIT when he wrote the book and now an assistant professor at the University of Nottingham, does not restrict himself to New York City, much of the book takes place there, given the city's role as the epicenter of the art market, the numerous art galleries holding exhibitions of architectural drawings, and the willingness of local architects to promote themselves through those galleries. These display spaces included Judith York Newman's Spaced: Gallery of Architecture, the Leo Castelli Gallery, and the Max Protetch Gallery. There were also a number of museums and other institutions in and beyond NYC — CCA, DAM, MoMA, Getty — that increased their holdings of architectural drawings, in turn increasing value of such drawings until around 1990. Then, as architects found themselves with more projects and computers entered the realm of architectural drawing, the two-decade trend came to an end. I missed Kauffman's book when it was released in 2018, though I have to disagree with George Baird's review published in Architectural Record at that time. He finds the thorough documentation and explanation of this important moment in recent history "not completely satisfactory," due to the inability to grasp the individual drawings in the numerous photographs of gallery shows reproduced in black and white, as in the one below. Baird did appreciate the reproductions of individual drawings that are almost as numerous as the gallery photographs, but not enough to give the book a ringing endorsement. I'd counter that, since the book is about the galleries and institutions marketing and collecting the drawings rather than the drawings themselves, the illustrations selected for the book are ideal. They capture the seminal shows that led to the phenomenon that is the subject of Kauffman's book; without them, readers would be frustrated and have to rely on the author's extensive descriptions of the displays — descriptions that are important for the historical record but stultifying for narrative flow. (Kauffman also separately lists each piece in each seminal show, complete with values ascribed to the individual drawings.) Another review, by Paul Emmons at EAHN, is more gracious toward the book, calling it "a primary resource on the history of the commodification of architectural drawing." Installation view of "Architecture I" exhibition at Leo Castelli Gallery, 1977 (Image source) Being a scourer of used bookstores and having a strong interest in the period explored by Kauffman, many of the museum exhibitions and gallery shows described in the book as "seminal" were known to me before I cracked it open last month. For example, the three "Architecture" shows held at Leo Castelli Gallery every three years between 1977 and 1983 were each accompanied by catalogs: the first one is short, unpaginated and stapled, but the second and third were published by Rizzoli, the publisher of choice for American postmodern architecture in the 1980s. Even though I'm familiar with these shows — and others, including Arthur Drexler's The Architecture of the École des Beaux-Arts (MoMA, 1975) and The Drawings of Antonio Gaudi by George R. Collins (The Drawing Center, 1977) — through their printed companions, Kauffman is able to elucidate considerably more information about the exhibitions themselves as well as how they relate to the publications. Architecture I, the catalog, would lead us now to assume that just a few drawings were in Architecture I, the exhibition, for each of the seven included architects (Raimund Abraham, Emilio Ambasz, Richard Meier, Walter Pichler, Aldo Rossi, James Stirling, Venturi and Rauch), but Kauffman reveals how misleading this assumption is, by describing the circumstances of the show, illustrating it through gallery shots like the one above, and exhaustively documenting what was on display. In this sense, Emmons' description of the book as "a primary resource" is spot-on. Covers of catalogs for three "Architecture" series exhibitions — "Architecture I," "Houses for Sale," "Follies" — held at Leo Castelli Gallery in 1977, 1980, and 1983, respectively While I found it rewarding to learn more about these and other exhibitions I had previous awareness of, Drawing on Architecture was not short on revealing new information to me. Take, for instance, Spaced, the gallery run by Judith York Newman, a name considerably less familiar all these years later than Castelli, Protetch, and the like. The first iteration of Spaced was located on the Upper West Side between 1975 and 1983, making it the first gallery in the city to display architectural drawings and therefore leading the