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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 firstname.lastname@example.org. ]
“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 email@example.com. ]
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.
AN recently profiled the emerging architectural typology of spaceports across the country, and now there’s news from the Houston site that helped launch the dream of space travel decades ago. Independence Shuttle, a full-scale replica of NASA’s iconic Space Shuttle, recently was moved from the Johnson Space Center (JSC) to its next-door neighbor, Space Center Houston.
To some people, the relocation was a matter of mere logistics. To others, however, the transfer symbolized not just a lessening of power and precedence associated with Johnson Space Center, but with NASA’s space program as a whole.
Houston is set to double the amount of tax breaks it gives to developers for downtown apartments and condos to try to lure people to the city’s sleepy business district. The City Council unanimously agreed to expand the Downtown Living Initiative, which first launched a year and a half ago, to offer tax breaks for 5,000 residential units, up from a previous cap of 2,500.
The historic Niels Esperson Building has lit up the Houston skyline since 1927, but far below the tower’s neo-Classical cupola, a basement space connecting to a series of tunnels meandering underneath the city has remained out of the spotlight. Now, the building’s basement gets to play catch up in the fame game with a $2.5 million renovation spearheaded by architectural firm Page.
Never mind! After all that fuss to preserve the iconic Texas tin structure, Rice University’s Art Barn met the Grim Reaper on Wednesday, April 16. While a group was able to salvage the building’s corrugated metal siding, wrecking crews tore away at the Martel Center’s structure, marking a definitive end to efforts of preservationists to move the building to another site in Houston. Andy Warhol’s famous oak tree planted in front of the former structure will remain intact, but once the dust clears only a grass lawn will serve as tombstone. A rogue power line temporarily stalled the demolition, thereby buying a commemorative moment for the Art Barn’s historical and cultural import. The building’s spirit will live on through the Menil Collection it once housed, as well as its legacy with other tin houses.