Welcome to The Architect's Newspaper Blog! It looks like you're new here, so you may want to consider joining the discussion on our Facebook page or on Twitter. Stay up to date with the latest blog stories by subscribing to the AN Blog RSS feed. Thanks for visiting!
Former Commonwealth Institute building and new home for the Design Museum (courtesy pixelhut, Flickr)
The Design Museum of London has welcomed over five million visitors since it opened in 1989, and now for the first time on September 22nd, it will open it’s doors virtually, via an online platform called Stickyworld. The web-based platform allows people to digitally navigate their way through the museum from the comfort of their own home. This is achieved by means of 360 degree renders, panoramic images and plans. The new location for the design museum is the former landmark Commonwealth Institute building in Kensington, which will provide three times the space of the current museum.
Santa Fe, New Mexico–based architecture firm WAMO Studio recently moved into a cool new office—a former walk-in ice cream freezer. The repurposed space, formerly used by Taos Cow Ice Cream to store frozen treats. The 550-square-foot freezer offers a sleek and industrial space with sheet metal walls and industrial-strength insulation. After a few adjustments, WAMO has transformed it from a frigid container to a viable workspace. Partner and architect, Vahid Mojarrab, described the space to the Santa Fe New Mexican as “a perfect fit” for the husband-and-wife architecture company, which specializes in energy-efficient and high-performance design.
New York City’s Van Alen Institute (VAI) is turning 120 next year, and to celebrate, the institute is taking its message of inspired architecture and urbanism to the street. The storefront space on West 22nd Street has been home to the institute’s popular LOT-EK–designed bookstore and event space, organized around a stack of bleachers made from reclaimed wooden doors painted highlighter yellow. VAI’s new director, David van der Leer, is tackling the redesign and expansion of the sidewalk space to maximize the organization’s public visibility as it evolves its mission into the 21st century.
Rendering of The Plaza at Santa Monica (OMA/ Metropolitan Pacific Capital)
Back in July it looked like Rem Koolhaas was about to land his first large-scale commission in Los Angeles with The Plaza at Santa Monica, a mega-mixed-use complex that would have graced a city-owned parcel at Fourth and Arizona streets. City officials seemed genuinely wowed by OMA’s theatrically-terraced design and a city selection committee recommended to Santa Monica City Council that they enter formal contract negotiations with the project’s developer, Metropolitan Pacific Capital.
But last week, the city council issued a resounding, “Not so fast,” voting almost unanimously against the recommendation, citing concerns over a lack of affordable housing.
Pushkin Museum Expansion Project Rendering (Courtesy Foster + Partners)
Moscow’s Pushkin Museum of Fine Arts expansion project, one of Russia’s most prominent and contentious building schemes, has spiraled into disarray. Since Foster + Partners’ winning plans to expand and modernize the 101-year-old institution were originally approved in 2009, the development has been confronted with a series of delays including disputes between officials and preservationists. Now, to cap it off, the firm has officially resigned from the project.
1960 Aerial View of Louis Armstrong Airport (Courtesy of Louis Armstrong International Airport)
With terminals at Washington D.C.’s Ronald Reagan International Airport and the Tokyo Haneda Airport under his belt (among several other transportation hubs), Cesar Pelli is no stranger to the challenges of designing airports. The New Orleans Times-Picayune reported that the Argentinian-born architect, who assisted Earo Saarinen on the iconic TWA terminal early in his career, will now collaborate with two New Orleans–based firms, Manning Architects and Hewitt Washington Architects, to redesign the Louis Armstrong New Orleans International Airport to coincide with the city’s 300th anniversary in 2018.
Ken Price’s colorful, sensual ceramic sculptures have always posed the question as to whether they are art or craft. But the blur may also include the architectonic. His signature forms—cups and eggs—set up a tension between exterior and interior. New York Times art critic Roberta Smith has written: “Their forms oscillated between the biomorphic and the geometric, the geological and the architectural.”
Price’s friend, Frank Gehry, designed the installation of the exhibition, Ken Price Sculpture: A Retrospective, currently on view at the Metropolitan Museum of Art through September 22. He lives with Price’s ceramics, his first purchase being a cup festooned with snails. Gehry wrote of Price’s work, “They were like buildings.” He cited a cup with a twisted piece at the top, and sees the similarity to his California Aerospace Museum, 1982-84, featuring an airplane jutting out of the structure. “I think the similarity of form was totally unconscious. Now I think a lot of architects must have been looking at those cups…the relationships are amazing.”
Todd Oldham (left) and the “Ladybugs” wallcovering pattern (right). (Courtesy Designtex)
At the NeoCon contract furnishings trade show in June, AN executive editor Alan G. Brake sat down with Todd Oldham to discuss the collection of wall coverings he developed for Designtex adapting the work of Charley Harper. Harper is arguably best known as an illustrator, but Oldham is working with the Charley Harper Studio to broaden Harper’s reputation and create new products using his menagerie of images of flora and fauna. A versatile designer of fashion, home furnishings, books, and objects, Oldham has a special interest in reviving midcentury designers and he previously worked with the Alexander Girard archive.
AN: Tell us about your interest in Charley Harper.
Todd Oldham: I had the great pleasure of knowing Mr. Harper for the last five years of his life. He was an amazing, magical man. I came to know his work when I was a kid. He did the illustrations for a book called the Golden Book of Biology, which was my biology text book in school. I loved it. So many years later I reconnected things and found him and forced my way in—he was very gracious about it
The Torre di Pisa is straightening up its act, according to scientists who monitor the famous tower’s tilt. There’s no need to worry, though, the Tower of Pisa won’t be standing completely vertical any time soon. The Huffington Post reported this week that the tower has shifted about an inch (2.5 cm) back toward being upright since 2001, when the structure was reopened to the public.
This gravity-defying maneuver was brought about by a restoration to the tower’s foundation that began in 1992 when the building’s foundation were secured, moving the entire structure a whopping 15 feet. Structural interventions included temporarily installing steel cables as an emergency measure followed by excavating stones beneath the tower and replacing them with steel and concrete. The overall effect, according to HuffPo, was to sink the tower slightly into the ground and thereby make it more vertical. Scientists said these restorative measures will make the Leaning Tower safe for two- to three-centuries.
Cardboard Cathedral, Exterior (Courtesy Shigeru Ban Architects)
As a result of a devastating earthquake in February 2011, New Zealand’s Christchurch Cathedral was left critically damaged. After an inconclusive debate about whether to completely tear down, restore, or remodel the original Neo-Gothic cathedral, the people of Christchurch were struck with what might be divine inspiration in the form of a temporary home, the world’s only cathedral constructed extensively of cardboard. Tourism New Zealand announced the inauguration of Cardboard Cathedral, a replica of the original church constructed of cardboard tubes, timber joints, steel, and concrete.