The last time Robert Durst—the accused killer and heir to one of New York City’s most influential real estate dynasties—was behind bars in the Southwest, he was on trial for the murder of his neighbor, Morris Black, in Galveston, Texas. That time he was caught after swiping a sandwich and some Band-Aids from a Pennsylvania supermarket while wearing cross-dressing attire. Now, he is donning an orange jumpsuit once again.
Eavesdrop is scratching its head. First, in January, Gensler released new renderings for the Hotel Alessandra in downtown Houston. Where before the firm had proposed a sleek modern glass tower for the site with strong, swooping vertical lines that accentuated the building’s height, the new iteration shows a collection of rectilinear facade treatments of varying levels of transparency arranged to express a podium, tower, and crown with cornice. Jonathan Brinsden, CEO of the project’s developer, Midway, described the new look as a “modern interpretation of European style.”
In late January 2014, an Urban Land Institute (ULI) Advisory Services panel presented recommendations for the dilapidated Houston Astrodome. The report follows several ill-fated dome reuse attempts, including a plan and $200 million bond referendum to turn it into a convention center that was shot down by Harris County voters in 2013. The ULI panel was definitive in its assessment. The dome, it stated, must be saved. It also unveiled a plan, complete with design sketches and funding strategies, to transform the former stadium into a public park that could be completed in time for Super Bowl LI, which Houston is hosting in 2017.
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Framework is made of 260 unique steel boxes, laser-cut and sculpted on an 18-axis metal forming machine.
When designers at Gensler’s Dallas office dreamt up plans for a serpentine steel screen composed of hundreds of perforated cells, they enlisted the design-build talents of Arktura, based in Gardena, California, 14 miles south of downtown Los Angeles. Though still mostly architects, Arktura’s staff includes mechanical engineers and even a physicist. The company’s 50,000-square-foot space includes a design studio, an engineering studio, and manufacturing space where they produce furniture, architectural products, and custom projects—like the one Gensler took to calling “Frameworks: Cellure Structure.”
“It’s in our DNA to allow a lot of flexibility when we’re working with design teams,” said Sebastian Muñoz, director of project design and development. Gensler’s concept remained intact through numerous redesigns, Muñoz said, but getting it right required a lot of flexibility.
6100 Main Street, Houston, Texas
Through November 23
yamatane, on view now at Rice Gallery in Houston, is a site-specific installation by Japanese artist Yusuke Asai. Created in just under two weeks by Asai and a team of student volunteers working around the clock, yamatane is composed of pigments made from soil collected in the Houston area—brown, yellow, pink, red, and even green dirt that was gathered before the artist arrived and ground into pigment with only water added to turn it into paint.
[ Editor’s Note: The following comment was left on archpaper.com in response to our Unveiled on the Gensler-designed Alessandra Hotel in Houston (AN 03_04.30.2014_SW). 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. ]
“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
[Editor’s Note: The following are reader-submitted responses to the editorial “Acceptable if not Noble” (AN 03_04.30.2014_SW), which considered the imminent demolition of John Johansen’s Mummer’s Theater in Oklahoma City and the renovation of Ulrich Franzen’s Alley Theatre in Houston. 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 firstname.lastname@example.org. ]
There were local groups working hard to preserve and repurpose the Mummers Theater and conceptual plans put forth that incorporated the existing theater into a larger cultural and commercial mixed-use complex. My father supported and encouraged these efforts as an important and necessary evolution of this building, and architecture in general, to reinvent itself by adapting and embracing new ideas and technology.
Although Houston has been expanding outward for decades, its bus system has hardly kept up. This is not surprising given the track record for many American cities where cars take precedence over public transit. But what is unexpected—to the point of being radical—is a proposal that will grant greater, more efficient access to Houston’s commuters for not a penny more than its current cost.
Dunlavey Street in central Houston typifies the image of a Southwestern city street. It’s a sprawling, four lane affair that is approximately 50 percent usable, 80 percent pedestrian unsafe, and, in this case, 100 percent in need of an update. Transportation officials are evening out the numbers for a proposed road diet that would reduce the four-lane street to two and using the outer lane space for parking, improved sidewalks, and bike lanes.
Soto: The Houston Penetrable
Museum of Fine Arts, Houston
Through September 1, 2014
The final installation in Jesús Rafael Soto’s Penetrables series—Houston Penetrable—will be on view at The Museum of Fine Arts, Houston, as of May 8. An interactive display of 24,000 PVC tubes, each hand painted and tied, will hang from the second story of the museum’s Cullinan Hall.
Museum of Fine Arts Houston
1001 Bissonnet, Houston
Through May 26
The Leatrice S. and Melvin B. Eagle Collection is one of the most remarkable decorative arts collections in the world, and goes a long way toward challenging the idea that there is a difference between decorative and high art. Although primarily American in scope, it also encompasses significant pieces by acclaimed international artists.