Its like asking O.J. Simpson for advice on how to be a good member of society or Bernie Madoff for counsel on financial ethics. Why on Earth does the liberal media still expect anyone to listen to what the architects of the Iraq War have to say about the Middle East?

I found myself asking this question after former Deputy Defense Secretary Paul Wolfowitz took to the op-ed pages of the New York Times on Nov. 21 to lecture Americans about how terrible President Trumps Syria policy is, and what the administration could do to turn things around. Why the Times would provide Wolfowitz a driving force behind the Iraq War, the worst U.S. foreign policy blunder since the Vietnam War with such a high-profile platform is a mystery. One possible explanation is that theyre so anti-Trump theyll platform anyone willing to blast the president.

If you care to read the full piece, have at it. But the basic argument Wolfowitz makes is that the United States would be dangerously naive to walk away from Syria and create a vacuum that would inevitably be filled by nefarious actors who hate us. In his words, Walking away from that region has a way of sucking America back in. American strategy needs to protect our critical interests but at sustainable costs.

Wolfowitz, of course, would know plenty about sucking the U.S. into the region. He did it quite well during his time in government.

To the long-time national security bureaucrat, a solid Syria strategy apparently means sitting in place next to Syrias oil fields and providing the Kurds with the muscle they need to strike a permanent political arrangement. That Syrian dictator Bashar Assad has largely won the war and has no incentive whatsoever to compromise his position either eludes Wolfowitz completely or is conveniently ignored for the sake of his argument.

Frankly, we should just we roll our eyes at Wolfowitzs argument because his judgment has proved absolutely awful. He may continue to have admirers in certain corners of the Beltway, but our misadventures in Iraq and Wolfowitzs central role in the tragic failure should have shut the door on whatever credibility he might have once had.

Sure, everybody deserves a second chance, and people make mistakes every day. But Wolfowitzs series of mistakes couldnt have been any bigger or more detrimental to our position in the Middle East. The public record is quite clear: On issue after issue during the lead up to the U.S. invasion of Iraq and its aftermath, Wolfowitzs judgment was terrible. He's the last person we should take our lead from now.

Before 9/11, Wolfowitz advocated for a plan that would have not only placed northern and southern Iraq under U.S. military protection but would have also created a new governing entity called a Free Iraq out of whole cloth. The plan was derided by then-Secretary of State Colin Powell as ludicrous, and the idea went nowhere.

Wolfowitz was fixated on removing Saddam Hussein long before he was confirmed as the Bush administrations number-two official in the Pentagon. The 9/11 attacks provided him with additional room to make his case.

In his recently-released memoir, The Back Channel, former Deputy Secretary of State William Burns recalls hearing about Wolfowitzs lobbying for a pro-regime change strategy in Baghdad during a National Security Council meeting held at Camp David less than a week after the 9/11 attacks. The idea was brushed aside and viewed by even President George W. Bush at the time as a step too far.

Until it wasnt. A year later, the Bush administration was set on pushing Saddam aside. Wolfowitz was a key Bush administration official who made the intellectual case to the American public for why the war was necessary and why it wouldnt be as difficult as (much wiser) detractors in the State Department were saying.

On March 27, 2003, Wolfowitz testified to the House Appropriations Committee that the operation wouldnt cost the American taxpayer very much.

"There is a lot of money to pay for this that doesnt have to be U.S. taxpayer money, and it starts with the assets of the Iraqi people, he told lawmakers. "We are talking about a country that can really finance its own reconstruction and relatively soon.

That, too, turned out to be a ridiculous assessment. Operation Iraqi Freedom winded up costing the American people over $800 billion and perhaps as much as $2 trillion when taking into account veterans benefits and healthcare costs.

So, a question for the liberal media: Why would Paul Wolfowitzs counsel on Syria be any better than his advice on Iraq a decade prior? Dont expect the New York Times to come up with a good answer anytime soon.

Daniel DePetris (@DanDePetris) is a contributor to the Washington Examiner's Beltway Confidential blog. His opinions are his own.

