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Fabrication techniques honed for racing boats give the dome new life.
Racing boat builder Goetz Composites has crafted many icons of the sea, including ten America’s Cup boats. Now, the company is trying its hand at architectural icons. Several months ago, Goetz began the restoration of Buckminster Fuller’s Fly’s Eye Dome, one of only three existing prototypes of the prefabricated shelters that the designer patented in 1965. The piece, a 24-foot-wide fiberglass shell with Plexiglas eyes, had been neglected for years and arrived at Goetz’s Bristol, Rhode Island, headquarters with chipped corners, peeling paint, and a patina of mold.
Earlier this fall the rapper Ice Cube pleasantly surprised us by turning up in posters promoting the Getty’s exhibition series Pacific Standard Time: Art in L.A. 1945-1980, a sweeping SoCal round-up that also covers the work of architects and designers. It turns out that before founding the group N.W.A., Ice Cube studied architectural drafting, and in the process he became a fan of Ray and Charles Eames.
In a video just released by the Getty, Ice Cube communes with the designer couple’s famous Case Study #8 house in Pacific Palisades, walking around the exterior to admire the “off-the-shelf factory windows, prefabricated walls” and then kicking back in a 670 lounge chair inside to hold forth on the Eames’ approach of mixing the new with the old, comparing it to sampling in music: ” They was doing mash-ups before mash-ups even existed.” But the most instructive part of the video may be Ice Cube’s decoding of the traffic specific to L.A. freeways…watch for it here:
For more on Ice Cube’s take on design, read his interview with the New York Times.
The developers of Santa Monica’s gallery haven Bergamot Station are planning another art center, this time in San Pedro. “Crafted at the Port of Los Angeles,” which was just approved by the Los Angeles Harbor Department (city council approval is still pending) will offer paintings, sculptures, and other artworks sold by 500 artists sitting in open stalls. The facility, set to open next summer, will be located inside the city’s warehouses No. 9 and 10, located near Cabrillo Marina. The structures, totaling 140,000 square feet, were used by the Navy during the 1940s, then later for storage. Their clerestory windows and huge doors will allow lots of light and air inside.
Inspiration and Transformation
Yale School of Architecture Gallery
Through January 2012
The first show to present the work of Gwathmey Siegel and Associates, Inspiration and Transformation at the Yale School of Architecture explores the connection between architecture and art over eight firm projects. Those selected are a diverse group, represented by a range of mediums that include sketches, blueprints, models, photographs (of the de Menil House, above), and drawings, and personal documents. But the emphasis falls on the firm’s institutional work: the renovations and additions to Yale School of Architecture’s Paul Rudolph Hall; the Guggenheim Museum annex and renovation, the renovation of Whig Hall at Princeton, and the Busch Reisinger addition to the Fogg Museum at Harvard University. Also on display are pieces of Gwathmey’s personal archive, Europe travel sketchbooks, and student work at Yale.
Design Miami, the high-design fair that runs with the giant, Art Basel Miami Beach, exhibited two objets d’architecture over the Miami Art Week, and named an architect, David Adjaye, as its 2011 Designer of the Year. Both objets were sculptural pavilions: one is an installation by Adjaye, commissioned for the fair, and the other a restored modernist icon with a utopian agenda. Continue reading after the jump.
The Center for Architecture seems to be on a lively arts kick of late. After presenting Architect, the chamber opera about Louis Kahn just a couple of weeks ago, last Friday the Center staged a reading of Glass House, a new play by Bob Morris and produced by the Center’s Cynthia Kracauer. The show employs a premise that sounds like the start of an ethnic joke: an Arab and his Jewish wife move next door to a WASP and his black wife in an exclusive Connecticut enclave…
After being on hold since its approval in June 2010 it looks like the San Francisco 49ers new stadium is finally moving forward. On Friday the team announced it had secured financing for the $1 billion project, located next to Great America theme park in downtown Santa Clara. According to the San Jose Mercury News the money is coming from Goldman Sachs, U.S. Bank, and Bank of America. The 68,500-seat stadium, designed by HNTB, will get fans closer to the field by replacing the traditional tiered bowl with a tower of suites and club spaces on its west side. Openings in the stadium will allow for exposed pedestrian plazas as well as views into and out of the building. It is one of several now being proposed for the state, as we reported a few months ago. But it’s the first to actually move ahead. With design already drawn up construction could start as soon as the middle of next year.
Southern California-based HMC has announced its merger with Phoenix firm Substance Design Consortium. The move not only strengthens HMC’s presence in the southwest (the firm already has an office in Tempe), but it’s a homecoming for its CEO Randy Peterson, who started his career in Phoenix. The new Phoenix firm will be known as HMC+Substance Design. HMC has been busy lately gobbling up smaller firms. Earlier this year they merged with San Francisco firm Beverly Prior Architects, forming HMC+Beverly Prior Architects. At least HMC preserves some semblance of the merged firm’s previous identity with the resulting shared firm names, unlike AECOM which has erased the names of legendary firms like Ellerbe Becket, DMJM, and EDAW.
The city of St. Petersburg, Florida has chosen a blockbuster group made up of Michael Maltzan Architecture, BIG (Bjarke Ingels Design) and West 8 Urban Design and Landscape Architecture as the three finalists to redesign its famous pier. Taking a leap of faith, in 2010 the city voted to demolish the current iteration, a 1970’s inverted pyramid structure and 1980’s “festival market” that St. Petersburg’s web site refers to as “the most visible landmark in the history of the city.” But the pier’s market has fallen on hard times and the city was ready to redefine both the pier itself and the city at large. As their proposals show, any one of these three architects will give St. Pete a sculptural design that will become a new landmark, to say the least. The winner will be chosen in late January.