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The more we are accustomed to seeing something the less likely we are to appreciate its beauty. But not Karlis Rekevics, an emerging New York-based artist who creates complex white plaster sculptures that engage with the built environment and capture an often-overlooked urban landscape.
Rekevics was selected as this year’s winner of the annual Clare Weiss Emerging Artist Award. Clare Weiss, the former Public Art Curator for Parks, curated over 100 outdoor public art installations throughout the city. After her death in 2010 the Clare Weiss Emerging Artist Award was established to honor her memory. The $10,000 award is granted annually to one emerging artist who practices in a neighborhood typically underserved by public art.
The Venice Biennale may be the most visible and glamorous architecture exhibition in the world, but it is not the only one on the design calendar. In fact, these exhibitions have been proliferating around the globe in the past ten years and several have not made it past their inaugural year. One of the best of the newer architecture exhibits is the Lisbon Triennale, which is about to host its third exhibition opening September 12, 2013.
If you drop by the Cleveland Public Library to get lost in a book, you may find reprieve from modern life outside the library’s walls, thanks to a giant reading nest custom designed by New York artist Mark Reigelman and LAND Studio. The installation is the fourth in a series, called “See Also,” which brings public art to the library’s Eastman Reading Garden. It will be in place through October 18. Read More
Ken Yeang is an architect and was an early theorist of green architecture. In England, where he was educated at the AA (completing a diploma under Peter Cook) and Cambridge where he earned a PhD in ecological planning and design, Yeang is celebrated as a founder of the sustainable architecture movement. In 1995 he published his major theoretical work Designing with Nature that evolved out his Cambridge thesis and it is one of the first texts on ecological architecture. At the The Architect’s Newspaper’s Facades+PERFORMANCE conference on July 11, Yeang will lecture in the US for the first time at the University of California San Francisco in Mission Bay. Yeang recently answered a series of questions posed by Mic Patterson of Enclos who will introduce him in San Francisco. Here is part one of the interview, the second half will appear tomorrow on the AN Blog.
Mic Patterson Your early theoretical work, and ultimately your built work, anticipated the sustainable development that is finally beginning to emerge at a broader scale: climatic design, green walls and vertical gardens, sky courts, biomimicry, solar geometry as a form generator. Why has the adoption of these concepts by the building community been so slow? How do you see these themes developing into the future?
Ken Yeang. I am not sure why our concepts and ideas on green design have been slow to gain traction by the building industry and by our community of professionals. It may be because public adoption of new ideas first require champions by important figures like politicians and leaders in the profession and industry.
Rendering and model of Cellular Complexity. (Courtesy Julia Koerner, Marie Boltenstern, and Kais Al-Rawi)
AIA Los Angeles has announced that UCLA SUPRASTUDIO lecturer Julia Koerner’s proposal Cellular Complexity is the winning entry for the 11th annual 2×8 Student Exhibition, a scholarship organization that has showcased projects of over 150 students from more than 15 architecture and design schools in California. This year’s winning scheme, in collaboration with Paris-based architect Marie Boltenstern and architect Kais Al-Rawi, presents a parametric pavilion of twisting planes that transitions in porosity from one end to the other. According to the AIA|LA, the jury appreciated the design concept’s creativity and edginess. The installation and exhibition of student work is expected to be complete by February 2014.
Construction of the Sky Reflector-Net at the Fulton Center. (Patrick Cashin / Courtesy MTA)
Next year, when construction wraps up at the Fulton Center in Lower Manhattan, commuters will be gazing up, rather than around, at the station’s new artistic centerpiece—a curved, 79-foot-high reflective aluminum diamond web encased in a stainless-steel tracery. The showstopper will send ambient daylight into the mezzanines, passageways, and possibly even the platforms to help passengers orient themselves in the transportation hub.
At $2.1 million, Sky Reflector-Net, an artist/architect/engineer collaboration between James Carpenter Design Associates (JCDA), Grimshaw Architects, and Arup, is an integrated work created for the Metropolitan Transportation Authority (MTA) Arts for Transit and Urban Design and Metropolitan Transportation Authority Capital Construction (MTACC). It is the largest such work that the MTA has ever commissioned. Sky Reflector-Net seamlessly incorporates both functional and aesthetic goals. The piece was recently installed within the transit center building designed by Grimshaw Architects and Arup.
