So I've decied to present the whole idea as simplified for ease introduction given the short amount of time we have during a song:

note: Check out the article: "I'm the designer, my client's the autocrat."

-Two Characters
-two points of view
-characters names = that of realy important architects in the article and in the world today.
-characters actualy/possibly sexy women with eye patches and exotic heritage. (somethin for the cool?)


Below is my mindmap of quotes from the article turned into a crumby outline(hey it was automated):


no architect interviewed for this article except Mr. Libeskind has publicly rejected the notion of working for hot-button countries
does architecture transcend politics and ideology
If the architect's own vision is progressive, can architecture be a vehicle for positive change
I've always been interested in an architecture of resistance — architecture that has some power over the way we live," added Mr. Mayne,
1. Do it
does architecture transcend politics and ideology
If the architect's own vision is progressive, can architecture be a vehicle for positive change
I've always been interested in an architecture of resistance — architecture that has some power over the way we live," added Mr. Mayne,
"Working under adversarial conditions could be seen as a plus because you're offering alternatives
Libeskind
no architect interviewed for this article except Mr. Libeskind has publicly rejected the notion of working for hot-button countries
http://www.nytimes.com/2006/05/21/magazine/21wwln_domains.1.html
http://www.nytimes.com/2006/05/21/magazine/21wwln_domains.1.html
"Working under adversarial conditions could be seen as a plus because you're offering alternatives
Arguments:
1. Do it
does architecture transcend politics and ideology
If the architect's own vision is progressive, can architecture be a vehicle for positive change
I've always been interested in an architecture of resistance — architecture that has some power over the way we live," added Mr. Mayne,
"Working under adversarial conditions could be seen as a plus because you're offering alternatives
2. Don't do it
represive leaders
shaky records on human rights
By designing high-profile buildings that bolster the profile of a powerful client
do architects implicitly sanction the client's actions or collaborate in symbolic mythmaking?
"I won't work for totalitarian regimes."
Totalitarian Regimes
Arguments:
1. Do it
does architecture transcend politics and ideology
If the architect's own vision is progressive, can architecture be a vehicle for positive change
I've always been interested in an architecture of resistance — architecture that has some power over the way we live," added Mr. Mayne,
"Working under adversarial conditions could be seen as a plus because you're offering alternatives
2. Don't do it
represive leaders
shaky records on human rights
By designing high-profile buildings that bolster the profile of a powerful client
do architects implicitly sanction the client's actions or collaborate in symbolic mythmaking?
"I won't work for totalitarian regimes."
Discussion statement/q's
this is a highly charged global moment for the profession
Do we really want to be a part of this?
Characters
Libeskind
no architect interviewed for this article except Mr. Libeskind has publicly rejected the notion of working for hot-button countries
http://www.nytimes.com/2006/05/21/magazine/21wwln_domains.1.html
Koolhaas
arguing that market forces have in any case supplanted ideology.
Bio:
Rem Koolhaas Columbia Encyclopedia Koolhaas, Rem, 1944–, Dutch architect, b. Rotterdam. He began his career as a journalist and screenwriter, moving to London in the late 1960s to study architecture. Koolhaas is widely viewed as the most intellectually challenging, audacious, and influential architectural thinker of his generation; until the 1990s he was primarily known as a theorist. He founded (1975) and heads the Rotterdam-based Office for Metropolitan Architecture (OMA). His cutting-edge work defies categorization; it is innovatively functional and often uses inexpensive everyday materials. Among his completed commissions are the Netherlands Dance Theater, The Hague (1987); the vast Euralille urban complex, Lille, France (1994); the Dutch Embassy, Berlin (2003); the McCormick Tribune Campus Center, Illinois Institute of Technology, Chicago (2003); and the Casa de Música, Oporto, Portugal (2005). His Central Library in Seattle (2004), featuring an irregularly angled and cantilevered exterior, glass and steel skin, spiral of interior bookshelves, and soaring reading room, is probably his most highly acclaimed project. Koolhaas is the author of Delirious New York (1978, repr. 1994), about the city's architecture and density; S, M, L, XL (1994), about OMA's projects; and several other books. He received the Pritzker Prize in 2000.
