Ireland is known for lots of things, but contemporary architecture isn’t necessarily one of them. Irish Architecture Now, the first-ever showcase of Irish architecture to tour the U.S., aims to change that. Curated by Raymund Ryan, co-curator of the Heinz Architectural Center at the Carnegie Museum of Art in Pittsburgh, the Irish Architecture Now program features six of Ireland’s leading architecture practices and will travel to architectural schools and institutions to highlight top contemporary Irish architecture, which the organizers state, has “over the past two decades firmly established itself with flair on the European scene.”
Not so Clean. White brick buildings, once favored in the 50s and 60s for their shiny glaze and supposed waterproofing and self-cleaning benefits, are now a costly headache for New York City, reported the NY Times. The glaze, it turns out, actually traps moisture and causes cracks and deterioration, with repairs climbing into the millions of dollars.
Back to Basics. While architects nowadays can get away with their shaky doodles (of the physically impossible buildings and cartoonish people with disproportionate heads) as long as they prove their CAD proficiency, the just-launched Beaux-Arts Atelier feels differently– only when you master the basics can you be freer to do crazier, modern things with more creative control. More on The Wall Street Journal.
The Digitals. Architecture historian and journalist critic Alexandra Lange critically compares the content and design of four new digital interior design magazines and discusses the merits of blogs. Read her thoughts on Arch Record.
Juried Judge. The NY Times ran a story about Supreme Court Justice Stephen Breyer’s selection to join the Pritzker Prize jury, citing AN‘s report from September. The move looks to be a good one for architecture, as Breyer, a fan of Gothic and Beaux-Arts architecture, has pushed for better design of federal buildings.
Terminal 6 has been on Death’s Row at least since June 2010. So why are so many aflutter now? It’s an old adage but a persistent one: It hasn’t happened until the New York Times reports it, or until there’s a television tie-in as newsworthy as the cheesy jet set-orama, “Pan Am” on ABC.
We can confirm—although not entirely officially—that New York’s Institute for Urban Design will represent the United States at the 2012 Venice architecture biennale.
The Chair of Institutes Board of Directors Michael Sorkin has told AN that the theme of their exhibition will be loosely based on the Institute’s new open-source program, By the City/For The City: An Atlas of Possibility for the Future New York, that played out recently across New York to enthusiastic crowds. The details of the exhibition are still to be developed by Sorkin, co-board member Cathy Lang Ho and the institute’s director (and former AN Managing Editor) Anne Guiney.
The U.S. Department of State, in a first for the government agency, selected the winning exhibition a full year before the opening of the international exhibition giving the IfUD team time to raise the $300,000 (the State Department has given them $100,000) needed to open in Venice next year.
It is not yet clear who will be the official commissioner aka “meeter, greeter, & spokesperson” of the pavilion, but they are currently looking to create “crowd sourced” events all over la Serenissima and not just inside the official giardini or McKim Mead & White American temple. We send our hearty congratulations and will start hoarding our airline miles!
The craze for architecture festivals is not just consuming New York and Los Angeles, it’s also sweeping the Midwest! On October 15 and 16, the Chicago Architecture Foundation will present the inaugural year of Open House Chicago, with over 100 sites open to public access like the Garfield Park Conservancy, above.
But that’s not all! Cincinnati is getting into the action with a week long festival called, ArchiNATI, sponsored by the Young Architects and Interns Forum of AIA Cincinnati, running October 14 through the 21st. Events range from walking tours to a screening of design lover film of the year, I Am Love. Go see stuff!
Tonight and Friday at 7 pm Murder, Love, and Insanity: Stanford White and the Gilded Age will be broadcast live from the top of the old New York Life Building at ArtOnAir.org. The building, also known as the Clock Tower, was designed by White in 1897 and provided plenty of grist for Peter McCabe, the show’s producer and writer. McCabe has his own show on the website and began pondering the idea about a year ago. A grant from the Jerome Foundation made the six week project a reality.
Who knows what Henry Kissinger, Lou Gehrig, Maria Callas, Ralph Ellison, Marianne Moore, and Jacob Javits have in common?
They were all kids who checked books out of their neighborhood library, the Fort Washington Branch of the New York Public Library. It is one of the original 67 New York City Carnegie Libraries. Designed by Cook & Welch Architects, it opened in April 1914. Walter Cook, along with George Babb and Daniel Willard, designed the Carnegie Mansion on Fifth Avenue and 91st Street – today’s Cooper-Hewitt museum.
On October 1st, the U.S. Department of Energy unveiled the winner of the 2011 Solar Decathlon at West Potomac Park in Washington D.C., bringing together innovative solar-powered prototype residences designed and built by international student teams from universities and colleges. This year’s champion, the University of Maryland’s WaterShed house, excelled in a variety of then ten metrics used to judge the houses including affordability, energy balance, hot water, and engineering.
It’s been a couple of week’s since Jane’s Carousel opened to the public on the Brooklyn Waterfront, allowing us time to reflect on the rainy opening day and see just how the new attraction is being received. It’s seems Jean Nouvel’s pavilion is a study in contrasts, particularly on cold gloom of the opening ceremony when we first stopped by. We made a short impressionistic collage of our observations including the carnivalesque merriment going on inside the pavilion set against the sober geometry outside. (You might also spot Nouvel himself taking a ride or an overly-excited Marty Markowitz astride one of the wooden horses.)
Granted the acrylic-paneled doors of Nouvel’s pavilion can be thrown open to the surrounding park, but the celebratory atmosphere seems contained, anchored even. Viewed from across the park, the riverside building takes on the feel of a ferry terminal. Inside, however, the playful carousel offers distorted views through the giant door panels that give downtown Manhattan and the Brooklyn Bridge a fun-house-mirror effect.
Have you been to the carousel yet? What are your thoughts of Nouvel’s contrasting design?