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Why should anyone listen to Iraq War architects' criticisms of Trump's foreign policy? - Washington Examiner

MoMA and PS1 have disclosed to AN that the Young Architects Program (YAP) will be going on hiatus next year, following its 20-year anniversary this past summer. AN had heard from sources close to MoMA PS1 that the program might be shutting down, and upon following up with the Queens institution, Martino Stierli, the Philip Johnson Chief Curator of Architecture and Design at the MoMA, provided the following statement:

Following the 20th anniversary of the Young Architects Program (YAP), MoMA and MoMA PS1 have decided to place the program on a one-year hiatus. We remain deeply committed to supporting and recognizing emerging architectural talent.

Weve already started to use the hiatus to bring together a diverse group of influential scholars and professionals, experimental architects and designers, and previous YAP winners to assess the programs impact for the past two decades, explore its potential, and strategically chart its future. We look forward to sharing more news as we move along in this process.

MoMA could be moving toward a more durable, longer-term commission in its courtyard to serve its outdoor summer Warm Up music series, performance events, and art book fair, but thats only speculation.

Percutaneous Delights by Gelatin in 1998 (courtesy of MoMA PS1)

The Young Architects Programs origins go back to 1998, a year after the Frederick Fisher-designed renovation enclosed the PS1 entrance courtyard in concrete walls. That year, Vienna-based artist group Gelatin installed a scrappy environment in conjunction with PS1s first series of Warm Up summer concerts. Percutaneous Delights was composed of rough compositions of stacked refrigerators, discarded furniture, Po-mo inflatables, a graffitied shipping container, and an array of sprinklers to activate the space with what the P.R. at the time described as a welcoming hang-out for hot summer days.

SHoPs Dunescape in 2000 (Courtesy MoMA PS1)

The following year, PS1 inaugurated its gradual absorption into the MoMA collective with a project by Philip Johnson, ever a follower of fashions (even if it led him, at times, in the direction of Nazism), who designed a Dance Pavilion DJ booth for the 1999 summer concerts as the first collaboration between the two institutions. It wasnt until 2000 that MoMA architecture curator Terence Riley formally established the Young Architects Program as an annual invited competition to promote innovative practices. The program was simple: provide shade, seating, and water for Warm Up. The first winnerif anyone can still remember the now 190-plus person office as a young startupwas SHoP Architects, which demonstrated the kind of digitally designed, people-friendly, carefully crafted form-making that would make them the go-to firm for urban development projects that need a warmer public face.

William Massie, Playa Urbana/ Urban Beach in 2002. (Courtesy MoMA PS1)

The program frequently created opportunities for younger architects to demonstrate conceptual ideas percolating in academia on a small but meaningful scale. Early winners of the competition included Lindy Roy (2001), William Massie (2002), Tom Wiscombe (2003), nARCHITECTS (2004), Hernan Diaz Alonso (2005), and OBRA Architects (2006). Sometimes the projects leaned in the direction of conceptual follies that had less of a service component, and early projects at times demonstrated the limits of digital design as often as its potential. The initial budget was $25,000, later increased to $75,000, though it became common knowledge that most firms would spend more out of their own pockets and lean heavily on interns to build out the ideas.

nARCHITECTS 2004 Canopy installation. (Frank Oudeman)

It was not an open competition: MoMA curators and advisors pre-selected a handful of designers and frequently favored well-connected circles from Ivy League schools and well-connected academics. The arc of the program traces a mini-curatorial history of MoMA, from Riley to Tina di Carlo and Peter Christensen, Barry Bergdoll, Andres Lepik, Pedro Gadanho, Sean Anderson, and Stierli, whose influences are reflected in the selections, along with changes in the profession. Little by little, P.S.1 Contemporary Art Center became PS1 MoMA, then MoMA PS1.

