Lauretta Vinciarelli was a quiet but powerful presence on the New York architecture scene since the 1980s when she began producing “imaginary architectural settings” of buildings and landscapes. I considered it a great honor to be invited to her Soho loft to look and talk about her latest work 10 years before her death in 2011. It’s too easy as an architectural journalist covering the daily rough and tumble of urban architecture to get jaundiced about the profession, but Vinciarelli’s extraordinarily beautiful and quiet drawings and paintings remind me why we still believe in the power and hope of great architecture.
Who builds your architecture? “Not architects,” said Reinhold Martin. “By definition, architects do not build; they make drawings, write contracts, and do all these other things.” At New School’s Vera List Center on May 3, a roundtable facilitated debate and speculation on the rights of the lesser-discussed “workers” that make architecture happen.
Hadrian’s Villa—the real one, the 2nd century site of pilgrimages by architects, classicists, and any human interested in the origins of culture—has been selected as the site of a new garbage dump by a Berlusconi-appointed sanitation minister. That stinks!
“The Energy Tour” is a music video and performance tour premiering at the AIA 2012 convention, happening now in Washington D.C. Produced by YKK AP America, the video introduces the new YUW 750 XT unitized wall system, part of the company’s enerGfacade product line.
Part advertisement, part SNL Digital Short, part amateur YouTube upload, the video features two Ohio State students in suits rapping about new YKK AP products, “Listen up the saving starts now,/ Come and roll with us and we’ll show you how./ To minimize costs and reduce heat gain,/ What they say is we’ll make it rain.”
YKK AP America has used YouTube before, including a “Building a Better Tomorrow, Today” video competition and another enerGfacade product release video, both in 2010. With a simple beat and scenes of dancing architects excited about energy efficiency, this new video is a novel, youth-oriented addition to advertising for the design community.
|Brought to you with support from:|
|Brought to you by:
The artist’s first major U.S. commission lands at the Met
On Monday, the Metropolitan Museum of Art held a preview of the latest installation to take root in its Iris and B. Gerald Cantor Roof Garden. Designed by Tomás Saraceno, the installation is the largest of the artist’s Cloud Cities/Airport Cities series, and his first major commission in the United States. Under overcast skies and a sprinkling of rain, the installation’s first visitors—or at least those wearing rubber-soled shoes—clamored through its 16 interconnected modules. Some paused to sit or lie in the structure’s uppermost areas, while others were content to view the constellation of mirrored acrylic forms and nylon webs from the ground. The experience of boarding the structure is disorienting, and the piece gives visitors the impression that it would float away from the rooftop and over Central Park if not tethered to the Met by steel cables.
If all the world is a stage, according to Shakespeare, all the city is a kunsthalle in the eyes of the New York City Department of Transportation. Bogardus Plaza, a tiny pedestrian plaza carved out of a little-used block of Hudson Street in Lower Manhattan and named for architect James Bogardus, the inventor of the cast-iron building, just received a well-deserved facelift and has now been chosen to host a prototype art display case designed by Architecture Research Office (ARO).
The word “folly” is derived from the French folie, or “foolishness.” Also known as an “eyecatcher,” a folly was traditionally an extravagant, non-functional building, which was meant to enhance the landscape. Rooted in Romantic ideals of the picturesque, a folly often acted as an ornate small-scale intervention which transformed and visually dramatized the landscape around it. The winners of this year’s Folly Competition sponsored by The Architectural League of New York and Socrates Sculpture Park, competition winners Jerome Haferd and K. Brandt Knapp proposed a new interpretation of the folly, “Curtain.” Read More