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Fortunately it has not been all doom and gloom this week for mass transit, as Ray LaHood took a media tour of New York, to plug for High Speed rail, mass transit spending in general, Cash for Clunkers, air travel, safe driving—you name it. He started out at an editors’ breakfast at Hearst, where PopMech reports he declared the first $8 billion is coming… soon. Later that night, LaHood stopped by—where else?—The Daily Show, where Jon Stewart tried to pin him down on the same question of where and when, and where LaHood gamely fielded some jokes. The next morning, it was a two-fer at WNYC, where he appeared on The Takeaway to further flog his talking points, raging against digitally distracted drivers and the poor state of air travel, and then, as the video after the jump shows, he took on local interests, discussing the proposed MTA cuts with Andrea Bernstein, as well as a no-go on gas taxes but more transit funding in the next “highway” bill. It’s about the smartest transportation talk we’ve heard in the mainstream in a while. Read More
To get a brief taste of a world short one more smart design magazine, type ID Magazine into the search field. You might get i-D with a bunch of nude blondes on the cover or id magazine at the ready to discuss transgender issues in Oregon, but you will not easily find I.D., the magazine that has covered the art of design and the design of the everyday for more than 50 years, winning five National Magazine Awards in the process. While nobody who wanted to know the new brand names in the making dared miss I.D.’s Annual Design Review every July/August (since 1954!), it was really the steady hand and sharp eye of its most formidable editors Julie Lasky and, before that, Chee Pearlman that made I.D. a force of good in design. Lasky left last February to join the website Change Observer and continue championing innovative design. The rest of us will just have to turn the page.
Among the winners at last night’s ceremony for United States Artists (USA) were architects Neil Denari, Laura Kurgan, and architect/activist Rick Lowe. The $50,000 unrestricted awards are given each year “to ignite the creativity that makes this country great,” according to the organization’s website. USA was started in 2005 with seed money from the Rockefeller, Ford, Prudential, and Ramuson foundations to support artists in the wake of dwindling public funding for the arts.
They praised Denari as a “leading voice in the pedagogy and practice of contemporary architecture,” and commended him for showing that “progressive ideology is buildable.”
Kurgan’s work employs “data network information and uses it as a visual device to inform and educate the general public on social issues and their physical implications to the built environment.” Read More
On Friday I posted a video about the Ocean Tower in South Padre Island, Texas, also known as the Leaning Tower of South Padre Island. It is, or was to be, a 31 story condo. Regrettably, after topping out one side of the foundation sank more than a foot into the sand, construction was halted, and on Sunday the structure was imploded. At 400 feet tall, it was the tallest concrete structure to ever be imploded, according to the demolition contractor, Controlled Demolition of Phoenix, Maryland. The above video, and many more like it on youtube, capture the magic moment.
Metaphorically speaking, so much of the development that has happened over the last decade has been built on loose sandy soil. Here, however, is a literal example of this very disheartening state of affairs: The Ocean Tower in South Padre Island, Texas—designed by the Brownsville-based Walker & Perez Associates—was to be a 31-story condo, promising startling views of the Gulf of Mexico and proximity to the most exclusive neighborhoods in the popular vacation destination. But after topping out last year construction was halted because one side of the building sank 14 or more inches into the underlying clay stratum. Major cracks appeared throughout the tower’s base, and now the structure is slated to be imploded this Sunday. The eloquent commentary on the above video gives voice to what we have all been thinking but afraid of saying while the myriad of architectural projects have been crumbling around our heads.
David Rockwell’s star turn at the Oscars last year won the designer considerable plaudits, so he’s been asked to reprise his role, according to UPI. “We loved the look and feel that David created for the Oscar show last year,” one of the producers said. “David is so creative and has such a great big-picture approach to set design,” said another. The well-known interiors ace has done considerable amount of work on Broadway as well as the Kodak Theater where the Oscars are taped, so really, it’s like a homecoming.
If you’re reading this, you probably have at least a passing interest in architecture and an equivalent understanding of its power to shape and influence the world. But what about those of us living in a world of our own? What about those of us on the autism spectrum? It turns out architecture can play an even more important role in their lives than for us average Joes, according to a Newsweek article (via Archinect) that explains the unexpected attraction of children with autism to SketchUp, Google’s free online drafting program. It turns out that for those on the spectrum, for whom verbal and interpersonal communication has often been challenging, the precision of the computer and the visual nature of SketchUp allow them to express themselves in new ways. Google has been exploring this world for a few years now, as the video above shows, and there is even hope it could help find careers for these aspiring architects. We’ll certainly welcome them into the field.
If you’re wandering the aisles of the Phoenix Convention Center for Greenbuild 2009 this week and need a break from the worthy trade booths, swing by Arizona State University’s Power Plants installation. It’s a mini-environmental system based on a polyvinyl panel with oxygen-rich aloe plants fed by an IV drip. Each structure incorporates a monitor displaying the scope of sustainable initiatives carried out at ASU. The idea behind the pipe is that it creates a structural narrative linking each element of the environmental system, and should be a lighthearted break in the day! The project is a collaborative design led by Jason Griffiths, Darren Petrucci, Phil Horton, and various members of the ASU student body. Also, don’t forget to come to The Architect’s Newspaper’s party tonight (co-hosted with Arup, SWA Group, and KMD Architecture) at Monorchid Studios, 214 East Roosevelt, just a five-minute walk from the convention center.
Planetizen published an interesting piece over the weekend looking at the relative disconnect between sustainability and starchitecture, or how form may have gotten futuristic of late, but not with the future in mind. The article’s a little plodding at times, though the argument is valid and clear:
Many contemporary buildings embody the age-old conflict between individual expression and the common good, while some appear almost antagonistic towards the environment. Frank Gehry’s aluminum billows and Daniel Libeskind’s tilted spires are largely aesthetic accents that use computer-aided design to create forms unbuildable, if not unimaginable, even a decade ago. The sheer expense of iconic libraries, concert halls, and corporate headquarters contradicts environmentalism’s drive for efficiency.
National Trust for Historic Preservation president Richard Moe announced today that he will retire in the spring of 2010. Moe, 72, is the longest-serving president in the organization’s 60-year history. The legacy of his 17-year tenure will likely be his push to bring historic preservation into the mainstream by revitalizing urban historic districts and promoting the environmental importance of saving aging buildings and structures.
“It has been an enormous privilege to be associated with the National Trust over these years,” Moe said in a statement on the National Trust’s website. “It has been the most fulfilling professional experience I have ever had.” Moe went on to say that his departure will present an opportunity for the Trust to seek a generational change at a time when its financial base and its programming are on solid ground. Read More