Pole Dance by SO-IL in 2010 (Courtesy MoMA PS1)

Some of the better-regarded highlights over the years included WORKacs 2008 P.F.1 (Public Farm One), which installed a demonstration urban farm that could survive the barren courtyard environment and created an ascending staircase of planter boxes on top of the gravel-covered space. SO-ILs Pole Dance (2010) engaged the playful possibilities of the program with colorful beach balls, overhead netting, hammocks, misters, and flexible PVC pipes, programmed with dance performances.

Holding Pattern by Interboro Partners in 2011 (Courtesy MoMA PS1)

On the most service-oriented end, Interboro Partners (2011) used their project as a demonstration of how PS1 could engage the surrounding neighborhood, building out the courtyard with a kit-of-parts based on the expressed needs of nonprofit organizations, businesses, and others in the community who they interviewed and donated components to at the end of the summer.

Wendy by HollwichKushner in 2012 (Courtesy MoMA PS1)

Later projects by MOS (afterparty, 2009), Hollwich Kushner (Wendy, 2012), The Living (Hy-Fi, 2014), Andrs Jacque/ Office for Political Innovation (COSMO, 2015), and Jenny Sabin Studio (Lumen, 2017) increasingly verged in the direction of critical grotesques, parametric design, and environmental remediation experiments to varying degrees of success. Through it all, the surrounding neighborhood blew up in an astonishing, if predictable manner, in ascending towers of luxury apartments, demolishing the beloved 5 Pointz graffiti space in the process.

If SHoPs origins as a young firm are hard to remember, its even more difficult to retrieve the imperative that once made PS1 so improbable and ingenious a proposition in the first placeand the Young Architects Program an innocent delightwhen its enterprising founder Alanna Heiss somehow convinced the Queens borough president to hand over a closed-down public school to a group of misfits from the SoHo/ Tribeca alternative space scene who proceeded to saw through floors as sculptures.

Notably, one of the names that appears as a funder in the first decade of YAP, along with Bloomberg, Agnes Gund, and Isaac Liberman, is none other than real-estate-reality-show-specter-turned-president Donald J. Trump. How a contemporary art center can meaningfully respond to the current situation, if at all, could be a starting point for the continuation of the program or its eventual cancellation, but the Young Architects Program unquestionably pioneered a model of temporary urban pavilion imitated worldwide, activating public spaces that without major capital improvements or altering their historic character remained inhospitable and inflexible for contemporary needs.

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Exclusive: MoMA and PS1's Young Architects Program is going on hiatus - The Architect's Newspaper

We've selected the most promising architecture and design roles on Dezeen Jobs this week, including positions at international firms Studio Seilern and Trahan Architects.

Architectural assistant at Studio Seilern Architects

Studio Seilern is looking for an architectural assistant with high proficiency in AutoCAD to join its practice in London. The firm converted a half-built conference centre into a 650-seat concert hall in the Swiss Alps.

View more architectural assistant roles

Project designer at Trahan Architects

Trahan Architects completed a Louisiana museum, using over a thousand cast-stone panels to create a series of curving structures inside its interior. The New Orleans practice has an opportunity for a project designer to become part of its team.

Browse all US vacancies

Part 3 architect/Part 2 architectural assistant at Mustard Architects

Mustard Architects is seeking a Part 3 architect/Part 2 architectural assistant to work on bespoke residential projects at its practice in London. The firm added a tapered extension with angular doors to an Edwardian house in west London.

See all architecture opportunities

Architectural assistant at Gort Scott

British firm Gort Scott has transformed a 1960s office block in London's Walthamstow, into a creative hub featuring co-working space, studios and a bakery. The studio is recruiting an architectural assistant to join its London office.

View more positions in London

Part 2/newly qualified Part 3 architect at Theis + Khan

Theis + Khan is searching for a Part 2 or newly qualified Part 3 architect to join its studio in Kent. The practice updated a five-storey Notting Hill home, adding a "cave-like" swimming pool, cinema and gym to its basement.