way toward other art galleries doing the same. Although Newman was integral to the reception of architectural drawings in the period, as were Martha Beck, Barbara Jakobsen (aka B.J. Archer), and Pierre Apraxine, their names border on the forgotten, at least relative to the more famous gallerists mentioned above as well as Phyllis Lambert (CCA), Heinrich Klotz (DAM), and Kristin Feireiss (Aedes) outside of NYC. Drawing on Architecture therefore serves, in its focus, to give them much-deserved attention. The shift of architectural drawings toward art and as architecture in and of themselves can also be found in Drawing Ambience: Alvin Boyarsky and the Architectural Association, the exhibition and companion publication from 2015 about the drawings collected by Boyarsky when he was head of the AA in London. Although Boyarsky's two-decade directorship overlapped almost exactly with Kauffman's book, he is only touched on briefly. Instead, we learn a good deal about fellow Londoner Ben Weinreb, "the most eminent antiquarian bookseller of architectural books, prints, and drawings," per Kauffman. Not only did he buy and sell drawings (many of them to Lambert at the CCA), making him relevant to Drawing on Architecture, he produced 58 catalogs over the course of four decades: catalogs that "set new standards for cataloging and connoisseurship," in Kauffman's words. The value of Drawing on Architecture is in discovering about Weinreb and other lesser-known players, carried out through exhaustive research and scholarship, but it is also found in the vivid portrait of 1970s/80s New York, when the architecture and art scenes overlapped and converged, unlike any times before then or since.

For the fifteenth and last time on this blog, I'm highlighting my favorite books of the year, selected from the many books I reviewed or featured as "Book Briefs" on this blog, and the few titles that I reviewed at World-Architects. From the 86 books I featured in 2023, 15 (or 16) books made my list of favorites, organized into three categories: history, monographs, and exhibitions (the books are alphabetical by title within each category). As in previous years, not all of these books were published this year, given how slow I can be at digesting books and my departure from the annual spring/fall cycle of publishers. This last aspect, the timing of the books I draw attention to, will change next year, as I shutter this blog and transition it into something else — details on that will be announced next month. Until then, warm holiday wishes!  6 HISTORY BOOKS: Chicago Skyscrapers, 1934-1986: How Technology, Politics, Finance, and Race Reshaped the City (2023) by Thomas Leslie, published by University of Illinois Press — Thomas Leslie's followup to his 1871-1934 history of Chicago skyscrapers is even better than its predecessor, not only because the buildings covered are by Mies and other modern architects, but because the research is meticulous and the stories are really interesting.  The Japanese House Since 1945 (2023) by Naomi Pollock, published by Thames & Hudson — The latest by Naomi Pollock, who has written numerous books on Japanese houses, benefits from a wide-ranging chronological presentation of nearly one hundred such houses but also the input of the architects and, most valuably, the people who lived in them. Lost in America: Photographing the Last Days of our Architectural Treasures (2023) by Richard Cahan and Michael Williams, published by CityFiles Press — In the right hands, archives can yield insights, themes, and presentations that are educational and unexpected, as in photo historians Richard Cahan and Michael Williams digging through the 90-year-old HABS archive at the Library of Congress to show Americans the wonders they have lost over that time. Mies van der Rohe: The Collective Housing Collection (2022) by Fernando Casqueiro, published by a+t architecture publishers — As I pointed out in my review at World-Architects, this book has some flaws in its graphics and text, but they don't detract from the comprehensive presentation of the apartment buildings designed by Mies van der Rohe in the middle of last century. Resisting Postmodern Architecture: Critical Regionalism before Globalisation (2022) by Stylianos Giamarelos, published by UCL Press — Architects who appreciate Kenneth Frampton's theorizing of critical regionalism starting in the 1980s should read Stylianos Giamarelos's scholarly book that explores and recenters the formulation of critical regionalism by Alexander Tzonis and Liane Lefaivre ahead of Frampton. Urban Design in the 20th Century: A History (2021) by Tom Avermaete and Janina Gosseye, published by gta Verlag — This carefully organized, beautifully presented, abundantly illustrated, and thoroughly cited history of urban design in the 20th century came out of a course taught by the authors at ETH Zurich, but it really should be a standard textbook for other schools, too. 5 (OR 6) MONOGRAPHS: A Book on Making a Petite École (2023) edited by Michael Meredith, Hilary Sample and MOS, published by Actar Publishers — There are very few practicing architects who produce books as an extension of their practice, and even fewer who do that extremely well. MOS is one of them and this is their latest. (Curiously, I saw an even larger, atlas-sized version of this book on display at Harvard GSD's Frances Loeb Library as part of The Book in the Age of ... exhibition in September.) Caruso St John Collected Works: Volume 1 1990–2005 (2022) and Caruso St John Collected Works: Volume 2 2000–2012 (2023), published by MACK — Released a year apart (will volume three follow a year from now?) but reviewed on my blog in February and December of this year, this monograph series on Caruso St John is stunning: beautifully made but also expressive of the words and images that inspire Adam Caruso and Peter St John in their quiet, poetic creations. Living in Monnikenheide: Care, Inclusion and Architecture (2023) edited by Gideon Boie, published by Flanders Architecture Institute — This book is about Monnikenheide, a residential care center for people with mental disabilities in Zoersel, Belgium, and the numerous buildings that have been designed there since the early 1970s. The book is beautifully produced and reflective of the place's myriad qualities. M³: modeled works [archive] 1972-2022 (2023) by Thom Mayne and Morphosis, published by Rizzoli — Fifty years of Thom Mayne and Morphosis are presented in more than 1,000 pages: a brick of a book centered on the models that the studio is known for, from the early models in wood and resin to the 3D-printed models they still produce. Speculative Coolness: Architecture, Media, the Real, and the Virtual (2023) by Bryan Cantley, edited by Peter J. Baldwin, published by Routledge — Architects my age will have flashbacks to Neil Denari, Peter Pfau, Wes Jones, and other machine-minded architects from the nineties when perusing Bryan Cantley's image-saturated monograph. The name says it all: page after page of speculative coolness, vague projects impeccably delineated. 4 BOOKS FROM EXHIBITIONS: Another Breach in the Wall: The City as a Common Good (2022) by Davide Tommaso Ferrando and Daniel Tudor Munteanu, published by Solitude Project — This two-volume book serves as the catalog to Another Breach in the Wall, the main exhibition of the Beta 2022 Timișoara Architecture Biennial in Romania, which focused on projects and actions in cities that subvert the norm. The book does that to some degree, too, with a foldout map serving as a wrapper for the two paperbacks and an elastic band holding the whole together. An Atlas of Es Devlin (2023) by Es Devlin, edited by Andrea Lipps, published by Thames & Hudson — It's hard to believe it, but the first monographic exhibition and monographic book on Es Devlin, the artist/designer behind sets for Adele, Beyoncé, and Cyrus (comma Miley) arrived this year, nearly thirty years after she launched her career in London. This big, expensive book is more artist book that exhibition catalog, and a highly revealing look at her creative process. Bernd & Hilla Becher (2022) by Jeff L. Rosenheim, published by the Metropolitan Museum of Art — A "captivating tribute to the renowned German photographic duo known for their systematic documentation of industrial architecture," according to ChatGPT, but in my words it is simply a "beautifully produced catalog" of the 2022 exhibition at The Met. For a duo who treated books as an integral extension of their photography, this catalog of their work is equally valuable. Yasmeen Lari: Architecture for the Future (2023) edited by Angelika Fitz, Elke Krasny, Marvi Mazhar and Architekturzentrum Wien, published by MIT Press — In early March, an exhibition on architect Yasmeen Lari, usually described as Pakistan's first woman architect, opened at Az W, and the following month the Oxford-trained architect won the Royal Gold Medal, RIBA's highest honor. Needless to say, the major exhibition and honor were justified for an architect who pivoted from commercial buildings for companies with money to houses and other zero-carbon buildings for the poor. The book is thorough, with essays and interviews accompany the numerous projects.