Kengo Kuma’s Victoria & Albert Museum of Design in Dundee, Scotland, hasn’t even broken ground yet, but it has already racked up a pretty substantial bill. In fact, the museum project is expected to cost roughly $80 million, a whopping $35 million more than initially projected. Kuma won the commission back in 2012 and has supposedly already tweaked the design to cut down costs.
When Miguel Arroyo arrived in New York City in 1939 as the assistant of the Venezuelan painter Luis Alfredo López Méndez, he met the architect of the Venezuelan Pavilion at New York’s World’s Fair: a young Gordon Bunshaft at SOM. The two formed a lifelong friendship.
Alas, despite being hailed as the favorite to represent the United States in the race for the 2024 Olympics, Los Angeles has lost out to its much older competitor, Boston. LA had pitched what Mayor Eric Garcetti hailed as the “most affordable” proposal, using mostly existing facilities, including the LA Memorial Coliseum, the Staples Center, and even Frank Gehry‘s Disney Hall, Griffith Observatory, and the Queen Mary.
Maybe the USOC isn’t as into a bargain as we thought? Or maybe after giving LA two games they’re just not that into us anymore. San Francisco, by the way, lost out on its bid, which also banked on affordability. Damn, the Olympic Village could have been the only cheap place to live there outside of Oakland!
According to a report in Las Vegas Weekly, the Conservation Lands Foundation is pushing to make a project by land artist Michael Heizer, of “Levitated Mass” fame, a national monument. The newly threatened City installation is a still-incomplete collection of giant abstract structures stretching for more than a mile into the Nevada Desert.
Given the current state of relations between the NYPD and Mayor Bill de Blasio (spoiler: terrible, horrible, no good, very bad), the mayor has been quick to thank the police force for its strong support of Vision Zero—the mayor’s plan to entirely eliminate traffic fatalities in New York City. The effort is obviously an ambitious one, but a year after it went into effect, de Blasio is able to tout some big successes.
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Composite facade brings new row house into harmony with its historic neighbors.
Florian Köhler, whose firm, Köhler Architekten, recently designed and built a new row house in Hamburg’s Ottensen quarter, observes a disheartening trend among his fellow architects. When designing for a site rich in historic context, they tend to shy away from all allusions to the past, opting instead for an antiseptic modernism. “Many architects only build cubic forms without reference to their environment, and cityscapes are becoming increasingly similar,” he said. “We deliberately wanted to go a different route.” Ice Loft, which is surrounded by protected properties dating to the mid-19th century, features a tripartite facade that translates familiar historic forms into smooth curves and planes. “Our unusual approach to the transformation of classical qualities into flowing forms seems to be a suitable alternative, at least at this point, in this urban district in Hamburg,” said Köhler.
Though sustainability remains a primary goal for many AEC industry professionals, its definition is increasingly up for debate. Tried-and-true energy efficiency standards such as LEED and Energy Star are facing competition from other rubrics, including net zero. “LEED was the sustainability measure,” said CO Architects‘ Alex Korter. “It’s good, but people looked at it more as a certification. With net zero, you’re setting hard performance goals.” With his colleague Kevin Kavanagh, Korter will lead a panel on “Net Zero and the Future Facade” at Facades+ LA next week. Korter, Kavanagh, and the panelists—who include ARUP‘s Russell Fortmeyer, Atelier 10‘s Emilie Hagen, and Stephane Hoffman from Morrison Hershfield—will dig in to the what and why of net zero, and ask how facade designers and builders can push the envelope on environmental performance.