Lauretta Vinciarelli, an artist, architect, and professor, whose water color paintings were deeply rooted in architecture, died Thursday in New York City. In the forward to her book Not Architecture: But Evidence That It Exists Brooke Hodge wrote of how “Vinciarelli’s work shows, indeed, how inextricably bound together art and architecture are for her and should be for more of us.” Her art crossed borders architectural form and space with an interest in light. “The paintings are of spaces I know that look nothing like what I paint,” Vinciarelli told Hodge.
Frank Gehry is looking to sell his archive, Richard Meier opens his Queens storage room for models to visitors by appointment, and now Renzo Piano is giving back, too. On June 10, his eponymous foundation launched a new awards competition to encourage young Italian architects, a rare breed these days.
To that end, the competition was open to designers under 40 with an office in Italy presenting a constructed work. The jury, composed mostly of architectural magazine editors, whittled 69 entries down to three winners who demonstrated “innovative and poetic space research.” The purse for the prize was 10,000 euros each.
The top honor, handed out in June, went to Iotti+Pavarani architects based in northern Italy. Piano was particularly impressed with their recently completed Domus Technica building, a training and innovation center for a manufacturing company in Brescello, Italy. Honorable mentions were bestowed upon ARCó and carlorattiassociati.
Lists: To-dos, Illustrated Inventories, Collected Thoughts, and Other Artists’ Enumerations from the Smithsonian’s Archives of American Art
The Morgan Library
225 Madison Ave.
Through October 2
In partnership with the Smithsonian Archives of American Art, the Morgan Library presents a collection of lists. Works include drawings by 80 creative list-makers, including Alexander Calder, Pablo Picasso, and Elaine de Kooning. These to-dos, illustrated inventories, and collected thoughts reveal a certain intimacy, inviting viewers to find interest in selected biographical moments. Each list exposes process by creating a memory archive of sorting, narrowing, and sifting thoughts. Oscar Bluemner’s list of works of art, May 18, 1932, pictured above, is an illustrated inventory of the artist’s recent landscape paintings.
Day becomes night. Alexander Brodsky: It still amazes me that I became an architect will be open at the Architekturzentrum Wien in Vienna, Austria through October 3. Described by the gallery as a “total installation,” Archidose also notes that during the exhibition “the day becomes night, the dimensions of space and time appear to slowly dissolve as one paces an archaeological chamber of wonders. Having returned to daylight, a selection of Brodsky’s completed projects provides insights into his architectural oeuvre.” (More images after the jump.)
Steel becomes ribbon. Streetsblog reports that San Francisco metaphorically cut the ribbon, unveiling a new public space on the two-block Powell Street Promenade. The Union Square shopping district is greatly improved by the eight six-foot wide Walter Hood-designed benches, constructed to resemble delicate ribbons.
Above the fray. The Westerholt E-66 Observation Wind Turbine stands out among the 40 turbines in the Holtriem Wind Park: it’s unique observation deck provides visitors with panoramic views of one Europe’s largest wind farms—for a price. Visitors must climb a 297-step spiral staircase to reach the viewing deck, according to Atlas Obscura.
Under the city. Produced by Silent UK, the documentary film Beneath the Surface trails urban explorers as they descend below the cities of London and Paris, says PSFK. The explorers climb through sewers, old subway lines, reminiscent of the NY Times five-day adventure last December under New York.
Of Sand and Stone. On September 8th, Milan-based architect Mario Cucinella will break ground on his One Airport Square project in Accra, Ghana’s capital city. The 230,000 square foot structure of irregular cantilevered floor plates embraced by a web of diagonal concrete supports meant to evoke traditional African patterns. Plans call for a dynamic pedestrian plaza with shops and cafes topped with commercial space. Solar panels are integrated among cantilevered terraces with indigenous fauna to protect the building from the scorching sun.
Chimes Bridged. It seems there’s something to making music while we walk. First a Swedish architect designed piano stairs and now an artist has created a musical bridge. Blending the sculptural, auditory, and kinetic, artist Mark Nixon designed a whimsical bridge that “sings.” Chimes hidden below the span are activated as visitors walk across, Gizmodo says. The musical creation was last displayed at Sculpture by the Sea, an exhibition in Aarhus, Denmark.
Village Uncovered. Villa Epecuen, a town located on Lake Epecuen, southwest of Buenos Aires, was flooded in 1985, but now after more than two decades, the water is receding. Photographs by The Atlantic uncover a strange, haunting landscape: aerial views expose the original street layout of the town, while others reveal original trees and cars visible amid the rubble.
Carmageddon Averted. For two days last weekend, the busiest stretch of highway in America—the 405 Freeway in LA—was shut down for construction. While many feared disastrous traffic jams bringing life in LA to a halt, it turns out that life went on without incident, according to the LA Times. During the traffic-non-event, JetBlue offered to fly residents between two of the city’s airports in Burbank and Long Beach, sparking a challenge from cyclists who said they could make the trip faster. As reported in Slate, it turns out the bikes were right, making the trip nearly an hour-and-a-half faster than by plane.
Destruction Archived. Information Aesthetics points us to the “Hiroshima Archive” which documents the extensive societal and structural devastation the atomic bomb caused 66 years ago. Using Google Earth’s virtual globe, the digital archive exhibits topographical maps, contemporary building models, photographs, and personal accounts from the Hiroshima Peace Memorial Museum, the Hiroshima Jogakuin Gaines Association, and the Hachioji Hibakusha (Atomic Bomb Survivors) Association.
Thursday, July 14 (tomorrow!)
200 Hudson Street
Anne Ferebee and Architect’s Newspaper alum Jeff Byles discuss their new book A History of Design from the Victorian Era to the Present (W.W. Norton, 2nd ed), turning a spotlight on New York City as a “roiling epicenter of modern design innovation, with a focus on architecture and urbanism stretching from that Victorian-era paragon of poetry in stone and steel—the Brooklyn Bridge—to Mies van der Rohe’s sublime corporate style and a new generation’s minimalist marvels on the Bowery.” (Not since e.e. cummings has NYC sounded so good!)
Tickets $16, purchase online at www.92Y.org.
194X–9/11: American Architects and the City
The Museum of Modern Art
11 West 53rd St.
Through January 2
Prompted by the United States’ entrance into World War II in 1942, Architectural Forum magazine commissioned pioneering architects to imagine and plan a postwar American city. At the tenth anniversary of the 9/11 terrorist attacks, 194X-9/11: American Architects and the City features the plans, renderings, and sculpture of Ludwig Mies van der Rohe, Louis Kahn, Paul Rudolph, and Rem Koolhaas and their ideas for cities of the future. Rarely displayed works, such as Mies van der Rohe’s collage Museum for a Small City Project (1942), above, reveal plans for cultural centers and urban life in uncertain times.
The American Style:
Colonial Revival and the Modern Metropolis
Museum of the City of New York
1220 Fifth Avenue
Through October 30
Following the U.S. Centennial of 1876, architecture in New York City was defined by what was known as “the American style,” a visual language referencing both the nation’s nostalgia for its beginnings and its progressive aspirations. A new exhibition reveals the impact of Colonial Revival on the cityscape through vintage photographs and objects like a 1926 mahogany settee by the Company of Master Craftsmen, whose volutes reflect a resurgence in classicism that is the trademark of the Colonial.