Despite the fact that most state licensing boards require registered architects to pursue continuing education, not all AEC professionals take full advantage of the educational opportunities available. That’s a shame, says Mic Patterson, VP of Strategic Development for Enclos, given the value of the many workshops, seminar programs, and conferences aimed at practicing architects. The Facades+ conference series, co-sponsored by Enclos and AN, is one such offering. “The intent was to start a dialog involving the building skin that bridged the various fragmented sectors of the building industry,” said Patterson. “We’ve been very successful in doing that. Now I’m interested in taking this dialog to other locations.” Accordingly, Facades+ will launch a new initiative next month: Facades+ AM, a half-day forum debuting in Seattle on November 11.
Imagine an annual party for architects that has been voted “Ten Hottest Halloween Parties to Die For” in the New York Observer and a “Top Pick Halloween Party” in Time Out New York? It’s the annual Storefront for Art and Architecture Critical Halloween party, taking place this year at 80 Greenwich Street in Lower Manhattan. The party (with a live band and open bar) has always had a theme: Banality, Metaphor, and Corporate Avant-garde in years past. This year’s theme dwells on one of the most feared ghosts of art and architectural production: I-Relevance.
Given that you’re reading The Architect’s Newspaper right now, there’s a very good chance you’re an architect. If that’s true, then dressing up as an architect on Halloween would be a pretty lame costume idea. That is, unless you went as one of The Greats—we’re not saying you’re not one of them…but, you know what we mean.
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Undulating birch walls create pockets of privacy in an apartment building lobby.
When Boston design and fabrication firm Radlab began work on Clefs Moiré, the permanent installation in the lobby of One North of Boston in Chelsea, Massachusetts, they had relatively little to go on. They knew that the apartment building’s developer wanted a pair of walls of a certain size to activate the lobby space, but that was about it. “Normally we get more information, so we can come up with a story—a concept based on the building and its requirement,” said Radlab’s Matt Trimble. “For this we pulled back and said, we have an opportunity to be a little more abstract about how we approach this conceptually.” Inspired by moiré patterning and a harpsichord composition by J.S. Bach, the team designed and built two slatted birch walls whose undulating surfaces embody a dialog between transparency and opacity.
The Circus for Construction has taken its gallery-meets-event space on the road this fall, bringing a mix of dialogue and exhibitions on contemporary art and architecture practices, via a custom-built truck, to several east coast cities. After winning a competition by Storefront for Art and Architecture last May, this traveling Circus— conceived by Ann Lui, Ashley Mendelsohn, Larisa Ovalles, Craig Reschke and Ben Widger— got its wheels thanks to a successful Kickstarter campaign.
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Photoengraved concrete connects past and present in Montreal student housing.
Though the site on which KANVA‘s Edison Residence was recently constructed stood vacant for at least 50 years, its emptiness belied a more complicated history. Located on University Street just north of McGill University’s Milton gates, the student apartment building lies within one of Montreal‘s oldest neighborhoods. Photographs dating to the mid-19th century show a stone house on the lot, but by 1960 the building “had disappeared; it was erased,” said founding partner Rami Bebawi. Excavation revealed that the original house had burned to the ground. Prompted by the site’s history, as well as an interest in exploring cutting-edge concrete technology, the architects delivered a unique solution to the challenge of combining old and new: a photoengraved concrete facade featuring stills from Thomas Edison’s 1901 film of Montreal firefighters.
Fleurt, the winning design for the Battery Conservancy America’s “Draw Up a Chair” competition, has been described as an “archetypal floral form” and even a “whimsical suggestion of sun-loving flowers floating in a field.” But it is much more than that. Fleurt “announces openness and photogenic warmth” and creates a “memorable, diaphanous landscape.” Fleurt “stretches out” with its “lounging curves.” Fleurt is, yes, fine, technically a chair.