We don’t normally look to the New York Post for stories on architecture and planning. But while getting our shoes shined for tonights black tie Heritage Ball we had a chance to read the paper’s Late City Final. There in the middle of stories on JonBenet Ramsey, a lawyer “ripping a Jet Slugger,” and Lady Gaga’s thigh tattoo was a smattering of the latest in design spectacle.
Next to a story on Mitt Romney’s new 5,900 square foot “secret hideout” in Holiday, Utah (which will apparently feature a bookcase that swivels open and leads into hidden room), there is a long story on Midtown Manhattan street plazas that both Bill de Blasio and Joe Lhota are apparently thinking of “yanking…out,” according to the paper.
In AN‘s recent article on the winners of this year’s Cooper-Hewitt National Design Awards, we mentioned that Michael Sorkin accepted his award for “Design Mind” with a powerful tribute—as only he can—to his late friends and intellectual mentors, Lebbeus Woods and Marshall Berman. Sorkin, like the other awardees, was only allowed a 2 minute acceptance speech, which he has shared with AN. Read the statement in full below.
When an artist begins,
they try to bury him with neglect.
When he gains a small foothold,
they try to bury him with criticism.
When he becomes more established,
they try to bury him with covetous disdain.
When he becomes exceptionally successful,
they try to bury him with dismissals as irrelevant.
And finally, all else failing
they try to bury him with honors!
This is how James Wines of SITE, quoting Jean Cocteau, accepted his 2013 Lifetime Achievement Award from the Cooper-Hewitt National Design Museum at their National Design Awards. Wines joined a ‘Lifetime Achievement’ group that includes Richard Saul Wurman, Bill Moggridge, Paolo Solari, the Vignelli’s, Dan Kiley, and Frank Gehry.
Last night’s awards program was a special one as the Museum—led by its new director, Caroline Baumann, and an indefatigable team—worked throughout the government shutdown of the least two weeks to put on a spatular gala that gave awards to designers that included Janette Sadik-Khan, Michael Sorkin, Studio Gang Architects, Paula Scher, Aidlin Darling Design, and Margie Ruddick.
The architecture school at the California College of the Arts in San Francisco was only founded in 1986 and did not have its own campus until 1997. But the school—housed in a light filled old bus shed in the city’s Potrero Hill Design District—is quickly carving out a unique role for itself as a center of architectural creativity and pedagogy. The College, with its dynamic president and acting director of architecture David Gissen, seems to be trying to work forward from its Arts and Crafts traditions (the CCA itself was founded in 1907 in Oakland) but link up with the vibrant and young tech industries and attitude that proliferate in this south of Market area. A sign of this new spirit is a small but fascinating exhibit, An Olfactory Archive: 1738-1969, curated by Gissen and new faculty member Irene Cheng and designed by Brian Price and Matt Hutchinson.
Last weekend’s Monterey Design Conference had many special moments–beyond those spent walking the spectacular grounds of the Asilomar center on the Pacific ocean. The conference, which is essentially the bi-annual meeting of the California AIA, is trying to re-brand itself the “MDC” in hopes of encouraging the general public to attend. But the conference has been M.C.ed for the past dozen years by Robert Ivy, Chief Executive Officer of the AIA and once again he did a brilliant job (with help from Larry Scarpa) of keeping the event moving along between wine tastings, a small trade show and attendees’ desire to escape the darkened conference hall for a walk on the beach. Read More
The California AIA’s biennial Monterey Design Conference is on the next two days—September 27th and 28th—at Asilomar, the glorious Julia Morgan– and John Carl Warnecke–designed center on the Pacific Ocean in Pacific Grove. The conference will feature lectures by Thom Mayne, Marlon Blackwell, Thomas Phifer, Kengo Kuma, and AN board member Odile Decq.
But first up this morning was Greg Otto from Buro Happold who presented various Happold projects that were created using a multi-disciplinary approach and discussed design and legal issues around responsibility and how these “stress traditional design assumptions.” Otto also discussed his ongoing New York projects with Jeff Koons who wants to make large steel structures look “like marshmallows.”
Foster + Partners likes to think of itself as a high-design firm with glamorous projects all over the world. But the banal rendering accompanying this week’s announcement of a new 19-story, “luxury” residential tower, 551 West 21 Street, belies their design skills. Could it be that they have a two-tier design strategy in their office where glamorous cultural institutions get “Sir Norman” and commercial towers get, well, something less?
The 2013 Lisbon Architecture Triennale‘s emphasis on active workshops, networking and “research” projects rather than architectural set pieces often plays as live performative tableaus. The public focus of the exhibition is indeed an elevated stage in the city’s Praca da Figueira (Square of the Fig Tree) where architects are performing plays, encouraging civic engagement with public performances, and programming research workshops. Performance is also the operative scheme in another triennial initiative, The Institute Effect, that takes place the city’s Museum of Design.
I wrote in my first post from the Lisbon Architecture Triennale Close, Closer that it’s the first international exhibition that does not need or even want outside visitors. The exhibition’s organizer and head curator, Beatrice Galilee, downplays installations and object-making in favor of active workshops, networking, and “research” projects aimed primarily at residents of the Portuguese capital.
The Lisbon Triennale, Close, Closer, is the first architecture exhibition that does not need, nor even want outside visitors. In recent years, the relevance of the international exposition in a defined physical boundary has been questioned, given the energy and expense (particularly in Venice) involved in putting the event together and the ubiquity of digital display and information dissemination. Why not, many people argue, just do the whole thing on line and open it up to the whole world rather than forcing visitors to trek to expensive cities and countries? Lisbon’s Close, Closer will have a tremendous online presence, but, more to the point, the curators of the exhibition, under the overall guidance of British curator Beatrice Galilee, have downplayed expensive formal installations in favor of workshop, networking, and research projects.
AN‘s popular Facades+PERFORMANCE conference series is quickly becoming the most important event focused on the fast-paced changes taking place in facade technology. The two day conference and workshops, which has also taken place in San Francisco and New York City, is returning to Chicago on October 24th and 25th and will take place at Mies van der Rohe’s IIT campus with a cocktail reception to follow at Rem Koolhaas’ McCormick Tribune Campus Center.
The October 24th symposium will feature German architect Stefan Behnisch who has designed scores of major buildings in Europe and the United States and is known for this elegant, precise, and creative facades. His recently completed Law School for the University of Baltimore,for example, has a sophisticated glass and aluminum curtain wall with an extra layer of glass to reduce noise and horizontal sun shading. He will discuss this and many of his other projects at Facdes+PERFORMANCE in Chicago this October.
In just the nick of time for outdoor summer weekends in New York City, Norton Architecture and Design Books has released a Guide to New York City Urban Landscapes. It’s a concise and beautifully illustrated guide to thirty-eight public spaces that claims to be the “first wide-ranging survey of New York urban landscapes from the first half of the nineteenth century to, well, tomorrow.”