An internal New York Times email, acquired by AN today, announced that Michael Kimmelman would start this fall as the New York Times’ new chief architecture critic. Citing Kimmelman as “one of the paper’s great writers”, Jonathan Landman, deputy managing editor, wrote how Kimmelman started at the paper of record as a music critic and “swiftly morphed into an art critic.” And now after four years as a foreign correspondent, he will fill out his all-purpose critic portfolio as architecture critic.
Last month rumblings started going around the leafy Armour Hills neighborhood in Kansas City, Missouri. “Those hippies are up to something,” exclaimed one the area’s more conservative residents.
Local artist Pete Cowdin, who goes by the pseudonym A. Bitterman, has created a unique outdoor experience in his front and back yards. Entitled Point of Interest, the installation takes the property of the single-family home, and transforms it into a “national park.” The installation is an interesting critique of how society views nature as somewhere outside of the built environment. “We confuse Nature for the natural world, and this has generated a kind of madness,” Cowdin said.
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An abstract vision of the site’s future is also a high-tech marketing display.
As work at the World Trade Center site progresses steadily, a matryoshka-like replica of it has taken shape on the 10th floor of 7 World Trade. With a view of the construction below, the Silverstein Properties marketing suite occupies the same floor as the WTC architects’ annex offices, providing a tableau of the working architects as well as the completed site to prospective tenants of towers Two, Three, and Four. Scaled architecture studio Radii Inc. have been designing models of the site since its earliest phases, so Silverstein’s senior VP of marketing and communications approached Radii partners Ed Wood and Leszek Stefanski with his conceptual ideas for the diorama. “He wanted it to be big,” said Wood. “Our first questions was, ‘What are the ceiling heights?’”
Glimpses of New York and Amsterdam in 2040 at the Center for Architecture (through September 10) is a clarion call for designers to redefine sustainability in architecture. Though it didn’t start with this intention, the visions of 10 young architecture firms imagining future landscapes of New York and Amsterdam raise questions about what changes are imminent for urban development and what part architects can play. The projects suggest both practical and fantastical interventions to improve the prospect of urban growth in the face of ecological, geographic, and demographic shifts.
This year’s Serpentine pavilion by Swiss architect Peter Zumthor opens on Friday, July 1. The first images reveal not just a simple structure of humble materials but also a new type of collaboration for the Serpentine series. Zumthor invited the Dutch planting designer Piet Oudolf to join the project, and although Zumthor retains top billing, his design gives Oudolf center stage. Oudolf recently shared a plan with us of his vibrant garden scheme that forms the heart of the timber-frame structure.
Sooner or later, aerodynamic trains will be zipping across the farm fields of the heartland and the Van Alen Institute wondered what cultural, environmental, and economic implications such a novel technology would bring. After revealing ten winners of its Life at the Speed of Rail ideas competition, it appears that high speed rail could one day mean larger-than-life mechanical farm animals roaming around the countryside. At least that’s the vision of Stewart Hicks and Allison Newmeyer of Urbana, IL whose project, Animal Farmatures, reimagines farm implements as entertainment for passing riders.
Winners were announced today at the National Building Museum in Washington, D.C. and soon, the Van Alen will be taking Life at the Speed of Rail on the road (although unfortunately not yet by train). Stops include St. Louis’ Museum of Contemporary Art at 7:00p.m. on June 28, Houston’s James Baker III Institute at Rice University at 6:00p.m. on July 7, and Los Angeles’ Caltrans District 7 Headquarters at 4:00p.m. on July 12.
Los Angeles County Museum of Art
Through October 31
Best known for directing films like The Nightmare Before Christmas, Edward Scissorhands, Batman Returns, and Beetle Juice, Tim Burton and his work as an illustrator, writer, and artist are being honored with a retrospective at the Los Angeles County Museum of Art. This new show celebrates the way that Burton has managed to put his own spin on movies in an industry known for its fear of the unknown. With over 700 items on display, including drawings, paintings, photographs, film and video works, storyboards, puppets, concept artworks, maquettes, costumes, and assorted cinematic ephemera, visitors get a glimpse into the mind of this modern day Renaissance man.
Though the show debuted on the east coast at New York’s Museum of Modern Art, the LACMA version of the show, organized by Britt Salvesen, offers its own take on the Burbank native’s body of work. Burton collaborated with the exhibition designers to transform the museum’s Resnick Pavilion into an appropriately “Burtonesque” environment. He also created several new pieces for the exhibition, including what the museum describes as a “revolving multimedia, black-light carousel installation that hangs from the ceiling.”
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Self-supporting tessellations can take almost any form.
“People are pretty burned out on the office cubicle and panel systems,” said Nat Porter, general manager of Seeyond Architectural Solutions. The company, which launched this month, aims to give architects an alternative to standard space dividers with its new user-controlled parametric design and digital fabrication building system. Seeyond’s history goes back ten years, to sculptor and designer Jonas Hauptman’s experimentations with folded materials. For a class he was teaching, he turned for materials to Liberty Diversified International (LDI), whose roots are in the corrugated fiberboard industry. Hauptman teamed up with Paul James, a mathematician, economist, and industrial designer already working with LDI (now Seeyond’s parent company). They presented their business proposal in 2009 and the new fabrication system was born.
Continue reading after the jump.
In his own words, Dutch artist Theo Jansen is “creating new forms of life.” His mechanical creatures, the Strandbeests, are comprised of hundreds of yellow plastic tubes forming a skeletal structure that is able to walk along the beach with only the help of the wind. According to Jansen’s web site, he is looking “to put these animals out in herds on the beaches so they will live their own lives.” He has given his latest creations “stomachs” able to store the wind using a series of bicycle pumps powered by sails or wings on the Strandbeests. The air is compressed into plastic bottles that can power the machine when the wind dies down.
We got to see one of our favorite new architectural documentaries on Sunday, called Unfinished Spaces: Cuba’s Architecture of Revolution, by Alysa Nahmias and Ben Murray. The film documents the creation, and subsequent scuttling, of Cuba’s National Arts Schools. Designed by architects Ricardo Porro, Roberto Gottardi and Vittorio Garatti, the highly expressive Modernist schools, built mostly of Terra Cotta, were an example of visionary architecture and idealistic arts education for all, from dance to visual arts. But after the Castro government wearied of creative expression and embraced Soviet-style building, they changed their minds, shutting down construction, although classes later continued in the schools’ ruins. Now the country has once again done an about-face and is hoping to save them, despite a lack of government funding. Look at our next issue for a full review. And if you’re in LA, check out more screenings of the film on June 24 and June 25. Read More