When St. Louis architects Schwarz and Van Hoefen designed a 120-foot diameter flying saucer in 1967 along the city’s Grand Boulevard, historic preservation was likely the last thing on their minds. Today faced with demolition, the structure’s concrete cantilever has garnered tremendous public outcry and has become a local icon. (It’s facebook page numbers over 11,600 fans, trouncing the 850 fans of Chicago’s threatened Prentice Tower.) It’s hard to imagine a gas station turned drive through restaurant could muster such support with such an anti-urban background, but the Del Taco building isn’t leaving without a fight.
Yes, it’s conference time again in LA. The AIA Los Angeles Design Conference, part of Dwell on Design, kicks-off on Friday with an all day symposium, The Architecture of Transportation, which will discuss ideas to help transform L.A.‘s transportation system into an economically and socially viable network. Participants like policy makers, activists, urban designers and architects, will investigate a wide range of transportation-related ideas, like connecting people to their communities, influencing regional prosperity and helping cities compete globally.
It was an event that was on message and on time. With the unfortunate passing of Mayor Bloomberg’s mother this week, officiating duties for Design Commission’s Twenty-ninth Annual Awards for Excellence in Design fell to Deputy Mayor Patricia Harris and Design Commission president Jim Stuckey. As the invitation noted, remarks were scheduled to begin at 6:15PM, and Harris started remarking on the dot and kept to the script, reading directly from it in fact, with few off-the-cuff remarks. “Short and sweet,” was how one audience member described it afterward, with an Oscar-worthy combo of Harris and Stuckey–like an urban design version of Hathaway and Franko, without the awkward flubs.
Aircraft manufacturer Airbus unveiled its conceptual designs for a futuristic, see-through plane last week in advance of the 2011 Paris Airshow, which began today. The “Concept Cabin” showcases what commercial air travel could look like in 2050, and is packed with interfacing technologies and design features to give passengers an ultra-personalized and otherworldly experience.
Tucked away in in the bohemian enclave of Montmartre in Paris, Le Café de L’Enfer—the Cafe of Hell—welcomed all who dared pass through the mouth of a giant ghoul and a doorman dressed as the devil proclaiming, “Enter and be damned!” The exterior facade appears to be molten rock surrounding misshapen windows and dripping off the building while inside, caldrons of fire and ghostly bodies of humans and beasts covered the walls and ceiling. From an account published in Morrow and Cucuel‘s Bohemian Paris of Today (1899):
Red-hot bars and gratings through which flaming coals gleamed appeared in the walls within the red mouth. A placard announced that should the temperature of this inferno make one thirsty, innumerable bocks might be had at sixty-five centimes each. A little red imp guarded the throat of the monster into whose mouth we had walked; he was cutting extraordinary capers, and made a great show of stirring the fires. The red imp opened the imitation heavy metal door for our passage to the interior, crying, – “Ah, ah, ah! still they come! Oh, how they will roast!”
Quite a site! (In an epic battle of good and evil, another entrepreneur opened Le Ciel—”Heaven”—next door that was filled with clouds, angels, and harps.) The Café de L’Enfer operated from the late 19th through the middle of the 20th century. (Via How to be a Retronaut.)
With unanimous approval from the Landmarks Preservation Commission, Morris Adjmi‘s deceptively subtle take on the classic cast iron building is on its way to becoming reality. What at first glance appears to be a cast iron facade is actually a reverse bas relief cast in glass reinforced concrete—essentially a form in which you could mold a true cast iron facade. “This makes you think of how these buildings were built, from the initial casting to being assembled as components,” said Adjmi. “So this is really taking that and inverting it so it becomes a record of the process.”
If opponents of New York’s bike lanes think bikers get the upper hand, then they’d be stunned to see what TEN Arquitectos has planned for the main drag of Villahermosa, the capital of Tabasco, Mexico. Of course, accommodating bikes is only a small part of what is intended to overhaul the city’s spine including an eye catching pedestrian bridge anchoring the project.
The perforated, metal-clad boomerang of a bridge links two lakeside parks, the Tomas Garrido Park and Lake of Illusions. At street level the illusion takes hold as the bridge morphs into the shape of a giant alligator. A large amphitheater sits at its base with the park serving as backdrop. The project is set for dedication next week.
Behold! The unveiling of Apple’s next product… the iBuilding. Okay, so it’s not a product, but it is their highly-anticipated new campus in Cupertino, California. Steve Jobs, wearing his trademark mock turtleneck and jeans, revealed the plans—with fancy, although somewhat grainy renderings—at yesterday’s Cupertino City Council meeting (watch the video after the jump).
According to several reports, the architect of the new complex, whose land Apple bought from Hewlett Packard, will be Norman Foster, but that hasn’t been formally announced.
A few highlights of the new design: Apple’s new HQ is shaped like a doughnut, a spaceship, or an iPod trackwheel. It’s clad in curved glass with a giant courtyard in the middle. While Apple plans to increase it’s employees from 9,500 to 13,000, it will reduce its surface parking by 90% (from 9,800 to 1,200) and most of the parking will be underground. The vast majority of campus is set aside for landscaping (with an estimated 6,000 trees).
According to Jobs, the building will generate its own clean energy using the grid as backup. Given how the council treated Jobs like a visiting god, it looks like the company should get the project passed. If it moves forward, the new campus is expected to be complete by 2015.
According to an in-house memo, New York Times architecture critic Nicolai Ouroussoff is “moving on” at the end of this month.
The sweet but short memo about the critic—who this year submitted his own Pulitzer nomination package—was sent around this morning from culture editor Jonathan Landman. Ouroussoff’s plan, the memo said, is:
to write a book about the architectural and cultural history of the last 100 years, “from Adolf Loos’s Vienna and the utopian social experiments of post-revolutionary Russia to postwar Los Angeles and the closing years of the 20th century,” as Nicolai describes it.
Kids get it. While the adults stand around discussing the merits and aspirations of a large sculpture or installation, kids climb all over it. A few years back, when Richard Serra‘s Intersections II was installed in MoMA’s sculpture garden, toddlers raced between the tilted arcs in a game of hide and seek. More recently, kids playing around Situ Studio‘s reOrder installation have turned the Great Hall of the Brooklyn Museum into Romper Room. Now, with Storm King bringing in Mark di Suvero sculptures and Figment in town to install their annual golf course and sculpture garden, Governors Island is getting its workout.
The Guggenheim has been blurring the boundaries of what makes a traditional museum lately, and among their latest forays into the streets of New York is stillspotting nyc, a series investigating urban life (a previous program, Sanitorium, explored what keeps city dwellers sane as they rush about their hectic lives). Now, The Mute Button, a collaboration between the Guggenheim and Improv Everywhere, continues this trend by staging 23 under-cover actors and two dogs at the entrance to Prospect Park at Grand Army Plaza. The troup is a noisy bunch, until–presto!–the din of the city turns silent. A camera was on hand to catch the reactions of befuddled passers by. (Via Gothamist.)