Browse all roles for architects

See all the latest architecture and design roles on Dezeen Jobs

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Top opportunities on Dezeen Jobs this week include Studio Seilern and Trahan Architects - Dezeen

Mall Studio, Hampstead, London, interior in 1933. The spacious studios were favoured by sculptors, such as Barbara Hepworth and John Skeaping Photograph by Paul Laib. Courtauld Institute

Studio Lives is an unusual and authoritative contribution to the history of British art and architecture between the end of the 19th century and the Second World War. Equal importance is given to the architect and the artist, to the design of the studio and its function as a place of work. The traditional role of the architect dominating the client is challenged through the analysis of 16 case studies; artists are revealed as exceptionally opinionated and demanding clients, and architects as highly receptive to their ideas.

The main narrative is chronological, following shifts in architectural styles from Arts and Crafts to Modernism, and changes in the economic position of British artists, from the golden 1890s to the volatile years between the wars. The case studies are a mixture of the familiar and the unexpected. G.F. Watts, William Orpen and Augustus John are obvious choices both for their celebrity status and the complex narratives surrounding their studios; however, Campbell also selects the sculptors William Reid Dick and F.E. McWilliam, the stained-glass artist Henry Payne, the textiles manufacturer Alastair Morton and four women, Winifred Nicholson, Eileen Agar, Gluck and Dora Gordine.

The sculptors Dora Gordine and Richard Hare at work in Dorich House, Richmond, London, the house they themselves designed Photograph: Historic England Archive

We are not confined to London, but taken to Banks Head in Cumberland (the Nicholsons), to Brackenfell in the Pennines (Alastair Morton), to St Loes in Gloucestershire (Payne) and Fryern Court in Hampshire (John).

The book is enhanced with over a hundred colour and black and white illustrations, many of which are from private collections and have not been previously published. Campbell demonstrates convincingly the power of contemporary magazines with their illustrated interviews and architectural features to build a picture of artists crafting an image of themselves through the planning, design and decoration of their studios.

Louise Campbell, Studio Lives. Architect, Art and Artist in 20th Century Britain, Lund Humphries, 288pp, 35 (hb)

Caroline Dakers is the Professor of Cultural History at Central Saint Martins. Her publications include Fonthill Recovered. A Cultural History (2018) and The Holland Park Circle. Artists and Victorian Society (1999). She is currently researching the public image of artists in British society 1850-1950

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Demanding artists and receptive architects in book about design and function of the studio - Art Newspaper

The Mercedes-Benz Superdome in New Orleans has been slowly but surely getting the upgrade it deserves over the last decade-and-a-half since Hurricane Katrina. Considering the venues 44-year history of hosting renowned sports teams, its brief stint as a vital emergency shelter, and its recent designation on the National Register of Historic Places, the 76,000-seat arena has lived a storied life. Structurally, the piece of mega-infrastructure by Curtis & Davis is stronger than ever, but the interior could use a contemporary facelift.

This week, Trahan Architects revealed initial renderings of what will be a $450 million renovation of the beloved Superdome, set to be completed ahead of the Super Bowl LVIII in 2024. Nola.com reported that the New Orleans-based firm, which has been working on the spaces restoration and renovation since the 2005 hurricane, will take the historic building and bring it into the 21st century of athletic entertainment. The studio will reorganize and improve back-of-house elements like bringing a giant commercial kitchen into the facility while dually enhancing front-facing amenities for spectators.

Circulation is set to completely change within the two-million-square-foot stadium. The design team will add two escalator systems, on two corners of the bowl. (Courtesy Trahan Architects)

The Superdomes modernist exterior will remain the same. Trahan Architects has already replaced the outer shell of the 9.7-acre, single-span roof as well as the 400,000-square-foot exterior metal skin of the building to make it look like the original architects design. Using anodized aluminum panels, the studio upgraded the membrane so that it could be changed out piece-by-piece in the future in case of damage.

Phase one of the new project, set to cost $100 million, will largely include behind-the-scenes work while phase two will totally transform the look and feel of the Superdomes interior.

