Décor: A Conquest
Aspen Art Museum
637 East Hyman Avenue, Aspen, Colorado
Through March 1, 2015
Objects of war have long been used for decorative purposes. Mounted on walls and thus removed from their original context, these weapons take on new meaning. In his inaugural exhibition for the Institute of Contemporary Art in London in 1974, Belgian artist Marcel Broodthaer explored this familiar, yet strange dual identity of weapons as everyday objects but also as “symbols of power.” The Aspen Art Museum, in its new building by Shigeru Ban, has reinstalled this pioneering work.
Coop Himmelb(l)au: Dynamischer Raumplan
Southern California Institute of Architecture
960 East Third Street
Through March 8, 2015
Environmental consciousness and energy conservation have overhauled the blueprint for urban planning. With efficiency at its heart, today’s back-to-nature paradigm will realize the potential of self-sufficient cities powered instead by clean, renewable resources including the sun, wind, water, and earth. The Dynamischer Raumplan is a spatial installation by Vienna-based firm Coop Himmelb(l)au that operates like a machine to visualize the energy lines that shape a city’s morphology.
Thanks to our friends at Glass magazine for attending the recent Facades+ LA conference. They’ve provided an excellent wrap-up of the event, which they called “invigorating and exciting.” Editor Katy Devlin identified ten key themes from the conference: net zero building, net zero ready, material transparency, durability and sustainability, preservation, value, updatability, dynamic and integrated facades, human health, and water conservation. This variety and depth of subjects are precisely what makes the Facades+ conferences so important to the A/E/C industry. Next up, Facades+ AM in Washington, on March 5. Join the conversation!
[Editor’s Note: Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email email@example.com. ]
I am delighted with the recent Crit’s praise for the beautifully renovated Cooper Hewitt (AN 01_01.14.2015), but I am puzzled by the inconsistency with regard to the Frick Collection’s expansion plans.
5 Pointz, the Long Island City, Queens graffiti mecca, might not have been lucrative enough for developer G&M Realty to keep on its property, but it sure makes for a nifty marketing ploy to attract potential renters to its soon-to-be constructed pair of residential towers. Jerry and David Wolkoff, the father-and-son owners of G&M, filed an application last spring to trademark the street art name for the new development.
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.
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!
One of the biggest architectural head-to-head matches of 2014 has come to an amicable end. As AN reported last fall, Zaha Hadid sued New York Review of Books critic Martin Filler for defamation for comments he made about her in a review of Rowan Moore’s Why We Build: Power and Desire in Architecture.