American manufacturing may be on the rocks, but Deborah Berke, principal at Deborah Berke & Partners, believes that by adding a little bourbon, one Kentucky city can make an industrial comeback. Berke is leading a graduate studio at Yale exploring the future of boutique manufacturing in the United States and using an urban distillery in Louisville as a case study.
Charles Dickens would have been 200 today. Among the bicentennial celebrations of the noted Victorian writer, the Museum of London has been hosting an elaborate Dickens and London exhibition including a Dickensian street scene designed and built by set designer Simon Costin for its City Gallery. The “fantastical wintry vision of 19th century London” made entirely of cardboard and lit with hundreds of LED lights includes quite an array of Victorian buildings and winding alleyways. According to Costin, “My intention is to create a fantasy vision of London as it would have been glimpsed by Dickens on his nocturnal wanderings through the city. His essays are extremely evocative and I am using the text as my starting point and things will grow and develop from there. He has said that he felt like a child in a dream, ‘staring at the marvellousness of everything’. It is that marvellousness that I want to recreate.” The window display closes this month, but if you’re in London, the MoL’s Dickens show keeps going through June. (Via Creative Review.)
But it turns out Dickens had his own eye for design as well. Hilary Macaskill recently wrote in the Guardian that the Victorian author had quite the penchant for interior design. She cites a 6,000 word article (you can become amazingly descriptive when paid by the word) he wrote about wallpaper and other decorations, where he remarks on the design of American wallcoverings from his recent visit in 1842 along with his own designs for wallpaper. Even in his home at 48 Doughty Street, Dickens enjoyed crafting the interior spaces down to the shade of pink trim and a set of decanters he picked up for “slight bargains.” Read the entire article here and check out a slideshow of his home here.
We here at The Architect’s Newspaper always appreciate unfettered access when it comes our way, but today we’re unwitting holders of the hottest ticket in town. This morning you couldn’t get any where near City Hall without a business card that says you work nearby. Turns out we landed front row seats to the ticker tape parade and City Hall ceremony celebrating the NY Giants Superbowl victory. Now, how do we relate this to urban planning and architecture…
Yoshiko Sato, an architect and educator who was committed to repairing the world through design, died on Sunday in New York City after a battle with cancer. Sato was born in Tokyo to parents who studied engineering and design, which sparked her interest in science and the arts. Following a tour of Europe to study art and design, the Tokyo native settled in New York in the early 1980s and continued her education at Parsons School of Design. Her professors Billie Tsien, Robert MacAnulty, and Laurie Hawkinson quickly recognized her talent and encouraged Sato to move toward architecture. She transferred to the Cooper Union where she continued her studies under John Hejduk, Toshiko Mori, Tod Williams, and Peter Eisenman, graduating in 1989. In 1996, she received a Masters in Architecture from the Harvard Graduate School of Design where she explored architecture and urban design under Raphael Moneo and received honors for her thesis on rebuilding Kobe, Japan after a devastating earthquake in 1995.
Sato’s professional career in New York bridged architecture, art, and design across a broad range of scales. She operated the Morris Sato Studio with her husband and design partner Michael Morris, exploring the ethereal nature of design as represented in the award-winning retrospective exhibit Shiro Kuramata, 1934-1991 and in her installation LightShowers. She won further accolades for her personal and comprehensive exploration in a pair of houses recently completed on Shelter Island.
Returning to education, Sato was appointed to Columbia’s GSAPP in 1999 where she directed the Japan Lab in Architecture. Her passion for both sustainability and exploration into outer space were clear in her work, including a collaboration with GSAPP and NASA to create Space Habitation Modules.
Sato is survived by her husband, mother, and sister Noriko Oguri of Yokohama, Japan. The staff at The Architect’s Newspaper sends our condolences to her family, friends, and colleagues. Those who wish to honor the memory of Yoshiko Sato may donate to the Japanese Red Cross Society. Condolences may be sent to Morris Sato Studio, 219 East 12th Street, 1st Fl., New York, New York 10003 or email@example.com.
Herzog & de Meuron and Ai Wei Wei are getting the band back together for a brief collaboration for the famed Serpentine Gallery 2012 Pavilion. Now in its twelfth iteration, the Serpentine has commissioned temporary structures by some of the world’s leading architects, including Toyo Ito, Peter Zumthor, and Zaha Hadid. The Swiss architects and the Chinese artist/designer have previously collaborated on the so-called Bird’s Nest Olympic staduim in Beijing. While that project emphasized both strength and fagility with a soaring tangle of intersecting structure, their proposal for the Serpentine will explore the subterranean history and ecology of the site. Read More
Last Friday night, AN‘s William Menking and Aaron Levy launched their new book Four Conversations on the Architecture of Discourse at the Van Alen Bookstore in Chelsea. The book’s publisher, Thomas Weaver of the Architectural Association in London, and the Van Alen’s Olympia Kazi we on hand to help frame the evening’s discourse on discourse.
The new book springs from an earlier effort called Architecture on Display: the History of the Venice Biennale of Architecture, aka “the white book.” In true manifesto fashion, the group sidestepped the official Biennale promo machine by publishing the white book outside of the established Biennale channels and then blanketed the 2010 festival with more than 600 copies. That book transcribed interviews with former Biennale directors and recovered an important history of the forum. From that quick and dirty approach emerged a longer term plot for the “black book” of Four Conversations, which focused architectural display and its relationship to the public.