Ralph Lerner, architect and former dean of the School of Architecture at Princeton University, died in Princeton on Saturday, May 7, following a long battle with brain cancer.
A Fellow of the American Institute of Architects, Lerner resigned as dean at the University of Hong Kong Department of Architecture for health reasons and returned to the United States earlier this year.
As dean of Princeton’s School of Architecture from 1989 to 2002, Lerner set the school on a strong contemporary track with wide-ranging appointments among practitioners, critical historians, and theoreticians including Liz Diller, Jesse Reiser, Mark Wigley, Beatriz Colomina, Kevin Lippert, M. Christine Boyer, and Guy Nordenson. “Ralph very much put Princeton at the center of the architectural map, through the programs, exhibitions, and publications he sponsored as well as by the sheer force of his personality,” wrote Lippert, a 1983 graduate of the School of Architecture and founder of Princeton Architectural Press, in an email. Read More
In lower Manhattan, especially today when President Obama was in town to lay a wreath, the world’s media was fast talking about Ground Zero. Very few call it the World Trade Center. The GZ term is so widely used that few think twice about it.
And yet, just yesterday, a contingent of men and women responsible for rebuilding the World Trade Center braved the cold rain for a conference hosted by the Building Trade Employers Association (BTEA) and found themselves struck on the semantics of just those words. The event brought together the builders and suppliers of the 16 acre site for an update on building progress. Very little was said about the momentous events of the past week or the impending presidential visit, which, like the rain, was going to slow down work. This was a group with a singular focus: rebuilding.
BTEA President and CEO Louis Coletti introduced speakers who in turn discussed a particular aspect of the project. But when one speaker referred to One World Trade as “the Freedom Tower,” Chris Ward, the executive director of the Port Authority grimaced, held up his index finger to signify the number one and said, “It’s One World Trade.”
If you’re in Cambridge this weekend and you’re looking for a good time, head to MIT. That’s probably not what people usually say about a place where sleep is a treasured commodity, but the school is celebrating its 150th anniversary in a big way with a weekend of playful installations that light up the Charles River.
Plastics was the key word at the recent Columbia conference “Permanent Change: Plastics in Architecture and Engineering,” which featured some of the best architects working with polymers today. On opening night, Greg Lynn did away with traditional tectonics in favor of total composite design from recycled toys to beautiful racing boats. Several pieces were on display in the lobby, including a beautiful backlit ribbed column cover designed by Columbia associate professor Yoshiko Sato (assisted by Shuning Zhao and John Hooper). Sato, who’s known for her NASA design research and space course at Columbia, also designed the two over-sized plastic inflatable flowers suspended from the lobby ceiling, as shown above. The composite designs will be up and on view at the Morningside Heights campus at least another week.
Coming this summer to a Governor’s Island near you (as long as you’re in New York), the Burple Bup pavilion will fuse natural and synthetic materials to create a sustainable refuge from the sun. Composed of layered earthen strands winding sinuously beneath a translucent floating dome. Designed by Bittertang, the temporary shelter will provide a quiet meditative and social space on the island beginning May 27.
Our friends at Echo Park Patch today report on one of the coolest places in Los Angeles: Southern California Architectural Salvage (formerly Santa Fe Wrecking). Located in a large warehouse in downtown LA, it’s a great place to find architectural oddities like towering teak gates from Argentina, claw-foot bathtubs, iron gates, chandeliers, or vintage doors, sinks, and toilets.
The list is pretty extensive, and the only criterion: “It has to be different from what you get at Home Depot,” says owner Jerry Hernandez. Among our other favorite salvaging spots are Silver Lake Architectural Salvage, which recently moved to Pasadena, CA, the ReBuilding Center on Portland, Oregon’s Mississippi Avenue, and the Demolition Depot in New York.
Share your favorite salvaging hot spots in the comments below and check out a few salvage photos after the jump.
On Saturday, April 23 the conceptual Dutch design company Droog and Diller Scofidio + Renfro presented “Open House,” a project that offered dialogue for possible new social and economic models to revitalize pre-existing suburban neighborhoods. The one-day event began with a symposium at Columbia’s off-site Studio-X in Downtown Manhattan, followed by a field trip to Levittown, Long Island, where nine homes from the fabled, archetypal post-war American suburb were transformed into residential marketplaces with experimental installations by designers, architects, and homeowners.
With the exception of the World Trade Center, there’s probably no better place to call a press conference dealing with construction issues than Atlantic Yards. At the moment the controversial project practically guarantees a large press turnout. On Tuesday, the Department of Buildings used the site as a backdrop to launch a new safety campaign for the 7th Annual Workers Safety Week with a particular focus on getting workers to wear harnesses. Sixteen workers have fallen to their death since 2008, prompting the agency to call the campaign “Experience is Not Enough.” In addition to covering the initiative, the press also got a chance to check out progress at the stadium site from “court level.”
Artist Stephen Talasnik has long been inspired by architecture and engineering. Now he can return the favor, thanks to an in-office exhibition at Gensler in New York’s Rockefeller Center. The show, called Adrift/Afloat, includes 16 pieces, including sculptures, drawings, and diagrams. Talasnik’s work is in the collection of the National Gallery, the British Museum, and the Canadian Centre for Architecture, among other institutions.