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	<title>Berkshire Review, an International Journal for the Arts &#187; Architecture &#8211; Urban Design</title>
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	<description>Classical Music, Opera, Theatre, Photography, Art</description>
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	<itunes:summary>Classical Music, Opera, Theatre, Photography, Art</itunes:summary>
	<itunes:author>Berkshire Review, an International Journal for the Arts</itunes:author>
	<itunes:explicit>no</itunes:explicit>
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		<itunes:name>Berkshire Review, an International Journal for the Arts</itunes:name>
		<itunes:email>editor@berkshirereview.net</itunes:email>
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	<managingEditor>editor@berkshirereview.net (Berkshire Review, an International Journal for the Arts)</managingEditor>
	<copyright>&#xA9; 2010 Michael Miller</copyright>
	<itunes:subtitle>A Podcast from the Berkshire Review for the Arts</itunes:subtitle>
	<itunes:keywords>classical music, opera, theatre, dance, art, photography, literature, travel, food, wine</itunes:keywords>
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		<title>Berkshire Review, an International Journal for the Arts &#187; Architecture &#8211; Urban Design</title>
		<url>http://www.berkshirereview.net/images/BRbloglogo.jpg</url>
		<link>http://berkshirereview.net/category/art/architecture-urban-design/</link>
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	<itunes:category text="Music" />
	<itunes:category text="Arts">
		<itunes:category text="Performing Arts" />
	</itunes:category>
		<item>
		<title>200 years in a Day: Sydney Open 2010</title>
		<link>http://berkshirereview.net/2010/11/sydney-open/</link>
		<comments>http://berkshirereview.net/2010/11/sydney-open/#comments</comments>
		<pubDate>Tue, 16 Nov 2010 03:58:05 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[art deco]]></category>
		<category><![CDATA[Australia]]></category>
		<category><![CDATA[Barangaroo]]></category>
		<category><![CDATA[Brutalism]]></category>
		<category><![CDATA[Georgian architecture]]></category>
		<category><![CDATA[historic preservation]]></category>
		<category><![CDATA[Jean Nouvel]]></category>
		<category><![CDATA[Modernism]]></category>
		<category><![CDATA[New South Wales]]></category>
		<category><![CDATA[sandstone]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[tall buildings]]></category>
		<category><![CDATA[Victorian architecture]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8617</guid>
		<description><![CDATA[Sydney Open is one of the best things you can do in this town. Organized by the Historic Houses Trust every two years, the event allows access to more than fifty important Sydney buildings, many of them normally off limits to the public. A City Pass allowed access to dozens of building in downtown Sydney, as well as properties run by the Trust, which are well worth visiting at any time of year. I purchased a City Pass and planned my route carefully, like a marathon runner at a free buffet, to take in as much as possible, from sandstone Georgian to High Tech and beyond. The buildings covered virtually every period of Sydney’s post-1788 history, and present a golden opportunity for a cheap and cheerful romp through the history of the city’s architecture.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/11/sydney-open/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Grand Tour Part 4: Urban Limericks</title>
		<link>http://berkshirereview.net/2010/11/a-grand-tour-part-4-urban-limericks/</link>
		<comments>http://berkshirereview.net/2010/11/a-grand-tour-part-4-urban-limericks/#comments</comments>
		<pubDate>Thu, 11 Nov 2010 06:05:17 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Belfort]]></category>
		<category><![CDATA[Campione]]></category>
		<category><![CDATA[cities]]></category>
		<category><![CDATA[Le Corbusier]]></category>
		<category><![CDATA[Limericks]]></category>
		<category><![CDATA[Milan]]></category>
		<category><![CDATA[Paris]]></category>
		<category><![CDATA[Singapore]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[travel]]></category>
		<category><![CDATA[Venice]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8586</guid>
		<description><![CDATA[A famous flâneur and me,

