For many homeowners and landlords, big ticket repairs can leave gaping holes in the budget. For many low income homeowners, mending a leaky roof or weatherizing an older home can be prohibitively expensive. Vital repairs go unmade, damaging the structure and exposing residents to mold and weather extremes. Responding to this challenge, the Design Advocacy Group, a coalition of planners, architects, and activists, founded the Healthy Rowhouse Project (HRP) in 2014.
According to Moving Together Providence has the potential to be a “world model for urban design.” That is of course, if the city decides to go ahead with their ambitious proposal of tearing up the 6/10 connector which joins Routes 6 and 10 between Olneyville and the interchange with Interstate 95, replacing it with a bicycle- and bus-friendly green boulevard.
ILLINOIS GOVERNOR RAUNER ANNOUNCES STATE’S PLAN TO SELL CHICAGO’S POSTMODERN ICON. (Photo by Rainer Viertlboeck)
Hot on the heels of round table discussions of the preservation of Postmodern monuments at the Chicago Architecture Biennial. One of Chicago’s most iconic and controversial Postmodern landmarks finds itself on unsure footing. The James R. Thompson Center, designed by Helmut Jahn and constructed in 1985, was the site of a press conference held by Illinois Governor Bruce Rauner to announce the proposed sale of the building.
Wednesday, October 7, 2015
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Gotham Metalworks by Extech received the 2015 North American Copper in Architecture Award for its work on the Henry Bristow Landmark School in Park Slope, Brooklyn (NYC Public School 39). Presented by the Copper Development Association, the award is judged by industry experts and presented to outstanding copper building projects based on design integration, craftsmanship and overall excellence in renovation.
The project involved the historic restoration and roof cornice replacement for one of the nation’s oldest schools in continuous use (built in 1877). Working with Ivan Brice Architecture, Gotham’s was to fabricate the new copper gutters and cornice and stay true to the design intent of the original construction. All elements were subject to approval by the N.Y. State Historic Preservation Office.
The copper work included manufacture of the 44 decorative replica brackets, 308 large modillions and extensive cornices with hundreds of dentils. Castings and dies were made from the original wood decorative brackets, and fluted bracket faces were stamped in copper to match. The decorative Fleur de Lis detail, which was cut into the face of the decorative brackets, was utilized to create matching snow guards on sloping copper roof areas where needed. Visit GothamMetals.com.
On October 13, 1965, the New York Times ran a piece of architecture criticism on its front page, above the fold, spanning five out of seven columns. The writer was Ada Louise Huxtable, and the topic was the looming decimation of downtown Salem, Massachusetts—near Huxtable’s summer home in Marblehead. “Urban Renewal Threatens Historic Buildings in Salem, Mass.,” read the headline. “Foes Fear Plans Will Mar Old New England Heritage.” Those were the dark years between the demolition of New York’s Penn Station in 1963 and passage of the National Historic Preservation Act in 1966.
Review> Paul Gunther on preservation and the ongoing exhibit, Saving Place: 50 Years of New York City Landmarks
Saving Place: 50 Years of New York City Landmarks
An exhibition at the Museum of the City of New York and Catalog edited by Donald Albrecht, Andrew Dolkart, and Seri Worden
Through January 3, 2016
Since the first trace of the species homo sapiens, human evolution only represents four one hundred thousandths of one percent of the earth’s age. In proportion to an 80-year life span, that means just 31 hours—less than a day and a half of the 701,280 hours lived.
With the existential threat of climate change and ecological ruination gaining traction in collective consciousness—combined with the outsized expectations of breath-holding fundamentalists for whom earth’s rapturous end can’t come soon enough—our sense of what permanence means has begun to shift. If all human culture to date is just four-dozen millennia and we’ve wreaked so much havoc already, “forever” strikes a dubious chord.
If you’re in town for the Chicago Architecture Biennial, be sure to visit the newly-opened Stony Island Arts Bank, a formerly derelict 1923 bank structure on Chicago’s South Side that has been transformed into a spectacular center for exhibitions, artist residencies, and the preservation of archival collections of black culture. The building’s rebirth was made possible by artist Theaster Gates’ Rebuild Foundation, which has renovated three other buildings in the area as part of its program of “culturally driven redevelopment.”
Performance has been the breakout surprise of the Chicago Architecture Biennial. While many of the works inside the Chicago Cultural Center grapple with issues of urbanism, politics, and the resonances of Modernism (especially Mies’ oversized presence in the city) in contemporary culture, the three performances included in the opening weekend program address and embody what is at stake. Read More
Intrepid Archtober-ites ventured to the site of the 1964-65 World’s Fair to explore a monument of the Space Age. The New York Hall of Science, a 90-foot-high undulating vertical structure designed by Wallace K. Harrison, was meant to create the illusion of floating in deep space. Cobalt glass shards stud the 5,400 coffers in the rippling wall, filtering sunlight into the interior and bathing it in an intense, blue glow.
Not content with 423,000 square feet designed by SHoP Architects in San Francisco’s Mission Bay, Uber is expanding into Oakland. The company purchased the former Sears building from developer Lane Partners, who bought the building last year. Genlser is on deck to transform the old department store into 330,000 square feet of creative office space. The iconic chunk of real estate prominently faces both Broadway and Telegraph Avenue and its redevelopment marks a turning point for Oakland.