Yale University is under fire from its own faculty for a new collaboration with the National University of Singapore (NUS). Pelli Clarke Pelli is designing the campus of what will be a four-year liberal arts college based in Singapore. A recent Reuters article reported that the project has “stirred sharp criticism from faculty and human-rights advocates who say it is impossible to build an elite college dedicated to free inquiry in an authoritarian nation with heavy restrictions on public speech and assembly.”
Degrees issued by the Singapore-based college, called Yale-NUS, won’t be Yale degrees and technically it’s not considered a Yale branch campus. Yet is Yale guilty of selling out its values—the school’s motto is lux et veritas, “light and truth”—to extend its brand? As Reuters reported, “Christopher Miller, a professor of French and African American studies, has dubbed the venture ‘Frankenyale.'” The faculty began to voice their objections last spring, but may have been too slow on the draw—the new campus is well under construction and set to open this summer.
Check your rearview mirrors, Audi. The Japan-based luxury car company Lexus recently announced the launch of a new design award that calls for proposals on the theme of “Motion”: ”Our daily lives are continuously filled with motion. The motion of things, the motion of people. Moving people’s hearts. Shifting consciousness…” You get the idea. And it’s one that may ring a bell—the theme of this year’s Audi Urban Design Award was “Mobility.”
In an intriguing twist, architect Junya Ishigami of Tokyo, one of the 2012 Audi award finalists who dropped out of that competition before the October judging, has now reappeared as a “mentor” to the Lexus award. There’s the requisite big-name panel of judges (Antonelli, Ito, and more), and a five million yen (about $60,000) prize for each of ten winners. Imitation is the sincerest form of flattery, Audi.
Do radically small apartments automatically beget a transient population and all that entails? That’s the fear of residents in the Kips Bay neighborhood of Manhattan, the pilot site for a new building that will be 75 percent micro-units, or apartments that total about 300 square feet each. Community Board 6 finds it hard to imagine that anyone other than students or elves would be game, but City Planning Commissioner Amanda Burden is charmed by the diminutive plans, stating at a recent presentation, “I think you’ll all agree that the apartment behind me is some place that one and two [person] households would be delighted to live in.”
Amid the hubbub surrounding the Space Shuttle Endeavor landing inside its temporary digs at the California Science Center (our favorite part at the opening: James Ingram crooning I believe I can Fly, with LA Mayor Villaraigosa dancing in a trance behind him), the museum has done its best to keep the plans for the orbiter’s future home under wraps. But we’ve managed to uncover some tantalizing details of the Samuel Oschin Air and Space Center: For one, the new building by ZGF will measure around 200 feet tall, enough to accommodate the spacecraft and its booster rockets standing upright. It may also feature a slide to the base of the Space Shuttle. Now that’s what we’re talking about.
The Paul Rudolph townhouse at 23 Beekman Place hit the market in early December, listed at $27.5 million. The property consists of four separate apartments, including the four-level penthouse that Rudolph himself lived in, along with his pet rabbits. But buyer beware: the penthouse, which was renovated in 2006 by Della Valle and Bernheimer, retains many signature Rudolph elements, like the death-defying stairways with no rails. Potential buyers should also consider getting “some new sprinklers and a back-up security system installed,” as Chas Tenembaum, one fictional former tenant of The Royal Tenenbaums fame, noted after failing to escape the house in adequate time after a fire drill. “Four minutes and forty-eight seconds. We’re all dead. Burned to a crisp.”
LA architect Mark Mack has decided to take on several careers instead of the traditional single-job model. In addition to practicing architecture, he is now a screenwriter, chef, and DJ. He’s working on a screenplay about the early lives of Neutra and Schindler; he’s opening up a takeout restaurant focusing on small bites; and he’s spinning old and new songs on vinyl records. Surprised? Why? For all of us in LA it’s just a matter of time…
“If Zaha is in Paris, ask her to text me and make an appointment.” So read the text message from Karl Lagerfeld to Naomi Campbell. La Campbell was having a sit-down with Zaha Hadid, who happens to be designing the supermodel’s new house outside Moscow. But this wasn’t a meeting to review floor plans—it was an on-the-record chat (including incoming texts) for the German edition of Interview magazine. The conversation ranged from the subject of Hadid’s new book (on the Russian Suprematist movement, one of her foundational influences) to 3-D printers.