Sat down one day for tea,

He observed with a grin,

That the the line is drawn thin,

Between cities which look and which see.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/11/a-grand-tour-part-4-urban-limericks/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Grand Tour, Part 3: Some Cool Buildings</title>
		<link>http://berkshirereview.net/2010/11/a-grand-tour-part-3-cool-buildings/</link>
		<comments>http://berkshirereview.net/2010/11/a-grand-tour-part-3-cool-buildings/#comments</comments>
		<pubDate>Thu, 04 Nov 2010 04:34:44 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[art deco]]></category>
		<category><![CDATA[background buildings]]></category>
		<category><![CDATA[cinematography]]></category>
		<category><![CDATA[foreground buildings]]></category>
		<category><![CDATA[Jean Nouvel]]></category>
		<category><![CDATA[landscape architecture]]></category>
		<category><![CDATA[Le Corbusier]]></category>
		<category><![CDATA[Musée du Quai Branly]]></category>
		<category><![CDATA[Paris]]></category>
		<category><![CDATA[Patrick Blanc]]></category>
		<category><![CDATA[Ronchamp]]></category>
		<category><![CDATA[Urban Design]]></category>
		<category><![CDATA[Venice]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8373</guid>
		<description><![CDATA[Urban planning is a sound and necessary activity, but you can’t eat a menu, right? Buildings, trees, curbstones; it is particularity which makes a city and in the end it takes physical objects to settle arguments about what is good, bad and weird in architecture. In that spirit, here are some buildings good enough to eat.
]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/11/a-grand-tour-part-3-cool-buildings/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Grand Tour, Part 2: Venice the Menaced</title>
		<link>http://berkshirereview.net/2010/10/a-grand-tour-part-2-venice-the-menaced/</link>
		<comments>http://berkshirereview.net/2010/10/a-grand-tour-part-2-venice-the-menaced/#comments</comments>
		<pubDate>Thu, 28 Oct 2010 05:08:55 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[ads Venice]]></category>
		<category><![CDATA[Archigram]]></category>
		<category><![CDATA[carbon footprint]]></category>
		<category><![CDATA[Hours]]></category>
		<category><![CDATA[Olympic Games]]></category>
		<category><![CDATA[Palladio]]></category>
		<category><![CDATA[running]]></category>
		<category><![CDATA[Sustainability]]></category>
		<category><![CDATA[tourism]]></category>
		<category><![CDATA[travel]]></category>
		<category><![CDATA[Venezia]]></category>
		<category><![CDATA[Venice billboards]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8223</guid>
		<description><![CDATA[Venice has a secret; it is a great city for runners. Typically the urban runner faces a conundrum. Running in parks is safe and healthy, but quickly grows boring. Running on city streets can be diverting, but the staccato disruption of crosswalks frustrates any possibility of getting into a rhythm. The runner fantasizes: what if there were a city riddled with paved passages too narrow for cars,  with squares, courtyards, beautiful buildings and water? What if it were completely flat? Running, especially early in the morning, reveals a different Venice, before the tour buses disgorge. As the Venice runner veers away from the broad fondamenti and seeks out the most obscure rami, a false sense of speed is created by the narrow passages and a simple run starts to feel like a video game. With no possibility of getting hit by a car, the Venice runner is free to concentrate on the sensory landscape of the city — the handcarts which collect garbage, the delivery boats full of roof tiles or toilet paper and underneath it all like a private drum roll the sound of your own footsteps on the worn pavers, mostly gray but edged with smoothed white stone wherever there is a step. It is advisable to always carry a map, but the Venice runner’s game is to notice enough details, not the names of streets but the spatial quality of them, to remain relatively un-lost.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/10/a-grand-tour-part-2-venice-the-menaced/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>A Grand Tour, Part 1: The Digital Flâneur</title>
		<link>http://berkshirereview.net/2010/10/a-grand-tour-part-1-the-digital-flaneur/</link>
		<comments>http://berkshirereview.net/2010/10/a-grand-tour-part-1-the-digital-flaneur/#comments</comments>
		<pubDate>Fri, 22 Oct 2010 06:13:33 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Baron Haussmann]]></category>
		<category><![CDATA[Charles Marville]]></category>
		<category><![CDATA[city walls]]></category>
