The Antoine Predock–designed Canadian Museum for Human Rights opened in Winnipeg last Friday with a ceremony featuring an indigenous blessing, performances by Ginette Reno, The Tenors, Maria Aragon, and Sierra Noble, plus remarks by several Canadian government officials as well as representatives of the museum. Read More
Whatever you may think of video games (new media art form, societal ill, lame waste of time) there was no avoiding them in downtown Denver this summer. From June 7 to July 26, three blocks of Champa Street between 14th Street and the 16th Street Mall were transformed into one big video arcade. Known as Oh Heck Yeah, the project assembled local and national arts groups and businesses to activate this stretch of turf with a variety of programming centered around a series of custom designed, family friendly video games. Designed by Denver-based creative teams Legwork Studio and Mode Set, the games were played on the Theatre District’s giant LED screens.
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“Glass ceilings permit guests in the lobby to see through to the top floor restaurant.” That lobby will become the biggest gentlemen’s club in Houston.
Rangeview High School
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Medical clinic in the Dallas suburbs features a contemporary facade of perforated metal panels.
When Legacy ER commissioned 5G Studio to design an emergency care facility in Allen, Texas, the architects seized the opportunity to define an emerging building type. One of a growing number of freestanding emergency care centers (FECCs) popping up across the United States, the Legacy ER in Allen combines an emergency room and urgent care clinic under one roof. The Allen facility is the second collaboration between the care provider and 5G Studio, who also designed Legacy ER’s FECC in Frisco. “Based on the Frisco project they saw it as a strength to their brand to design an outstanding facility,” said partner Yen Ong. “Architectural identity is one of their brand hallmarks.” Inspired both by traditional domestic architecture and the image of a physician’s robe, Legacy ER – Allen’s sculptural zinc facade punctures the monotony of its suburban surroundings.
Earlier this month, the Van Alen Institute announced Future Ground, an international design competition that is hoping to attract fresh strategies for reusing the many vacant lots that dot New Orleans. The competition is seeking submissions from landscape designers, architects, planners, public policy wonks, and pretty much anybody in the business of shaping urban environments and is supported by the New Orleans Redevelopment Authority (NORA), which owns more than 2,000 vacant lots.
There are somewhere around 30,000 empty lots and abandoned structures throughout New Orleans today, most of them left by Hurricane Katrina, which devastated the city in 2005. As the 10-year anniversary of the storm approaches, Future Ground is looking to create design and policy strategies capable of adapting to changes in density, demand, climate, and landscape in New Orleans over the next half-century in an effort to turn these abandoned landscapes into lasting resources.
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Minimalist catenary canopy lends warmth and lightness to office courtyard.
When Page design principal Larry Speck suggested a catenary sunshade for the courtyard of the new GSA building in Albuquerque, his colleagues set about identifying precedents. “There were some really great devices that we looked at, but a lot were done in the 1960s out of heavy, monumental materials,” said principal Talmadge Smith. “We wondered if there was a way to do it in a lighter, more delicate way that would also introduce some warmth to the space.” The architects elected to build the structure out of western red cedar, which performs particularly well in arid climates. Comprising 4-, 8-, and 12-foot boards suspended on steel cables, the sunshade appears as a wave of blonde wood floating in mid-air, casting slatted shadows on the glass walls of the courtyard.
Thirty-four months have gone by since the Scott Johnson–designed Museum Tower hove into view and the Nasher Sculpture Center is still, er, gnashing its teeth. Every afternoon at around three o’clock glaring sunlight reflects off of the condo’s mirror like glass curtain wall, invading the Renzo Piano–designed skylit galleries, burning holes in the lawn, defoliating the trees, and no doubt increasing the air conditioning bill. Thirty-four months and nothing has been done to make it right, until June.
Allan Houser: A Celebration
Philbrook Museum of Art
116 East Brady Street, Tulsa, Oklahoma
Through November 2
Allan Houser: A Celebration is an ongoing exhibition at the Philbrook Museum of Art in Tulsa that honors the paintings and sculptures of late Native American artist Allan Houser. The exhibition commemorates Houser’s 100th birthday this year and highlights his contributions to Native American painting and sculpture during his time as an active artist.