Funnily enough, Campbell covers a lot more ground than architecture writer Aaron Betsky manages in his recent and rather fluffy profile of Hadid for Glamour magazine, which named the architect as one of its Women of the Year. Here, Betsky cites Mame rather than Malevich as an early influence: “My house was like Auntie Mame’s, with my mother redecorating every season,” said Hadid.
In a recent issue of The New Yorker, writer Ben McGrath profiles Steve Clarkson, the private football coach to the quarterbacks of tomorrow. The writer interviews several adolescent clients attending Clarkson’s elite practice camp, including 10-year old Miller Moss (also featured on the article’s only photo). During a workout McGrath finds Moss’ father in the stands—California-based architect Eric Owen Moss.
“I would be completely disingenuous if I didn’t say I really enjoy this stuff,” said the elder Moss of the high-stakes training. “I’m embarrassed a little bit. It’s contagious in a way that even parents who should know better don’t always.” The design influence of the architect—once called the “jeweler of junk” by Philip Johnson—may be evident on the field: his son sports silver Nike cleats with the nickname “Miller Time” embroidered in gold.
On October 16 thieves nabbed a handful of valuable paintings, including works by Picasso, Matisse, and Monet, from the Kunsthal gallery in Rotterdam. At least one person points the finger at the architecture by home team OMA. Citing an interview with Dutch security expert Ton Cremers, Dezeen.com reports that the open plan and glass walls are a nightmare for guards. Cremers appreciates the design aesthetic of the museum, which was completed in 1992, but noted, “It’s an awful building to protect.”
AN has been anxiously awaiting official news of an architect for Los Angeles’ long-awaited Downtown Federal Courthouse, and we’ve picked up the scent of a promising rumor. Brigham Young’s DTLA Rising blog has heard from a “source at a large architectural and design firm in Downtown LA” that SOM has won the commission, beating out a short list of teams including Yazdani Studio and Gruen Associates, Brooks + Scarpa and HMC Architects, and NBBJ Architects.
The new $322 million courthouse will be located on a 3.7-acre lot in Downtown LA at 107 South Broadway and will contain 600,000 square feet incuding 24 court rooms. The General Services Administration (GSA), the federal agency in charge of building the new courthouse, hopes to have the project completed by 2016. The former art-deco courthouse at 312 North Spring Street will be sold to help pay for the new structure, drawing criticism from some politicians.
The GSA is expected to make an official announcement soon, and we’ll be sure to keep you updated as news comes in.
In a letter to Building Design magazine, the Architects Registration Board in London, aka ARB, has requested that BD no longer refer to Renzo Piano and Daniel Libeskind as “architects.” Apparently, neither are registered as architects with the all-knowing ARB, therefore “they are not entitled to be described as such,” states the letter. BD Editor-in-Chief Amanda Baillieu immediately called out ARB’s high-handed mandate in an online editorial, writing, “there is no other word to describe ARB’s ban on calling Renzo Piano an architect except bonkers.” The registration board’s Alison Carr later apologized for the letter, “Do I think that this was a great example to bring to BD’s attention and help raise awareness? No I don’t. We should have been more cautious so that we get the right message across at the right time, and for that I apologise.”
Everybody seems to be opening up new offices these days. One of our favorite firms, Barton Myers Associates, is moving from Westwood all the way to Santa Barbara, which doesn’t sound promising. Cunningham Group has opened new digs in Culver City’s Hayden Tract, the collection of arts offices made famous by the wild constructs of Eric Owen Moss. And UCLA Architecture will remain in Westwood. But it’s ready to open a new robotics lab inside the old Playa Vista research facilities of Howard Hughes.