A thought-provoking guide to the endearing and enigmatic ways in which the built environment takes shape, Best Practices proposes a new way of thinking about neighborhoods, housing developments, streetscapes, and storefronts, not so much as places defined by building codes, dimensions, or geographic features, but as assemblages of ad hoc interventions and incidental ephemera.
Best Practices is an invitation to thoroughly reconsider issues of expertise, professionalism, power, ubiquity, defaults, communication environments, construction practices, and how these things confront architecture. The book proposes a broader and more all-encompassing set of interests and references for contemporary architecture and design discourse.
Pairing photographic documentation with extensive captions and citations, Best Practices defines a territory within the margins between the sanctioned and unsanctioned, the regulated and unregulated, the tasteful and tacky, the novel and the nonsense. While not necessarily in opposition of those mechanisms, Best Practices asserts that interest, knowledge, and meaning are more often generated on the lines that divide such categories. The book advocates for a more thorough consideration of the unauthorized remodels, slap-dash handiwork, haphazard paint jobs, half-hearted do-it-yourself projects, cracked facades, contradictions, compromises, and coincidences.
A thought-provoking guide to the endearing and enigmatic ways in which the built environment takes shape, Best Practices proposes a new way of thinking about neighborhoods, housing developments, streetscapes, and storefronts, not so much as places defined by building codes, dimensions, or geographic features, but as assemblages of ad hoc interventions and incidental ephemera. Best Practices is an invitation to thoroughly reconsider issues of expertise, professionalism, power, ubiquity, defaults, communication environments, construction practices, and how these things confront architecture. The book proposes a broader and more all-encompassing set of interests and references for contemporary architecture and design discourse. Pairing photographic documentation with extensive captions and citations, Best Practices defines a territory within the margins between the sanctioned and unsanctioned, the regulated and unregulated, the tasteful and tacky, the novel and the nonsense. While not necessarily in opposition of those mechanisms, Best Practices asserts that interest, knowledge, and meaning are more often generated on the lines that divide such categories. The book advocates for a more thorough consideration of the unauthorized remodels, slap-dash handiwork, haphazard paint jobs, half-hearted do-it-yourself projects, cracked facades, contradictions, compromises, and coincidences.
Erin Besler is a designer whose work focuses on construction technologies and building practices that are less about mastery and exclusivity, and more about ubiquity and access. Erin is an Assistant Professor of Architecture at Princeton University and co-founder of Besler & Sons, a design studio located in central New Jersey.
Ian Besler is a designer whose work is situated at the edges between interfaces, software, and cities. Ian's work is especially interested in the defaults, incidentals, and workarounds of visual communication and digital interactions. He is a Visiting Assistant Professor at Pratt Institute and a co-founder of Besler & Sons.
Sylvia Lavin is a critic, curator and historian whose work explores the limits of architecture across a wide spectrum of historical periods. Her books include
Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture;
Everything Loose Will Land: 1970s Art and Architecture in Los Angeles and
Architecture Itself and Other Postmodernization Effects. She is Professor of Architecture at Princeton University and is currently working on a book about trees.
Jonathan Jae-an Crisman is an artist and urban scholar whose work focuses on the intersections between culture, place, and politics. He is currently an assistant professor of public & applied humanities at the University of Arizona.
Fiona Connor (born in New Zealand) is an artist based in Los Angeles. She has made solo exhibitions at Secession, Vienna; SculptureCenter, New York; MAK Center for Art and Architecture, Los Angeles; Govett-Brewster Art Gallery, New Plymouth; Monash University Museum of Art, Melbourne; Hammer Museum, Los Angeles among others. Connor received an MFA from the California Institute of the Arts in 2011.