Elaina Berkowitz, an architectural designer on the Trahan team, said that although the redesign has been challenging to maneuver, improving the game-day experience for fans, while also preserving the beauty and meaning of this classic structure is a big deal for the firm. Its a beautiful and iconic structure and is a wonderful representation of the strength of this fabulous community.

Fans will no longer have to simply watch an event from their ticketed seat; standing-room-only seats will be available to encourage people to move around. (Courtesy Trahan Architects)

One of the biggest changes of the upcoming renovation will center around the removal of the 80,000-square-foot ramp system (each is 50-feet-wide) that takes up the majority of space on the sidelines. Trahan Architects will build out a new series of vertical atriums with zigzagging escalators on two corners of the stadium before dismantling the old ramps, allowing fans easier circulation upon entering the Superdome and a closer view of the field than ever before.

In addition, the design team will integrate a diverse array of experiences for spectators to tap into. Field-level boxes on the end zones will be embedded under the general seats, according to Nola, and standing-room-only areas will allow fans to explore the stadium instead of being confined to their ticketed seats throughout an event.

The public spaces will eventually feel much airier and larger. (Courtesy Trahan Architects)

The project announcement comes days after the Louisiana Stadium and Exposition District (a.k.a. the Superdome Commission) voted to approve the multi-million dollar makeover. Construction on phase one will begin in mid-to-late January and will be further conducted around the Saints season schedule, as well as other major New Orleans events.

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Trahan Architects will take on interior renovation of New Orleans' Superdome - The Architect's Newspaper

The long-held title of worlds tallest atrium has jumped from a building in Dubai to a new tower in Beijing. The recently-opened Leeza SOHO by Zaha Hadid Architects (ZHA) boasts a 623-foot-tall twisting, open-air interior that beats out the Burj Al Arab hotel by 23 feet.

Located in the southwest corner of the city, the 45-story skyscraper sits in the heart of the burgeoning Lize Financial Business District near the areas main transit hub. It features 1.8 million square feet of commercial office space spread across the two bisected volumes, connected by four sky bridges within the adjoining structural rings. The area in between the two halves makes up the full-height atrium, which spirals upward at a 45-degree angle in order to maximize the amount of light able to reach every floor.

The full-height void goes up 623 feet. (Hufton+Crow)

ZHA had to slice the interior of Leeza SOHO in half due to ongoing work on the nearby subway. The building sits at the intersection of five new lines and is atop a below-grade service tunnel. From the outside, the structure doesnt necessarily look divided; double-insulated, low-e glazing encases the entirety of both volumes like a shell, reducing energy consumption and emissions. During the day, however, the sun shines through the middle of the facility and reveals the void in its center.

Other sustainability interventions include a high-efficiency heating and cooling system, as well as a greywater-collection method. The project is on track to receive LEED Gold certification.

Workers can get from one half to the other using four sky bridges on varying levels. (Hufton+Crow)

Construction on the project began in April 2015 and took just over four years to complete. ZHA co-developed the building with SOHO China and worked with The Beijing Institute of Architectural Design as the architect-of-record. The tower was one of the final projects designed by Zaha Hadid before her passing in 2016.

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Zaha Hadid Architects completes twisting tower with the world's tallest atrium - The Architect's Newspaper

This week on Dezeen, Zaha Hadid Architects completed a skyscraper with the world's tallest atrium and revealed itsplans for a high-speed train station in Estonia.

The 45-storey Leeza Soho skyscraper, designed by the late Zaha Hadid before her death in 2016, contains the world's tallest atrium twisting through its centre.

Located in the Fengtai business district in Beijing, China, the 172,800-square-metre tower is a response to demand from small and medium-sized businesses in the city for flexible and efficient office-space.

Dezeen also reported on Zaha Hadid Architects' reveal of visuals for the multimodal lemiste terminal in Tallinn, Estonia, which will be the beginning of an electrified 540-mile-long railway connecting the Baltic states with Poland.

The new terminal will form part of the Rail Baltica high-speed rail network, and will create links between the city's bus, tram and rail routes and adjacent airport.

