[Editor’s Note: This post was written by Edward Gunts and James Russiello.]
The Portland Building, once considered for demolition, will be spared from the wrecking ball and renovated, according to its architect. Michael Graves, the building’s architect, said in late November that city officials have decided to renovate it for continued use as municipal offices and have asked him to serve on a committee that will coordinate the redesign effort. AN spoke to Graves at a symposium organized by the Architectural League of New York.
“It’s going to be saved,” Graves said. “They told me… They said they are saving the building and not only that but we want you to sit on a committee for the redesign.” Graves added that a time frame for the work has not been set but “I would imagine in the next year we’ll do something.” Dana Haynes, communications director for Portland Mayor Charlie Hales, confirmed that the Portland Building is not under threat of demolition and will continue to house city employees. He said Portland’s annual capital budget process will begin in January and city officials likely will begin to look at what resources the city might have to address flaws with the building at that time. Haynes said he was not aware that Graves had been asked to serve on a commission to help oversee work on the building, but he said he thought that made sense.
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Textured wood envelope draws on the history and landscape of Oregon’s Willamette Valley.
Sokol Blosser Winery‘s Willamette Valley tasting room, designed by Allied Works Architecture, pays homage to its agricultural surroundings in its massing and materials. Nestled within a set of terraces scooped out of the Dundee Hills, the building plants roots with a below-grade cellar, on top of which its long, low first story spreads like grape vines along a trellis. Both exterior and interior are wrapped in locally-sourced cedar siding—rough grey boards hung horizontally on the outside, smooth clear wood laid diagonally on the inside—whose regularity recalls aerial photographs of the vineyard. “We went with wood for a number of reasons,” explained principal Kyle Lommen. “There’s a history of wood in the agrarian architecture of that region. There’s a history of wood in wineries as well. And there was a desire to create an atmosphere that is warm and had a material quality.” Read More
National Geographic’s “Greatest Photographs of the American West”
Jordan Schnitzer Museum of Art
1430 Johnson Lane, Eugene, Oregon
Through December 31
Throughout its 125-year history, National Geographic has been home to some of the highest quality photojournalism in the world, captivating its audiences with powerful and spectacular imagery. This fall, the Jordan Schnitzer Museum of the University of Oregon is displaying the magazine’s greatest photographs of the American West; a region that has long captivated photographers. The exhibition will run through to December 31.
Included are photographs by Sam Abell, Ansel Adams, William Albert, and many other renowned photographers. The exhibition is organized into four sections, each focusing on various aspects of the American West and its significance to the country’s national identity. From spectacular rock formations to cowboys and Native Americans, this exhibition draws from the significant holdings of the National Geographic Archive. The American West was organized with the National Museum of Wildlife Art of the United States and Museums West.
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SubDivided provides a unifying element in Fenton Hall’s three-story atrium, tying each level together visually.
In December 2012, the University of Oregon completed a renovation of Fenton Hall (1904), which has been home to the mathematics department for the past 35 years. In addition to sprucing up the interior and upgrading the mechanical systems, the institution hosted an open competition for the design of an installation to hang in the building’s atrium. Out of roughly 200 initial applicants three were shortlisted, and of those the university selected a design by Atlanta-based architect Vokan Alkanoglu. Composed of 550 uniquely shaped aluminum sheets, the 14-foot-high by 10-foot-long by 4 ½-foot-wide sculptural form is derived from the curving geometry created by several opposed ellipses—a nod to the discipline that calls Fenton Hall home.
“We wanted to create something that would be visible on all three floors of the atrium to connect the levels and create flow in the space,” said Alkanoglu. “We also wanted to have an interior to the piece, so that you could see inside and outside, to give it a real sense of three dimensionality.”