Traditional and Contemporary in NYC Architecture

The combination of the traditional and the contemporary is critical to innovation in the arts. This combination juices any art: literature, painting, architecture, and of course, carpets. NYC has an excellent example of this important combination in the new Hearst Building.

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NEW YORK architecture has suffered a lot in recent years. The brief optimism born of a public rebellion against early proposals for ground zero has long since given in to cynicism. Since then it has often seemed that fear and melancholy have swamped our creative confidence.

Norman Foster’s new Hearst Tower arrives just in time, slamming through the malaise like a hammer. Crisscrossed by a grid of bold steel cross-braces, its chiseled glass form rises with blunt force from the core of the old 1928 Hearst Building on Eighth Avenue, at 57th Street. Past and present don’t fit seamlessly together here; they collide with ferocious energy.

Link: Nicolai Ouroussoff of the NY Times

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New York City needs more of this kind of thing.

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About Kevin

Kevin Sudeith is an artist and the creator and curator of the war rug collection seen on Beginning as (and remaining) a collector, he began selling war rugs to learn as much as possible about the rugs. Later he sold what he calls "regular rugs" to better study rugs and their historical origins. Sudeith learned how war rugs related to traditional Afghan tribal and workshop rugs as well as the broader Turkmen and Persian rug traditions.