Not Interesting proposes another set of terms and structures to talk about architecture, without requiring that it be interesting.
Andrew Atwood is assistant professor at UC Berkeley. He practices architecture between Los Angeles and Las Vegas. He has taught at both SCIArc and USC where he offered design studios and visual studies seminars. His work centres on techniques of representation as historical and conceptual instruments and how they specifically relate to the production of architecture and architectural pedagogy. His machines, drawings, and other works have been exhibited widely, including shows at the Beijing Biennale, the Pacific Design Center, and the SCIArc Gallery. His published writings include recent articles in Log and Project journals. Atwood holds a Master of Architecture from Harvard GSD and a Bachelor of Arts in Political Science from the University of Richmond. In 2011, Atwood established First Office with Anna Neimark in downtown Los Angeles. Their work and writing show a commitment to expanding the role of architecture in the public realm and to bringing the community into a closer relationship with art and architecture. Built projects include a collaboration on the Pinterest Office Headquarters in San Francisco, a temporary Screening Room at the MAK Center for Art and Architecture, a One Room House in Los Angeles and a rehabilitation of a Shotgun House in Lexington, Kentucky. Collaborative texts have been published widely, including in architecture journals Log, Perspecta, Project and Think Space Pamphlets. A selection of essays and projects have been compiled in a small book, Nine Essays by First Office, published by Graham Foundation's Treatise: Why Write Alone. First Office has received numerous honours in competitions and has notably been awarded the Architectural League Prize in 2015.
"Atwood expands the critical terrain of the interesting by planting it alongside its logical complements: the not interesting, the boring, the confusing, the comforting. As he spells out in a particularly striking passage, this reconfiguration has its roots in the conviction that the ways in which architects decide what matters, matters: "Our instinct to turn away from those things that do not seem to warrant our attention is to concede to established systems of power in architecture and to refuse to challenge some of the aesthetic habits of critique embedded in our contemporary debates."" --Metropolis Magazine
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