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I’m out of practice now, because I haven’t been in a concert hall since the start of the pandemic, but if you don’t constantly use those skills, your ears will basically forget how to do it. It’s also something that requires a lot of practice. But it takes a lot more technical prowess to do it. Just as you train the eye to observe different architectural features, in order to read a room, so to speak, you do the same with your ears. My thesis was on concert hall design, the history of science and architecture theory, from 1960 to 1986. I went to Johns Hopkins after that and the Peabody Institute and studied architectural acoustics. I was taking sound studies classes and decided that’s what I wanted to do. Because, ultimately, the room governs all.Īnd so I became obsessed with acoustics. Working in the recording studio, learning how to be a classical music recording engineer, involves trying to make the room work for you, determining what sort of arsenal of microphones you have. I always tried to link it back to architecture in some way. A lot of my academic papers in college were an attempt to relate music to architecture. The first thing I did when I got to college was get my student ID, go to the library, and I check out 10 books on Michael Graves, because I was going through a PoMo phase, I guess. In fact, there’s only two architecture schools in all of North Carolina. There was no architecture department where I went to school. I think linking cultural criticism to architecture was a big catalyst as to why I kept being able to get writing gigs. There’s a way of looking at precedent studies and tracing the origins of things in order to tell a bigger story, linking things that may not necessarily be immediately associated with one another. I always felt writing about architecture was natural for me, because there’s lots of narrative elements to it. Shortly after I started writing for Curbed -I wrote a couple of one-offs for them-they asked me to do a bimonthly take on the culture of home.
So people saw the blog, and I started writing for these smaller publications: 99% Invisible, Atlas Obscura. I knew that I was a writer, of some kind, I just chose to write about architecture because it was my favorite thing. And I kept journals and notes and things like that throughout my college years. I was a good academic writer I won some competitions in high school for essays and short fiction. Last week we talked about the origin story of McMansion Hell, the future of criticism, and her love of cycling.īy the beginning of 2017, I started writing freelance for other publications. In late October, Wagner gave the 2020 Brendan Gill lecture, at the Yale School of Architecture. In addition to her blog, Wagner has written for The Atlantic, Curbed, Metropolis, Common Edge, and numerous other publications she is currently the architecture critic for the New Republic. She parlayed that popularity-she has an avid fanbase on Twitter -into other impressive work.
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It was a clumsy move, resulting in an eventual corporate about-face and scads of free publicity for McMansion Hell. A year later, the real estate listing site Zillow served the then-23-year-old Wagner with a cease-and-desist letter, claiming that her use of photographs violated copyright (even though they didn’t own the photographs either!). Such is the case for Kate Wagner, who broke the architectural internet in 2016 with the introduction of McMansion Hell, a sharp and hilarious skewering of the bloated American home, in all its garish and desperate striving. The moment when a cultural presence bursts upon the scene, seemingly fully formed, is almost always preceded by unwitnessed years of DIY training and single-minded obsession.
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Contrary to movie myth, there is no such thing as an overnight sensation.