Welcome to AN‘s live Facebook Live Stream chat on sustainability which took place on Wednesday, April 18 from 3:00 until 4:00 p.m. EST. “What is Green, Anyway” covered what exactly makes a project green, how effective green standards are, how sustainability is driving design (and whether it should), and where green design is heading. AN’s West Coast Editor Sam Lubell was joined by Angela Brooks, partner at Brooks + Scarpa, John Stein, president of Kirei, a green materials company, and Eric Corey Freed, principal at organicARCHITECTURE to discuss the issues and take your questions.
Thanks to everyone who stopped by and joined the discussion! (And don’t forget to like AN’s Facebook page to stay up-to-date with the latest architecture and design news.) Special thanks as well to our panel of experts.
Join us for a live Facebook discussion, “What Is Green, Anyway?”
Wednesday, April 18
12:00 p.m. PST, 3:00 p.m. EST
You’re invited to talk about sustainability with AN‘s West Coast Editor Sam Lubell, Angela Brooks, partner at Brooks + Scarpa, and John Stein, president of Kirei, a green materials company. The open discussion will cover what exactly makes a project green, how effective green standards are, how sustainability is driving design (and whether it should), and where green design is heading.
The best part is that the questions will be all yours, answered live by our participants. To participate in “What Is Green, Anyway?,” simply visit the AN Blog tomorrow at 3:00 p.m. eastern. We’ll publish a post to the AN Blog before the event and you can join the discussion and ask questions of the experts live over Facebook Live Stream. You can even share your comments with your Facebook friends directly. See you Wednesday!
Heather Hart: The Eastern Oracle
200 Eastern Parkway, Brooklyn, NY
Through June 24
For the fourth exhibition in its Raw/Cooked series displaying the work of budding Brooklyn artists, the Brooklyn Museum presents an installation by Heather Hart. Occupying the museum’s fifth-floor rotunda, the installation will consist of a single rooftop that lies flat on the ground, without walls and outside its original context. As Hart describes it: “A rooftop can refer to home, stability, or shelter, but in this context, it is also an action of reclaiming power.” The roof makes specific reference to the oldest architecture in the museum’s period room collection—the Jan Martense Schenck House, built in 1676, the second-oldest Dutch-American building in Brooklyn. Visitors are encouraged to physically interact with the structure, fulfilling Hart’s intention to create a place of self-reflection and self-empowerment.
Pedro E. Guerrero: A Retrospective
6518 Hollywood Blvd., Los Angeles
Through April 25
At age 22, Pedro E. Guerrero made a spontaneous visit to Taliesin West to meet Frank Lloyd Wright; upon seeing his portfolio Wright immediately gave Guerrero the position of principal photographer. Guerrero’s relationship with Wright would define his career; nearly all publications about Wright include his work. Moving to New York, Guerrero went on to work for journals including Architectural Record and Vogue, documenting the works of modernists like Saarinen and Breuer. His photography approaches architecture as sculpture, displaying an eye for composition and form that led to close personal and working relationships with Alexander Calder and Louise Nevelson.
Urban Visions: American Works on Paper, 1900-1950
Indianapolis Museum of Art
4000 Michigan Road
Through September 30
An upcoming exhibition at The Indianapolis Museum of Art’s Alliance Gallery will explore the ways in which artists dealt with the rise of industrial modernization and urbanity. In the first half of the 20th century, rapidly changing cities served as inspiration for new portrayals of human expression within these new environments. “The spectacle of metropolitan life” is presented through 25 works from IMA’s print collection, including lithographs, etchings, and engravings from well-known artists such as George Bellows, Childe Hassam, Edward Hopper, Reginald Marsh, and Isabel Bishop. The exhibition will display the art alongside vintage construction photos from the Chicago and New York skyscraper boom, providing context for these early interpretations of the city. Pieces from lesser-known artist and architect Gerald Kenneth Geerlings, whose aquatinted technical drawings of the emerging cityscape highlight the juxtaposition of emotional romanticism and technological progress, will be on display at IMA for the first time since 1970.
Breaking Ground: Chinese American Architects in Los Angeles (1945–1980)
The Chinese American Museum
425 North Los Angeles St., Los Angeles
Through June 3
As part of the Pacific Standard Time initiative, the Chinese American Museum presents Breaking Ground to showcase the pioneering contributions made by four Southern California–based Chinese American architects. These architects, Eugene K. Choy, Gilbert Leong, Helen Liu Fong, and Gin Wong, all made contributions to the development of postwar California architecture, from Choy and Leong’s playful Chinatown Modernism to Wong’s radical masterplan for LAX and Fong’s development of the Googie style (think neon signage and cantilevered boomerang-shaped roofs). Original and reproduced photographs, blueprints, renderings, and drawings of works by the architects are on display, including original photographs by architectural photographer Julius Shulman (above, The Choy House).
With the moody Architectural Billings Index landing in positive territory for the fourth straight month in February, the architectural community might begin to exhale a sigh of relief. Project inquiries alone saw its highest spike since 2007, up from 61.2 to 63.4 (anything over 50 indicates an increase in billings).
Architecture in the Expanded Field
CCA Wattis Institute for Contemporary Arts
1111 8th St., San Francisco
Through April 7
Theorist and critic Rosalind Krauss’s 1979 text “Sculpture in the Expanded Field” attempts to identify the scope of sculpture in a time when artists were redefining its traditional limits to include considerations of architecture, landscape, and space. The Wattis attempts a similar redefinition of the field of architecture; installations explore material, spatial, and perceptual concerns with emerging experimental technologies outside the limits of traditional architectural practice. A full-scale installation within and outside of the gallery transports visitors into the immersive environment, while a surface component presents the mapped expanded field of architectural installation.