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Big-time sports architect Dan Meis, who has designed, among other projects, LA’s Staples Center and Seattle’s Safeco Field, is on the move yet again. In the span of just a few years he has shuffled from his own practice to Aedas, then back to his own firm to Populous, to his own firm again, and now he is joining Australian firm Woods Bagot Sport to become its global director. Exciting opportunties? Commitment issues? “I’m not crazy about having been with a couple of different firms in a short time period,” admitted Meis. But he sees it differently: “For me it feels like I’ve been in the same practice all along. It just feels like I’ve been associated with a lot of firms.”
Though the ten-year-old design firm Roman and Williams has worked on high profile projects for NYC’s Ace Hotel and the Breslin restaurant, The Standard Hotel and its “iconic” Boom Boom Room, the new food hall for Facebook’s campus, celebrity homes for Ben Stiller and Gwyneth Paltrow as well as their own two homes/design laboratories, founders Robin Standefer and Stephen Alesch have never launched a product line of their own. For their very first collection they collaborated with Waterworks on R.W. Atlas, a series of industrial yet elegant bathroom fixtures inspired by traditional American craftsmanship.
A marble slab tops the Metal Two Leg Single Washstand (below), an Unlacquered Brass stunner that speaks to the collection’s overall masculine/feminine power play. “R.W. Atlas is part of our ongoing interest in embracing the idea of American utility, but imbuing that with a sense of glamour and sophistication,” explains Standefer, principal of Roman and Williams. Like the rest of the collection, its primary components are made from brass and are available in a variety of finishes, including Burnished Nickel and Carbon. Read More
Retail will wrap around the proposed tower’s base at Second and Race Street (Courtesy Peter Gluck and Partners).
Last week Philadelphia’s new zoning code went into effect, but projects nurtured under the old code may still be rising. Just yesterday, architect Peter Gluck presented a tower proposal to the Old City Civic Association for a 16-story building adjacent to the Ben Franklin Bridge. Because the zoning permits were filed last month the building is subject to old code.
Gluck’s presentation of 205 Race Street soured when new renderings revealed that an early proposal by SHoP Architects, initially approved at a 100-foot height, had morphed into a 197-foot tower that sets back from Race Street, PlanPhilly reported. The group voted 11 to 1 to oppose the project.
With Hudson River Park languishing, Douglas Durst is weighing in on dilemmas at Pier 40 (at left). (Stoelker/AN)
As AN recently reported, Hudson River Park is still in the weeds, both literally and figuratively. Now Douglas Durst is pointing to a possible solution to the beleaguered Pier 40. The pier was once one of the few money making sources for the self-sustaining park, but it is now deteriorating and costing $2 million a year to maintain. Durst, chair of the park’s friends group, toldThe New York Post that the park should consider stacking up the existing parking to free up valuable space and in turn rent the pier as lofts to the area’s expanding tech sector. The notion could avoid a lengthy State Legislature battle and an uphill ULURP processes for the proposed hotel/residential complex.
This streamlined Scandinavian stunner is not your granddaddy’s rocking chair.
We have lounges, chaises, day beds and a range of other seating options designed for nesting, curling up, reclining and relaxing, yet the rocking chair, that front porch symbol of lazy day languor, has been mostly forgotten by modern design. In fact, Design House Stockholm, the self-described publishing house for contemporary Scandinavian design, noted that “at some time in the 20th century the design development of the rocking chair stopped” altogether. With that in mind, Stockholm-based furniture designer Fredrik Färg created Rock Chair, a rocking chair that “continues the traditional rocking chair’s comforting function but in a modern design.”
The Los Angeles Bureau of Engineering has announced three finalists in an international design competition for the $401 million Sixth Street Viaduct Replacement Project. The three finalists—AECOM, HNTB, and Parsons Brinckerhoff—will be asked to design an “iconic” cable-stayed bridge across the LA River between the LA Arts District and Boyle Heights. The project is complicated by overhead high voltage lines, a change of alignment that will remove a kink in the roadway, and numerous right of way and jurisdiction issues near the river.
Just a couple months ago, a house by Frank Lloyd Wright’s son Lloyd—the Moore House—was destroyed in Rancho Palos Verdes, California. AN called its loss the “archi-crime of the year,” but now developers in Phoenix, Arizona could one-up the razing with the demolition of an original Frank Lloyd Wright designed for another of his sons, David. The threatened David Wright House is a spiral-planned textile block masterpiece that predates the Guggenheim (the most famous Wright spiral), and an effort is underway to save the property.
Cincinnati, a city on the move, released a draft of its first master plan since 1980 in anticipation of approval by the planning commission August 30. The 222-page draft identifies five “initiative areas,” dubbed Compete, Connect, Live, Sustain, and Collaborate. Each contain tasks for growth over approximately ten years, according to the plan, although the document will receive annual budget reviews and will be officially updated every five years.
Next time you visit old town Pasadena you may be in for a suprise. When you slink down an alley off of Fair Oaks and Colorado, the next thing you see will be a four-story, 35-foot-tall skyscraper, sitting in the middle of a courtyard. It’s an installation by artist Chris Burden (yes, he’s the one that did the cool lights and all the matchbox cars at LACMA) called Small Skyscraper (Quasi Legal Skyscraper).
Burden collaborated with LA architects Taalman Koch on the open design, which conists of slabs of 2x4s supported by a thin aluminum frame. Burden started envisioning the project back in the 90s, but at that time the idea was for a solid structure made of concrete blocks. This one is lightweight and seems almost like an erector set. Presented by the Armory Center for the Arts, Small Skyscraper will be on display until November.
The way people experience color can be subjective, as preference for a particular color is a personal one. Artists, however, have evoked certain emotions such as pleasure or gloom by manipulating color in value and hue in their pieces. San Jose Museum of Art’s Local Color explores the effects of color through a range of works selected from their permanent collection, displaying over twenty artists who experimented with color. Viewers will be able to experience a myriad of emotions as they venture through this multihued exhibition which will include simple black and white pieces as well as saturated, colorful works. From the modest palette of blue, gray and black in the hypnotic painting Wheel by Barbara Takenaga to the luscious and bright colors featured in Bischoff’s photographs of Barbie dolls, the exhibition’s various pieces will allow visitors to recognize color itself as a medium in art.