arguing that market forces have in any case supplanted ideology.
Koolhaas
arguing that market forces have in any case supplanted ideology.
Bio:
Rem Koolhaas Columbia Encyclopedia Koolhaas, Rem, 1944–, Dutch architect, b. Rotterdam. He began his career as a journalist and screenwriter, moving to London in the late 1960s to study architecture. Koolhaas is widely viewed as the most intellectually challenging, audacious, and influential architectural thinker of his generation; until the 1990s he was primarily known as a theorist. He founded (1975) and heads the Rotterdam-based Office for Metropolitan Architecture (OMA). His cutting-edge work defies categorization; it is innovatively functional and often uses inexpensive everyday materials. Among his completed commissions are the Netherlands Dance Theater, The Hague (1987); the vast Euralille urban complex, Lille, France (1994); the Dutch Embassy, Berlin (2003); the McCormick Tribune Campus Center, Illinois Institute of Technology, Chicago (2003); and the Casa de Música, Oporto, Portugal (2005). His Central Library in Seattle (2004), featuring an irregularly angled and cantilevered exterior, glass and steel skin, spiral of interior bookshelves, and soaring reading room, is probably his most highly acclaimed project. Koolhaas is the author of Delirious New York (1978, repr. 1994), about the city's architecture and density; S, M, L, XL (1994), about OMA's projects; and several other books. He received the Pritzker Prize in 2000.
Rem Koolhaas Columbia Encyclopedia Koolhaas, Rem, 1944–, Dutch architect, b. Rotterdam. He began his career as a journalist and screenwriter, moving to London in the late 1960s to study architecture. Koolhaas is widely viewed as the most intellectually challenging, audacious, and influential architectural thinker of his generation; until the 1990s he was primarily known as a theorist. He founded (1975) and heads the Rotterdam-based Office for Metropolitan Architecture (OMA). His cutting-edge work defies categorization; it is innovatively functional and often uses inexpensive everyday materials. Among his completed commissions are the Netherlands Dance Theater, The Hague (1987); the vast Euralille urban complex, Lille, France (1994); the Dutch Embassy, Berlin (2003); the McCormick Tribune Campus Center, Illinois Institute of Technology, Chicago (2003); and the Casa de Música, Oporto, Portugal (2005). His Central Library in Seattle (2004), featuring an irregularly angled and cantilevered exterior, glass and steel skin, spiral of interior bookshelves, and soaring reading room, is probably his most highly acclaimed project. Koolhaas is the author of Delirious New York (1978, repr. 1994), about the city's architecture and density; S, M, L, XL (1994), about OMA's projects; and several other books. He received the Pritzker Prize in 2000.
Bio:
Rem Koolhaas Columbia Encyclopedia Koolhaas, Rem, 1944–, Dutch architect, b. Rotterdam. He began his career as a journalist and screenwriter, moving to London in the late 1960s to study architecture. Koolhaas is widely viewed as the most intellectually challenging, audacious, and influential architectural thinker of his generation; until the 1990s he was primarily known as a theorist. He founded (1975) and heads the Rotterdam-based Office for Metropolitan Architecture (OMA). His cutting-edge work defies categorization; it is innovatively functional and often uses inexpensive everyday materials. Among his completed commissions are the Netherlands Dance Theater, The Hague (1987); the vast Euralille urban complex, Lille, France (1994); the Dutch Embassy, Berlin (2003); the McCormick Tribune Campus Center, Illinois Institute of Technology, Chicago (2003); and the Casa de Música, Oporto, Portugal (2005). His Central Library in Seattle (2004), featuring an irregularly angled and cantilevered exterior, glass and steel skin, spiral of interior bookshelves, and soaring reading room, is probably his most highly acclaimed project. Koolhaas is the author of Delirious New York (1978, repr. 1994), about the city's architecture and density; S, M, L, XL (1994), about OMA's projects; and several other books. He received the Pritzker Prize in 2000.
represive leaders
shaky records on human rights
2. Don't do it
represive leaders
shaky records on human rights
By designing high-profile buildings that bolster the profile of a powerful client
do architects implicitly sanction the client's actions or collaborate in symbolic mythmaking?
"I won't work for totalitarian regimes."
do architects implicitly sanction the client's actions or collaborate in symbolic mythmaking?
"I won't work for totalitarian regimes."
this is a highly charged global moment for the profession
Discussion statement/q's
this is a highly charged global moment for the profession
Do we really want to be a part of this?
Do we really want to be a part of this?