A big “Happy 40th Birthday” goes out to the Sydney Opera House this year, which is still looking good in its middle age. Completed by Danish architect and Pritzker Prize–winner, Jørn Utzon, in 1973, the iconic performing arts center is now an internationally renowned late modernist architectural marvel. Originally, when Utzon entered the 1956 New South Wales Government sponsored competition to envision two performance halls on the Sydney Harbor, his design was discarded. However, his “entry created great community interest” and the jury was persuaded to choose him as the sole architect in the ambitious project.
Utzon received the Pritzker Prize in 2003 and the building made the World Heritage List in 2007. The architect died one year later in Copenhagen but his vision lives on. Against a Sydney Harbor backdrop, the Sydney Opera House has become a graceful, yet dynamic symbol of Australia.
The landmark Aluminaire House is homeless yet again. The situation is not so out of the ordinary, however, as preservationists and communities have recently been confronted with the futures of these pioneering modernist structures. In this particular battle, a team of architects is hoping to relocate the historic house, which has already been disassembled and rebuilt three times, to a vacant lot in Sunnyside Gardens, a landmarked district in Queens. The proposal to reassemble the house as part of a low-rise residential development at 39th Avenue and 50th Street is facing uncertainty from residents who would prefer the site be turned into a community park.
The fate of an 8,500-square-foot house designed in 1970 by architect Romaldo Giurgola in Wayzata, Minnesota hangs in the balance following what the Minneapolis Star-Tribune reported as 2012’s priciest single-family housing deal in the Twin Cities. Just months after paying $10 million for the lakefront property, the new owner, Cargill heir Donald C. MacMillan, has presented plans that could include the building’s demolition.
To celebrate its perennial master of modernism, Ludwig Mies van der Rohe, the Illinois Institute of Technology produced a video showcasing his work and influence in Chicago. Take a few minutes on the 75th anniversary of Mies’ arrival in the Windy City to watch it.
Frank Gehry should be plenty busy with ambitious plans to revitalize downtown Toronto and to expand Facebook’s offices on the boards. Now, Gehry has been commissioned by the National YoungArts Foundation (NYAF) to update one of Miami’s most elegant and historically significant urban spaces: The Bacardi Complex on Biscayne Boulevard.
Carlo Scarpa: The Architect at Work
The Arthur A. Houghton Jr. Gallery
The Cooper Union
7 E. 7th Street
Through April 21
A collection of hand drawings and photographs of work by renowned postwar Italian architect Carlo Scarpa is on view for the first time in New York. The exhibition depicts the conception and realization of two major works, the renowned Villa Ottolenghi (Bardolino, Verona, 1974–79) and the Il Palazzetto series of imagined interventions in a 17th-century villa (Monselice, Padua, 1969–78).
We spotted this amazing cartoon by fueledbycoffee over at Core 77 this week and think it’s pretty amazing. Don’t miss the rest of the cartoon over at Core77 showing adaptations of Noguchi and Nelson. We’ll be out on Monday, but right back in the game come Tuesday morning. Have a great Memorial Day weekend!
Solar Cycle. The Dutch dream up a ways to capture latent energy beneath bike tires.
Go East Young Man. With the economy in the States still somewhat sour, the good news for West Coast firms is in the East, the Far East, writes AOL’s Daily Finance. AIA’s Scott Frank spills the goods for Danny King.
Walled Out. It was hard to miss the spirited crowd on Chambers Street yesterday as three City Council committees held a joint hearing on Wal-Mart’s proposed move into New York held. Wal-Mart was a no show. The line to get in stretched down the block. And Council Speaker Quinn blasted away. Today’s Daily News editorial found the whole drama, well, dramatic.
Polar Opposites. Ben Thompson and Paul Rudolph were cut from the same Modernist cloth, under the influence of Gropius, but the two took different paths. One was from the north the other from the south, one standoffish, the other a team player. One a sculpture, the other an entertainer. In Architecture Boston, David N. Fixler explores how their forms function.
An exhibition of architectural photographer Ezra Stoller’s work will open at the Yossi Milo Gallery tonight in New York and runs through February 12. A few of the photos are instantly recognizable, such as a photo of the Guggenheim lobby featuring women in pillbox hats standing in the foreground. But the gems of the show are those taken off the beaten path, like the roof of the Seagram’s Building or a parking garage in Miami.
Everyone may be a critic, but none moreso than Roger Ebert. While film has long been the Chicagoan’s preferred medium, he has increasingly cast his eyes and pen elsewhere on his Sun-Times blog (begun after a bout of thyroid cancer). Yesterday, he fixed his attention—and mostly scorn—on modern architecture. It’s a highly opinionated piece, one in which Ebert openly admits his increasingly “reactionary” preferences:
It was not always so. My first girlfriend when I moved to Chicago was Tal Gilat, an architect from Israel. She was an admirer of Mies. Together we explored his campus of the Illinois Institute of Technology. She showed me his four adjacent apartment buildings on Lake Shore Drive and said they looked as new today as when they were built. It is now 40 years later, and they still look that new. Then I was impressed. Now I think of it as the problem. They will never grow old. They will never speak of history. No naive eye will look at them and think they represent the past. They seem helplessly captive of the present.