papress:

Out today—Twenty Over Eighty: Conversations on a Lifetime in Architecture and Design.

IT’S HERE! Feeling super grateful and excited that our pub day has finally arrived. Special thanks to my co-author and friend Bryn Smith, our publisher Princeton Architectural Press, editors Megan Carey and Jenny Florence, design director Paul Wagner, and especially our twenty interviewees—for taking a leap of faith and sharing their stories with us with candor and generosity.

In love with this Maui residence designed by Ettore Sottsass, home to ACME Studio founders Adrian and Lesley Olabuenaga, which I wrote about for Dwell’s May “Dream Homes” issue. Now online, ICYMI, as well as outtakes of the continually evolving process it entailed, including this here concept model, which was only the first of many iterations that followed.

So majorly bummed by this. Still remember seeing him play at MSG in 2011 with @bulletproofadri @victorhugoduran @soojmooj like it was yesterday! We rolled five deep, arrived to the nosebleed section, and ended the night in the comp section, just elated by hours of shredding, dancing, at least five sequined outfit changes and several encores later. The world lost a little magic today 😢💜👑 #RIP #Prince

After three long and rewarding years of putting this book together with Princeton Architectural Press, Bryn Smith, and twenty incredible people I’ve long admired, I’m super psyched that #TwentyOverEighty is finally here! (It also may or may not explain my not-so-brief Tumblr hiatus….)

Officially launching May 24! 😂😂😀😊💪✌ #sweat #tears #designhistory 📖

Dwell is 15.

But American literature isn’t just an art form — it’s a segregated labor market. In New York, where almost 70 percent of New Yorkers are people of color, all but 5 percent of writers reviewed in The New York Times are white. Hudson saw these crumbs and asked why they weren’t his. Rather than being a savvy opportunist, he’s another hysterical white man, envious of the few people of color who’ve breached their quarantine.

(via NPR’s Code Switch)

The Terrence Malick-style hiatus of 18 years between her third and fourth Earthsea novels is often referred to by authors of a beloved book when pressured for a follow-up. “The story got stuck,” Le Guin wrote in her afterword to Tehanu, when it finally did appear, in 1990. “I couldn’t go on. It took years of living my own ordinary life and a great deal of learning how to think about such things, mostly from other women.” And yet she also published seven novels, four story collections, three chapbooks and three collections of poetry, two books of criticism, and five children’s books in that interval.

(via Interview)

She once delivered a lecture called “Why I Write.” She began by pointing out that the sound you hear in those three words is “I, I, I.”

(via The New Yorker)

We’re living in a moment of cognitive dissonance when it comes to deleting. The more evidence we’re presented with that anything we do online can haunt us forever, the more we persist in trying to control our digital histories. 

(via nymag)

Melody’s Echo Chamber - I follow you