		<category><![CDATA[density]]></category>
		<category><![CDATA[Eric Hazan]]></category>
		<category><![CDATA[Europe]]></category>
		<category><![CDATA[flâneur]]></category>
		<category><![CDATA[Google Earth]]></category>
		<category><![CDATA[Grand Paris]]></category>
		<category><![CDATA[infrastructure]]></category>
		<category><![CDATA[leisure]]></category>
		<category><![CDATA[Milan]]></category>
		<category><![CDATA[Nicholas Sarkozy]]></category>
		<category><![CDATA[Paris]]></category>
		<category><![CDATA[Paris Metro]]></category>
		<category><![CDATA[protest]]></category>
		<category><![CDATA[Robert F. Kennedy]]></category>
		<category><![CDATA[Star Trek]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[trains]]></category>
		<category><![CDATA[Urban Design]]></category>
		<category><![CDATA[Urban Planning]]></category>
		<category><![CDATA[Velib]]></category>
		<category><![CDATA[Victor Hugo]]></category>
		<category><![CDATA[Walter Benjamin]]></category>
		<category><![CDATA[work]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=8129</guid>
		<description><![CDATA[Like cats chasing tails, all that is urgent in contemporary discussions of the city circles around the topic of density. While this makes it easy to define the shape of the boxing ring, it doesn’t set the rules of the fight, and boy oh boy is density ever a fight. Here in Sydney urban planning discourse feels like a nightmare dreamed in a fever, a chase scene in which it is impossible not to run in circles, slowly. As someone who cares deeply about Sydney’s future, it was a sweet relief to leave Smug City for a few weeks to see how they make cities in Europe.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/10/a-grand-tour-part-1-the-digital-flaneur/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>The 12th Venice Biennale of Architecture</title>
		<link>http://berkshirereview.net/2010/10/venice-biennale-of-architecture/</link>
		<comments>http://berkshirereview.net/2010/10/venice-biennale-of-architecture/#comments</comments>
		<pubDate>Sat, 02 Oct 2010 05:41:37 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Amateur Architecture Studio]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Arsenale]]></category>
		<category><![CDATA[Giardini]]></category>
		<category><![CDATA[Kazuyo Sejima]]></category>
		<category><![CDATA[Rem Koolhaas]]></category>
		<category><![CDATA[travel]]></category>
		<category><![CDATA[Venice]]></category>
		<category><![CDATA[Venice Biennale]]></category>
		<category><![CDATA[Wim Wenders]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7863</guid>
		<description><![CDATA[To travel in the desirable parts of the world involves waiting in line. Given this, the line to get into the 12th Venice Biennale of Architecture appeared to be mercifully short, short enough to identify those waiting in it as, if not individuals, at least stereotypes. Before the first five minutes of complete stasis had passed it was clear that the blockage at the ticket window was caused by a dapper Italian, almost certainly an architect, wearing a striped shirt and a dark tan, newspaper folded under his arm, with flowing grey hair and a beard he’d probably cultivated his entire adult life. He leaned on the counter as though it were his favorite neighborhood espresso bar. His purchase of a ticket seemed to be inhibited by endless complications. At intervals he turned to the rest of us with a shrug, as though the harried young ticket seller were evidence of how impossible it is to find good help these days. Then his mobile rang and of course he answered it, leaving the ticket seller and the rest of us waiting...]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>An Opera House, Judged: Ken Woolley’s Reviewing the Performance</title>
		<link>http://berkshirereview.net/2010/07/woolley-opera-house/</link>
		<comments>http://berkshirereview.net/2010/07/woolley-opera-house/#comments</comments>
		<pubDate>Mon, 26 Jul 2010 03:25:58 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Books]]></category>
		<category><![CDATA[Cameron Sinclair]]></category>
		<category><![CDATA[ethics]]></category>
		<category><![CDATA[Frank Gehry]]></category>
		<category><![CDATA[functionalism]]></category>
		<category><![CDATA[Jan Utzon]]></category>
		<category><![CDATA[Johnson Pilton Walker]]></category>
		<category><![CDATA[Jørn Utzon]]></category>
		<category><![CDATA[Ken Woolley]]></category>
		<category><![CDATA[Rem Koolhaas]]></category>
		<category><![CDATA[Sydney Opera House]]></category>
		<category><![CDATA[Zaha Hadid]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=7142</guid>
		<description><![CDATA[“What’s that thing?”

