The famed Italian architecture and design magazine Domus announced new leadership today, with the reinstatement of former editor-in-chief Alessandro Mendini for an eleven-issue term beginning in April. Joseph Grima, until recently the director of the Storefront for Art and Architecture in New York, has been brought on to bolster the magazine’s web and international presence and will take over as editor-in-chief following Mendini’s term.
The somewhat unusual arrangement will give Grima time to rethink the magazine’s content across media platforms, while the print edition continues under the steady hand of Mendini, who has previously edited Domus, Modo, and Casabella magazines. Deputy editor Stephan Casciani has also being retained. According to a statement from the magazine, Domus has an international circulation of approximately 51,000 copies. Read More
Chicago is known for the combination of its excellent architecture and tough, gritty urban life. Both aspects of the city’s personality met briefly yesterday, when two graffiti crews tagged a long wall of the Renzo Piano-designed Modern Wing at the Art Institute. While we would never endorse vandalism, there is no denying the visual power of the bright colors and riotous script dashed across Piano’s formal surfaces. The Art Institute, however, did not ponder the artistic merit of the tags. Read More
You probably would not expect to find the ubiquitous “@” symbol in the same category as the Olivetti portable typewriter, the Saarinen tulip chair, or the Pininfarina Cisitalia 202 GT car. But on Saturday at the Art Institute of Chicago (AIC), Paola Antonelli, Senior Curator, Department of Architecture and Design at the Museum of Modern Art, New York, persuasively argued for its inclusion in MoMA’s famed design collection alongside the items described above.
Within the very small world of museum architecture and design curators the AIC’s symposium, “Modern Construction: Creating Architecture and Design Collection” assembled a blue-chip group to discuss acquisition methodologies, philosophies, and approaches. Read More
Today the City of Louisville and the New York-based public art organization Creative Time unveiled a long-term plan for funding and developing public art across the city. The Louisville Public Art Master Plan recommends the creation of a Committee on Public Art (COPA) that will oversee the city’s current art collection, manage a granting system for new public art and advise future city leaders on the continued creation and development of new art. Read More
On Wednesday, right on deadline, the U.S. Department of Transportation announced the winners of its Transportation Investment Generating Economic Recovery (TIGER) Grant winners. Out of 1,400 applications totaling $60 billion in requests, the agency awarded $1.5 billion in American Recovery and Reinvestment Act money to 51 transportation projects in 41 states. The projects ranged in scale from bike paths to major bridges and freight rail installations and the grants ranged in size from $3 million to $105 million. Priority was given to projects that needed federal funds in order to complete their funding package and to projects that are expected to be completed within three years. In New York, the DOT awarded $83 million to the first phase of Moynihan Station. This bit of good news for the project, which has been mired for years in funding difficulties, was bolstered yesterday when Amtrak reaffirmed its intentions to move its operations into the proposed station.
New York designer David Rockwell has once again been tagged to put together the set for the Oscars, which will take place on March 7 at the Kodak Theater. Instead of messing with a good thing, he’s once again framing the stage with the Swarovski “Crystal Curtain,” made up of 92,000 crystals hanging in an upside-down crescent shape over the proceedings. This time the crystals (rendering above) will be colored in white, platinum, topaz, and bronze hues (the dominant colors last year were cool blue and white). The set will also include three circular, revolving platforms along with rotating LEDs and metalwork projection screens to keep things moving along at the notoriously slow event (which will have two hosts this year: Steve Martin and Alec Baldwin). “We wanted big, open, crisp environments that would work for comedy. Eventually, that led us to the idea of the set being about immersion in the world of movies. Stylistically, I realized the optimism of modernism in L.A. and the heyday of Hollywood was the perfect way in,” he told the L.A. Times yesterday.
The citywide concrete crackdown continued yesterday as jurors delivered a guilty verdict against Testwell Laboratories and its owner, V. Reddy Kancharla, who were accused of falsifying concrete test reports for a range of high-profile projects including Yankee Stadium and the Freedom Tower. The question of whether Kancharla and his company committed the more serious charge of enterprise corruption, which carries a possible prison sentence of 25 years, is still being examined by the jury, according to the Times. Read More
Last year, the Center for Land Use Interpretation of Culver City, California, exhibited its study of the Texas oil industry: Texas Oil: Landscape of an Industry. The centerpiece of the exhibit was a 12-minute “landscan” video of the petrochemical infrastructure along the Houston Ship Channel—refineries, tank farms, pipe lines—the largest such installation in the world. Now, at long last, the CLUI has posted the video online, giving us another breathtaking perspective of this terrifying and beautiful landscape.
Famed California modernist William Krisel is getting his day in the sun tomorrow. A documentary about his life and career, called William Krisel, Architect, is premiering as part of Palm Springs Modernism week at the Camelot Theater. The 86 minute film, directed by Jake Gorst, tracks, as the above preview suggests, a 60-year career in which Krisel built over 40,000 housing units and countless other buildings. And read our next issue for a Q+A with the designer, in which he talks about his latest ventures, his career, and his very favorite topic: the ailing state of the architecture profession.
We urbanites have all cursed the slow-moving, camera-toting tourists, snapping photos of the iconic buildings in the cities we hustle through daily. As residents, with the dulling nature of time, our appreciation of these structures is diminished. As tourists, they are like vivid stage-sets captured in our minds, but, like all other memories, they are fleeting. We return home and try to explain them to our friends with words, charades-like gestures, and amateur photographs. Artist Susan Giles explores these ideas in greater detail with her current exhibition, Buildings and Gestures, currently on display at Kavi Gupta Gallery in Chicago through March 13. Read More