Eavesdrop> Everyone’s a winner? Mitchell Joachim and Michael Sorkin square off with rival anti-Guggenheim competitions
While the world has been discussing how much Drake’s “Hotline Bling” music video borrowed from James Turrell’s installations (Hint: a lot*), ARoS Aarhus Art Museum in Denmark announced that the artist is collaborating with Danish architecture firm Schmidt Hammer Lassen on the museum’s new expansion.
Analysis shows rapper (and urban planning enthusiast?), Drake, loves cities, is really sad about suburban sprawl
Brentin Mock at CityLab has produced an absolutely insane and brilliant interpretation of Drake’s 2015 single, “Hotline Bling.” It turns out, according to Mock, that Drake is not signaling an appreciation for James Turrell, nor is he sad about an ex-girlfriend. Instead, Mock’s line-by-line exegesis reveals that Drake is “sad about poor city planning.”
On September 12, New York–based practice Marc Fornes/Theverymany broke ground on its largest project to date, the Chrysalis Amphitheater project. The parametric structure’s fluid form is intended to define a public space and live performance venue for outdoor gigs and shows.
Bjarke Ingels receives LafargeHolcim Global Bronze Prize for his work to make a more resilient Manhattan
The LafargeHolcim Foundation for Sustainable Construction has recognized New York City‘s commitment to progressive and resilient solutions by awarding Danish architect Bjarke Ingels of his eponymous firm BIG the Global Bronze Prize. AN was on hand as Ingels and company accepted the award.
This Fall, I served as special media correspondent for the Council on Tall Buildings and Urban Habitat‘s awards ceremony in Chicago. Among the many architects, engineers and other tall building types I interviewed was Douglas Durst, head of The Durst Organization, a family-run real estate empire established in New York City 100 years ago. He was there to accept the Lynn S. Beedle Lifetime Achievement Award. Read More
The installation known as Rolling Sushi and part of the Osaka Canvas Project arts festival involves five oversized pieces of sushi floating down a local waterway as if it were the conveyor belt at a local restaurant. All aboard the sushi train?
Philippe Starck, the famed architect and designer, has let the world know that he incorporates the architectural adage of “less is more” into his everyday sartorial decisions. In a video interview with Nowness, Starck said, “I don’t wear underwear because I don’t need it.”
In an attempt to salvage the now-scrubbed project, Zaha Hadid has released a new video in defense of her firm’s design for the 2020 Tokyo Olympics Stadium. The film presents a robust—albeit familiar—argument for the reinstatement of the building. Once the bona fides of the project team (which includes Arup Sports) are revisited and a sensitivity to Japanese culture is declared, the oblique blame game begins.
What appears to be an explosive invasion of tiny black orbs is actually one small part of the solution to Los Angeles’ four-year drought. Colloquially called “shade balls,” these 36 cent buoyant spheres are a part of a $34.5 million water quality protection project by the Los Angeles Department of Water and Power (LADWP).