Tuesday evening’s John Soane’s Museum gala was a great evening for the assembled supporters of the London museum on Lincoln’s Inn Fields. It started when Soane Board President Thomas Klingerman asked the audience “How many of you read The Architect’s Newspaper?” You probably saw the Eavesdrop column on Jay Z and Beyonce visiting Cuba on a Soane architecture tour (their itinerary included landmarks by architect Miguel Coylua, among others). Things are really changing at Soane! After the irrepressible Suzanne Stephens opened the program awards, inscribed Soane Foundation medallions were given to Carole Fabian, director of Avery Architecture & Arts Library at Columbia, and Barry Bergdoll for their joint acquisition of the Frank Lloyd Wright Archives.
The Berlage Institute in Holland, recently reformed as part of Delft University has named Nanne de Ru to be its new Director. De Ru follows an illustrious series of Directors that include Herman Hertzberger, Wiel Arets, Alejandro Zaera-Polo, and Vedran Mimica. The new director is an architect and partner of Powerhouse Company in Rotterdam and holds a Masters Degree in architecture form the Institute in 2002. There is no word yet on the role and direction of the newly restructured Institute.
The Museum of the City of New York presents A Beautiful Way to Go: New York’s Green-Wood Cemetery, a new exhibition that examines the Brooklyn cemetery’s astonishing 175-year history, on view from May 15 to October 13. As a National Historic Landmark that predates both of Olmsted’s Central Park and Prospect Park, the cemetery grounds cover a vital 19th-century American public green space and remain a critical site in New York’s architectural history.
Los Angeles architect Arshia Mahmoodi, founder of the firm VOID, has launched an online petition to try to help save the troubled exhibition, A New Sculpturalism: Contemporary Architecture in Southern California at MOCA. The show, scheduled for a June 2nd opening, is currently in a holding pattern, and its curator Christopher Mount told AN he feared it would be cancelled. Mount blames mismanagement at MOCA, while several news reports have pointed to general apprehension about the show, and the recent withdrawal of Frank Gehry. Mahmoodi released the petition—directed to MOCA director Jeffrey Deitch—yesterday.
In the wake of the completion of the $111.9 million Bing Concert Hall in January, Stanford University has kicked off construction on a new seven-story hospital as part of the ongoing renewal of its medical center. Designed by New York City–based Rafael Viñoly Architects, the facility features a modular layout that allows for incremental horizontal extensions to the building. This development strategy seamlessly merges with the low-rise campus. “This project represents an unprecedented endeavor in the hospital’s successful 50-year history of healing humanity,” said the ever-modest Viñoly in a statement. “By reinterpreting and updating the Stanford campus and the original hospital through a modular plan, it is poised to adapt to evolving medical technology while continuing to provide advanced care and treatment—in a healing environment unique to Stanford—to patients from surrounding communities and beyond.” One of the largest developments currently underway on the San Francisco Peninsula, the new hospital will be open for patient care by 2018.
OVERDRIVE: LA Constructs the Future, 1940-1990
The J. Paul Getty Museum
Through July 21
Gleaming cars speeding down an intricate freeway system, flashy movie theatres, quirky coffee shops, sleek corporate towers and residential spaces, drive-in churches, the infamous Hollywood sign, LAX Airport (above), and a lucrative petroleum industry are just some of the many impressive characteristics associated with the rich culture of Los Angeles. This exhibition at The J. Paul Getty Museum explores a metropolis that remained in “overdrive” throughout the 20th century, implementing cutting-edge architectural design to effectively respond to civic, environmental, and socioeconomic challenges that plagued the city. In just 50 years, the city rapidly evolved into one the most influential industrial, creative, and economic capitals in the world. Through drawings, photographs, models, animations, oral histories, and ephemera, the exhibition celebrates the notable transformation of the city of Los Angeles from 1940–1990.