A field trip encounter with Michael Parker’s Steam Egg II (which was not heated during the student’s visit) at the Armory Center for the Arts in Pasadena. (Ruiqi Li)
On a recent Sunday in Pasadena, a half-dozen visitors strolled barefoot across the finished wooden floors of an art gallery, some wearing swimming trunks, others in bikinis or cut-offs, beach towels draped casually across their shoulders as they viewed the work on display.
The 2015 Serpentine Pavilion has opened to the public in London‘s Kensington Gardens. The psychedelic, worm-like structure was designed by SelgasCano, a husband-and-wife team based in Madrid, and features translucent ETFE panels that are wrapped and woven like webbing. The architects said the pavilion’s design is partially inspired by the chaos of passing through the London Underground.
Once a week, Richard Meier can be found at his model museum in the expansive Mana Contemporary arts complex in Jersey City. This is where he comes to work on collages, collaborate with screenprinter Gary Lichtenstein, and visit with his daughter Ana, who runs a furniture showroom next door.
Pritzker Prize laureate Zaha Hadid recently unveiled plans for twin towers fronting Mariner’s Cove along the Gold Coast of Brisbane, Australia. The two 44-story mixed-use towers will combine 370 highrise living units and a 69-suite boutique hotel with what developer Sunland Group bills as the region’s “first privately-owned cultural precinct.”
Rendering of Ando’s 152 Elizabeth. (Courtesy Sumaida & Khurana)
New York developers Sumaida & Khurana are breaking architectural ground with a series of residential buildings in New York City designed by architects who have never built there before. Their first is a seven-unit beaut by Tadao Ando—called ICHIGONI (152) or 152 Elizabeth—set to bring glass-smooth concrete and highly detailed steel to Manhattan’s Nolita neighborhood. And now Ando is opening up about its design.
Fumihiko Maki addresses the Japan Society in New York. (James Way)
Octogenarian Fumihiko Maki shows no signs of slowing down, based on his presentation last night at the Japan Society in New York City. Going back as far as only the mid-1990s, the Pritzker Prize winner showed a handful of projects that, as moderator Toshiko Mori said, eschew a signature style yet are identifiably Maki buildings.