Feb. 18th, 2017

kestrell: (Default)
Kes: I haven't read this, I just saw it on Bookshare.

Disability, Space, Architecture: A Reader
by Jos Boys (2017)
Synopsis
Disability, Space, Architecture: A Reader takes a groundbreaking approach to exploring the interconnections between disability, architecture and cities. The contributions come from architecture, geography, anthropology, health studies, English language and literature, rhetoric and composition, art history, disability studies and disability arts and cover personal, theoretical and innovative ideas and work. Richer approaches to disability - beyond regulation and design guidance - remain fragmented and difficult to find for architectural and built environment students, educators and professionals. By bringing together in one place some seminal texts and projects, as well as newly commissioned writings, readers can engage with disability in unexpected and exciting ways that can vibrantly inform their understandings of architecture and urban design. Most crucially, Disability, Space, Architecture: A Reader opens up not just disability but also ability – dis/ability – as a means of refusing the normalisation of only particular kinds of bodies in the design of built space. It reveals how our everyday social attitudes and practices about people, objects and spaces can be better understood through the lens of disability, and it suggests how thinking differently about dis/ability can enable innovative and new kinds of critical and creative architectural and urban design education and practice.
kestrell: (Default)
Alexx and I are halfway through watching the twelve episodes of "The Young Pope," and I can only describe it as breathtaking, both in its use of beautiful Renaissance art and architecture and in its portrayal of the absolute mercilessness of the cardinals and pope. It is set in contemporary Italy, but the new pope of the title has decided that the only way for the church to regain its significance (and I use that term in all senses of the word) is to basically roll back everything to before Vatican II and revive the Renaissance.

And, speaking of breathtaking, Jude Law in crimson velvet and gold embroidery is pretty breathtaking himself. I know its wrong, but he makes a very sexy--and menacing-- Pope, and he knows it--oh, he is full of small knowing smiles! But, just as you begin to agree with his critics that he is "diabolical," he steps out of the enigmatic shadows and into the light to give his angel wings a good airing out.

Now film it as if David Lynch had trained as a Jesuit before moving to Hollywood and throw in some rock tunes to balance out the boy choirs. This must be one of the smartest, most beautiful showscurrently out there, even though I suspect it will all end in tears.

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