The 1957 SOM icon seems to have acquired a consortium of ice hunks, courtesy Frank Gehry. Ostensibly a formal counterpoint to the elegant energy of Richard Lippold’s Radiant I, the original lobby art, Gehry’s glass agglomeration (fabricated by the John Lewis Glass Studio of Oakland, California) frames Radiant I and responds to its angularity with carved blobs. It’s admittedly atypical in the setting of the modernist masterpiece, but doesn’t overpower the space or the original artwork.
Nearly 42,000 architects, interior designers, facilities planners, furniture dealers, and distributors converged on NeoCon, the A&D industry’s largest exhibition of office, residential, health care, hospitality, institutional, and government design products. Held from June 10–12, the show included education components and keynote presentations from Bjarke Ingels, founder of BIG; Michael Vanderbyl, principal of Vanderbyl Design; Holly Hunt, president & CEO of Holly Hunt; and Lauren Rottet, interior architect and founder of Rottet Studio. AN was present to cover a handful of educational seminars and sessions (see our live tweets from Ingels’s presentation on our Twitter feed), and we scoured the showrooms in search of 2013’s new product trends. Following are a few we saw at the show.
Rendering of Snohetta’s SFMOMA expansion currently under construction (left) and Jennifer Dunlop Fletcher (right).
Jennifer Dunlop Fletcher was recently named the head of the department of architecture and design at the San Francisco Museum of Modern Art (SFMOMA), filling a position vacated by Henry Urbach more than two years ago. Fletcher just completed a assessment of the museum’s architecture and design collection, and, most recently, she co-curated the exhibition Lebbeus Woods, Architect. She sat down with AN editors Nicole Anderson and Alan G. Brake to discuss her plans for the department.
The Architect’s Newspaper: What direction do you plan to take the architecture and design department?
Jennifer Dunlop Fletcher: The collection just turned 25 and so I think it was important that my colleague Joseph Becker and I, along with Henry Urbach, really undertook a collection analysis and are trying to draw on the identity and strengths of the collection: the experimental and conceptual architecture, the iconic chairs that capture every 20th century design movement, and then the Bay Area collection.
Team Six’s Proposal for Empire Stores coffee warehouses (Courtesy of Brooklyn Bridge Park)
Proposals galore! Brooklyn Bridge Park (BBP) is moving full speed ahead with its plans to develop parcels of its 1.3-mile waterfront expanse. In September, the Park released a Request for Proposals seeking a developer to restore and makeover the crumbling Empire Stores warehouses into a lively mixed-use development consisting of office, commercial, and retail space, while also preserving the integrity of the massive historic structure.
New York’s inaugural design week, held from May 10 through 21, was a comprehensive, two-week celebration of all things design across Manhattan island, as well as parts of Brooklyn. Showcasing the latest from industry stalwarts to emerging and independent designers—local, domestic, and international—AN culled its top picks of New York Design Week products from the ICFF show floor, Wanted Design exhibitions, showroom launches, and all events in between.
The Low Collection 13&9 Design
The multidisciplinary Austrian design studio debuted at Wanted Design with a collection of furniture, wearable fashion and accessories, a cinematic video, and a music album. With the Low Collection (pictured above), Corian is formed into several seating styles that combine with storage vessels, all at ground level. Suitable for outdoors, furniture heights can be modified to generate a unique landscape.
Michael Graves (left) and the toaster he designed for J.C. Penney (right).
At J.C. Penney’s recent rebranding launch party, AN spoke with architect and product designer Michael Graves about his new collection for the company and some career highlights. He even offers advice for aspiring architects and designers and talks about some current design work.
How did designing a collection for JCPenney come about?
I’ve known some of the people at Penney’s since my Target days, so when this opportunity came around we were looking for a way to slow down our commitment to Target at that time. When Penney’s offered what they did to us, we grabbed it in a second. It was such a good deal in terms of having a shop within a store.
For me, that’s the game changer. If we were close friends and you told me you had to do some shopping for a relative or something like that, I’d tell you to go to our shop in Penney’s. It’s all there and that’s what excites me.