-A boy points out the Sydney Opera House to his grandmother, overheard on a train crossing the Harbour Bridge, 21 July 2010.

During a recent screening of Rear Window at the Art Gallery of New South Wales, I became preoccupied by the audience’s reaction. For me, Rear Window was a “gateway” film, an open door into the beautifully fraudulent world of cinema. I had not seen it for a long time, and watching a good 35mm print with an intelligent audience was a good chance to assess its true impact. In the cinematic canon, if such a thing exists, Rear Window seems to have come to rest partway along the spectrum between familiar, comforting films, say, It’s a Wonderful Life or Gone With the Wind, and perpetually unnerving experiences like, to name two of the blackest noirs I’ve ever seen, Scarlet Street or Detour. Films in the former category tend to generate formulaic responses which paper over any disturbing themes, and allow the work to be arranged as part of the cultural furniture. Films from the bad part of town, by contrast, refuse enclosure in a tidy package. Beyond whatever unsavory aspects of human nature they might reveal, these disturbing films demand to be viewed at 1:1 scale, as though for the first time, every time (this is not a simple distinction between blanc et noir, when Swing Time screened at the Gallery the week after Rear Window, any stirrings of featherbed nostalgia among the audience were quickly overcome in the presence of 103 minutes of sublime cinematic bliss). Rear Window retains characteristics of each extreme. Jimmy Stewart’s voyeurism now seems relatively innocent, at least compared to what people are into these days. The audience reacted to his obsessive nosiness with the same sighing, nostalgic little titters emitted by a gaggle of thirty five year olds watching The Breakfast Club. At the same time, certain moments of Rear Window remained shocking, particularly Stewart’s almost brutal coldness to Grace Kelly. Perhaps every classic film might be found somewhere along this imaginary line between Scarlett’s Tara and Ann Savage’s consumptive cough in Detour.]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Barangaroo Revisited: ‘And Here’s a City I Prepared Earlier&#8230;’</title>
		<link>http://berkshirereview.net/2010/06/barangaroo-revisited/</link>
		<comments>http://berkshirereview.net/2010/06/barangaroo-revisited/#comments</comments>
		<pubDate>Thu, 17 Jun 2010 02:58:20 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Places]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Barangaroo]]></category>
		<category><![CDATA[Lend Lease]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[Urban Planning]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6551</guid>
		<description><![CDATA[Barangaroo developer Lend Lease has released a revised plan for the site. The fact that it is an improvement on their previous proposal is like saying Burger King is better than McDonalds, perhaps true, but surely there are better hamburgers in the world. Sydney city councilor John McInerney is probably right to suggest that Lend Lease has pulled an inverted bait-and-switch of the ‘propose something outrageous and the less outrageous thing you planned all along will seem reasonable’ variety. Ironically, by improving some of the original design’s worst excesses --  for example, the “exclamation mark” hotel has been reduced in height and does not project as far into the harbour -- its fundamental flaws are more glaring than ever.]]></description>
		<wfw:commentRss>http://berkshirereview.net/2010/06/barangaroo-revisited/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Tree to be Removed: Robin Boyd&#8217;s The Australian Ugliness Turns 50</title>
		<link>http://berkshirereview.net/2010/04/australian-ugliness/</link>
		<comments>http://berkshirereview.net/2010/04/australian-ugliness/#comments</comments>
		<pubDate>Tue, 13 Apr 2010 07:37:23 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Art]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Australian Ugliness]]></category>
		<category><![CDATA[Robert Venturi]]></category>
		<category><![CDATA[Robin Boyd]]></category>
		<category><![CDATA[Sustainability]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[Urban Design]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=6086</guid>
		<description><![CDATA[Robin Boyd wrote The Australian Ugliness fifty years ago. Our question is obvious: is that ugliness still with us?

EXHIBIT A: An Ugly Scene in a Beautiful Place...

A leaf blower whines as I write this. Mozart cannot be played loud enough to drown it out. No matter, it reminds me of a limpid Friday evening a few months ago. A ruddy sun sparkled on the leaves of the blue gums, the breeze was a gentle early summer whisper, an evening one could fall into like a calm sea. I could take it no longer. I traced the errant whine to the dead end of my street. After waving for a few seconds to catch my neighbor's attfention, he turned off his blower and removed his sensible hearing protection so we could have a conversation which went something like this:]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Maximum Stupid: Sydney&#8217;s Big Barangaroo Blowup</title>
		<link>http://berkshirereview.net/2010/03/sydney-big-barangaroo-blowup/</link>
		<comments>http://berkshirereview.net/2010/03/sydney-big-barangaroo-blowup/#comments</comments>
		<pubDate>Thu, 04 Mar 2010 23:00:08 +0000</pubDate>
		<dc:creator>Alan Miller</dc:creator>
				<category><![CDATA[Architecture - Urban Design]]></category>
		<category><![CDATA[Places]]></category>
		<category><![CDATA[Architecture]]></category>
		<category><![CDATA[Barangaroo]]></category>
		<category><![CDATA[Richard Rogers]]></category>
		<category><![CDATA[Sydney]]></category>
		<category><![CDATA[Urban Planning]]></category>

		<guid isPermaLink="false">http://berkshirereview.net/?p=5833</guid>
		<description><![CDATA["The Master Plan suggests an architecture that, despite its scale, will not overshadow any of the spaces that are, in and of themselves, naturally beautiful. The exception to this is the library and hotel pier. A reference to tall ships that once docked at the harbour's edge and the hotel and library are expressions of the magnificent ability for a building to almost walk on water. This architecture will provide necessary markers in their own right."

-from the Barangaroo Public Display, March 2010]]></description>
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		<slash:comments>1</slash:comments>
		</item>
	</channel>
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