Elsewhere in architecture news, we continued our high-tech architecture series by taking a look at Norman Foster's Renault Distribution Centre in Swindon and the inside-out Lloyd's building in London by Richard Rogers.

A film showing the impact of Venice's recent floods was also popular with readers this week, created by architectural filmmakers Ila Bka and Louise Lemoine.

The footage forms part of the duo's two-minute trailer for their latest movie, and shows tourists and shop owners wading through the streets of Venice under water, after it was hit with its worst flood since 1966.

Over in the US, Allford Hall Monaghan Morris revealed a shipping-container housing development in Oklahoma called Squirrel Park, comprising four two-bedroom homes built on a 2,500-square-metre site with a budget of $1.1 million (850,000).

Olson Kundig also unveiled plans for an after-death facility in Seattle where human bodies will be composted and turned into soil as an alternative to cremation and burial.

In the design world, a host of exhibitions opened their doors this week in London, including a new retrospective at the V&A that explores the impact of cars on popular culture over the last century.

At the Royal Academy of Arts, the Eco-Visionaries exhibition brings together the work ofartists, designers and architects who are confronting environmental issues in a bid to rethink our relationship with nature.

While over at the Design Museum, a project that unpacks the human labour and natural resources that go into our electronic devices won Design of the Year 2019.

Other projects popular with Dezeen readers this week included a stone villa in Portugal with a bright-red adjoining cabin, a permanent home for the Rain Room installation in Sharjah, and a golden cube-shapedkiosk by OMA installed outside the K11 Musea in Hong Kong.

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This week, Zaha Hadid Architects completed a skyscraper and unveiled plans for a train station - Dezeen

9 Innovative Practices Redefining What Architects Can Be

Wherever there is a center, there is by necessity a periphery. This in itself should not generate any headlines; we live in a world of centers, and peripheries that continually stretch those centers, whether it be politics, countries, or societal norms. It also applies to architectural practice. In a complex, interconnected world,members of thearchitectural profession around the world are constantly expanding into new peripheries, generating new visions for how practice should operate, influenced by technological, political, cultural, and environmental changes.

With that in mind, we have compiled nine examples of networks, groups, collectives, and offices that represent different professional experiences thatdepart fromconventional architectural practice. These examples seek to break predefined notions of what an architect is, how they work, where they work, and who they work with. Offeringanarchitecturalethos reflectiveof issues like decolonization, feminism, homosexuality, and antiracism; the groups below challenge the hegemonic practices and disciplinary conventions in the architectural field through the study of the local and social complexity. The list further demonstrates how engaging in societal flows goes beyond the conventional design of a medium-size building, and intersectsresearch, methods, experiments, participation, and diffusion of professional, regional and social edges.

Matri-Archi(tecture) seek to empower African women in the design and writing fields. The network is supplied by content related to architectural, political, and identity issues, with the aim of includingnot only African woman, but all people that reflect the African sense of place and being.

FuturePlus is an informal academy that integrates research, development, education and practice in Chinas urban and rural areas. Itcombinescritical, design and systematic thinking to research urban-rural planning using alternative planning and construction methods to improve the quality of rural and urban life. The group is formedof students, professionals, managers, and enthusiasts that are willing to leave their comfort zone and are committed to improving our future quality of living.

This non-profit entityhas been operating since 2011 in Medelln in the fields of architecture, design and cultural production, seeking to propagate criticalpositions and actionsfor the problems of space and the city. The multidisciplinary workmanifests through conversations, workshops, neighborhood meetings, and community gatherings, forming a network of collective spaceson a neighborhood scale. The team is made up of architects, designers, communicators, and restless citizens, constructing collaborative circuits that allow them to explore professional and spatial limits.

This collective works in a transdisciplinary way to structure a dwelling with more purpose. The objective is to create spaces allied to its inhabitants through a participatory methodology, organized in workshops, projects and construction. The on-demand constructiontakes place with the support of future inhabitants, using drawings, physical models, digital mockups, and other expressive tools, ensuring the office proposals do not become a mere byproduct of an automatic and functionalist way of life.

