Hiroshima: Ground Zero 1945
International Center for Photography
1133 Ave. of the Americas at 43rd St.
Through August 28
An abandoned suitcase, a house fire, strange markings on old photographs. These were the key clues in a mystery that Adam Harrison Levy began to unravel almost ten years ago when researching a BBC documentary about the bombing of Hiroshima. Levy’s intriguing narrative now serves as the backdrop for the black-and-white photographs in Hiroshima: Ground Zero 1945, an exhibit running through August 28 at the International Center for Photography in New York. On July 20 at the Van Alen bookshop, Levy read from his essay in the exhibition catalogue while ICP curator Erin Barnett discussed her research for the show of 60 photographs, all drawn from an ICP collection of almost 700 images that once belonged to Robert L. Corsbie.
Though a bit more sedate then the previous night’s party, where copious amounts of caipirinhas were consumed, the New Practices Sao Paolo panel discussion on July 15 was not without its own fireworks. Toshiko Mori and José Armenio de Brito Cruz moderated the panel which was preceded by presentations from the ten winners. A strictly enforced ten-minute time limit made presentations feel like the Oscars when the orchestra music begins to swell. Though each presenter struck an distinct note, one could pick up on a few common threads. I certainly wouldn’t call it anti-green, but a few presenters markedly pointed out that there are other immediate matters in Brazil that compete with sustainability. “We didn’t want to create a green building,” said Triptyques’ Carolina Bueno, when describing her building, which, oddly enough, included “pores” in the facade for plants to grow. More to the point, Arkiz’s Rafael Brych questioned whether “green demagogical discourse” shaping the architectural discourse fully represented what was needed in Brazil.
Ready access to fresh fruits and vegetables is seen as a key factor in improving public health. In many low income communities grocery stores are scarce. The Bloomberg administration is addressing these “food deserts” with an innovative, small scale program called NYC Green Carts, issuing extra permits to fruit and vegetable vendors in targeted neighborhoods throughout the city. The program is the subject of a photography exhibition at the Museum of the City of New York, organized with the Aperture Foundation.
On Thursday, the East River Waterfront Esplanade officially opened to the public. Last week, while the paint on the new bike lanes was still drying, City Planning Commissioner Amanda Burden took AN on a walk through of the first section. The commissioner barely contained her excitement while showing off design details by landscape architect Ken Smith and SHoP Architects. Follow the commissioner as she takes us through the dog run and points out clever details like the “Get-Downs,” the riverside bar stools, and “seat walls.”
Lorena Turner: Made in China
114 Smith Street
Through July 31
Product packaging started primarily for hygienic reasons. General stores used to stock sugar, crackers, and pickles in huge barrels, and for every order the grocer would dip in his scoop. Not only was it unsanitary, but customers also might leave wondering if they got what they paid for (“Was his finger on the scale…?”). Food packaging guaranteed sterile products and standardized portions—in a word, purity.
The New York City Economic Development Corporation announced Wednesday that the former Taystee Bakery site in Harlem will be redeveloped into a green, mixed-use structure featuring light manufacturing, artists and not-for-profit spaces, a local bank, an ice skating rink, and a local brewery. Project developers Janus Partners and Monadnock Construction asked LevenBetts Architecture to create a design that merges the eclectic program to create an economic and social center for the neighborhood.
It’s been several weeks since our last visit to the World Trade Center site. On our return today we were taken with the manner in which different architects handle ventilation at the site. The most obvious example are the two large vent structures that protrude from the west side of the Memorial Plaza. The concrete buildings are a necessary solution to a complicated infrastructure problem. Davis Brody Bond (now Aedas) designed a mesh mask for the concrete structures and workers were putting the finishing touches on south building today.
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.