The real estate roulette wheel known as the San Francisco America’s Cup is still in spin. In the latest turn of events, the city has kicked in a modest $8 million or so to complete partial repairs to Piers 30-32, which had previously been removed from the deal by the privately-run America’s Cup Event Authority (ACEA). Then, citing difficulties in securing corporate sponsors, the Authority named a new CEO and cut its staff in half.
How can technology and science revolutionize and restore our public spaces—particularly those disconnected and decaying districts that remain after colossal events such as the Olympics, biennials, and world’s fairs? These immense programs have shaped many an urban core, for better or for worse, from the Chicago World’s Fair of 1893 to the 2004 Athens Olympics.
As part of the Seattle Next Fifty, the 50th anniversary of the Seattle 1962 World’s Fair Century 21 Exposition, the Howard S. Wright Design Ideas Competition for Public Space challenged global designers, architects, and urban planners to re-imagine the 9 acre Seattle Center site that was part of the larger 74-acre campus, which hosted the original 1962 fair.
Architecture in the Expanded Field
CCA Wattis Institute for Contemporary Arts
1111 8th St., San Francisco
Through April 7
Theorist and critic Rosalind Krauss’s 1979 text “Sculpture in the Expanded Field” attempts to identify the scope of sculpture in a time when artists were redefining its traditional limits to include considerations of architecture, landscape, and space. The Wattis attempts a similar redefinition of the field of architecture; installations explore material, spatial, and perceptual concerns with emerging experimental technologies outside the limits of traditional architectural practice. A full-scale installation within and outside of the gallery transports visitors into the immersive environment, while a surface component presents the mapped expanded field of architectural installation.
A piece of performance art for the ages wrapped up early Saturday morning as the centerpiece of Michael Heizer’s Levitated Mass finally reached LACMA to fanfare typically reserved for a Hollywood premier. The star was a 340-ton rock that had enraptured spectators throughout its week-and-a-half journey into the city from a quarry near Riverside, CA.
Hung from a 22-axle, football-field-long carrier, the rock was greeted by thousands of spectators in the streets of LA as it slowly crawled towards its final destination on the northwest corner of the LACMA campus. “We’re really pleased it got here in one piece,” said Miranda Carroll, LACMA’s director of communications, who clocked the boulder’s touchdown at the museum around 4:30 a.m on Saturday morning. Read More