The Funambulist is a platform and magazine that engages with the politics of space and bodies. The aim is to establish a space where activist/academic/practitioner voices can meet and build connectionsacross geographical areas. The magazine archive is constantly supplied by articles, interviews, artworks and design projects as a way to strengthen anticolonial, antiracist,LGBTQ, and feminist struggles. The print and online magazine is published every two months and operates in parallel with an open-access podcast and a blog.

Anupama Kundoo, founder of the architecture Indian office of the same name, seeks the production of an architecture that has low environmental impact and is appropriate to the socio-economic context through material research and experimentation. The work is based on research that the architect developed through her career about rapid urbanization and materials applied to design and urban planning projects.

The collectivebegan in 2008 and is composedof architects, designers and enthusiasts from different academic and disciplinary areas. Thegroup functions as an open, malleable and symbiotic system;with a multidisciplinary nature allowing it to approach the integral management of work at different scales and perspectives.

The design and creative process of Al Borde is based on the involvement of the community in all phases of planning and construction, allied to the systematic exploration of the local context. The members believe that the strength of a project lies in the ultimate autonomy of its users.

The W.H.Y Project supports women in the architecture field through the development of monitoring mutual relations. The abbreviation stands for We Hear You, the vision of architect Kirsty Ronne that, through the network, promotes debate, discussion, lectures and projects aboutwomen in architecture.

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9 Innovative Practices Redefining What Architects Can Be - ArchDaily

Renzo Piano's archive, knowing the past to create the architecture of the future | LifeGate

Archiveshave recently become the object of a historical and scientific debate involving more than just experts and professionals. Not only are archivesspaces devoted to the memory and conservation of materials from the past, they're also vehicles for experimentation, research, relationships and organising content, as well as maps and cultural systems. Knowing what has come before us is essential in designing the present and future. The story of the archive dedicated to the projects of architect Renzo Pianoin his home city of Genoa, in Italy, is the subject of the documentaryThe Power of the Archive: Renzo Piano Building WorkshopbyFrancesca Molteni and Fulvio Irace, the first in a series on great contemporary architects.

There's a moment in which we realise that the memory of things has left a mark. Like when you have to clear out your house because you realise you've accumulated too much stuff. It can't be helped. The time comes when it has to be done.Renzo Piano

From the documentary The Power of the Archive: models of the Shard in London designed by Renzo Piano Building Works RPBW

The building site of the California Academy of Science in San Francisco, California in 2012 RPBW

The Astrup Fearnley Museum of contemporary art in Oslo, designed by Renzo Piano in 2012 Patrizia Scarzella

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Renzo Piano's archive, knowing the past to create the architecture of the future - LifeGate

Listen to the full album: http://bit.ly/2RHvp9I"Royal Beggars" by Architects from the album 'Holy Hell,' available nowOrder at https://ffm.to/architects_holyhell

Director - Lewis CaterProducer - James NorburyDirector of Photography - Davey GilderProduction Company - Zebrafish Media

Lyrics

Royal beggarsDo you wanna live forever?Alone.Alone.Alone.

Cos were brokenAll hope is deadBut were copingSomebody save our souls

Like a bird in a cageTrying to fly awayIs this the price that we have to pay?Overflowing with rageYet we still obeyCos were asleep in a hurricane

Bitter loversLet goCos its now or never Breathe in.Breathe out.Breathe in.Cos were chokingAnd left for deadBut were copingSomebody save our souls

Are you listening?You may not have noticedWe have totally lost our wayAre you lost in the clouds?Or can you hold your focus?Its ourselves that we will betray

We sit on a throne waiting for god to bend the kneeBut were nothing more thanRoyal beggars

But Im as guilty as the next manOur eyes are open, but were not listening

Official Site: http://www.architectsofficial.com/Facebook: http://www.facebook.com/architectsukTwitter: http://www.twitter.com/architectsukInstagram: http://instagram.com/architects

#Architects #Epitaph #HolyHell

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Architects - "Royal Beggars"