The feature that I wrote for issue 20 is about personal rapid transit. PRT, as it is called, is a mass transportation concept that swaps high-capacity trains for small “pod cars.” These individualized vehicles run on dedicated tracks from origin to destination, bypassing all other stations along the way. Such a system is currently being installed at London’s Heathrow Airport and Foster + Partners is developing a PRT solution for its Masdar City project, but the idea has been around at least since the 1950s. In the late 60s and 70s several prototypes were developed and tested for possible urban application, but—aside from a semi-PRT system installed in Morgantown, West Virginia—none of them were ever realized. The one that came the closest was Cabinentaxi, which was to be rolled out in Hamburg, Germany. A recession in 1980 sank the project, but luckily they made this lovely film before falling into the dustbin of history. Enjoy.
In the future, will there be a Brutalist Revival? Decked out with stainless steel trimmings by Mark Cavagnero Associates, the Oakland Museum of California is getting ready to usher in a Brutalist appreciation. Or at least a bit of nostalgia for a time when architects couldn’t get enough of the monolithic purity of craggy concrete, before they realized what the environmental costs of melting down rock and reforming it were. The 1969 complex is undergoing the first phase of a $58 million retrofit and will reopen in May 2010. Read More
It was a low-key but engaging evening at The Storefront for Art & Architecture on Thursday at the opening reception for Marina Ballo Charmet’s peculiarly-titled exhibition of photos and a video, At Land: Bodyscape & Cityscape. Trained as a psychoanalyst, Charmet’s work is driven by her self-professed interest in “inattentive, unintentional observation, irrational and without direction.” As you might guess from the exhibition’s title, the works on display range in scale from the extremely intimate to the nearly impersonal, and were culled from four separate series the artist has been compiling since the mid-1990s. Their common denominator, explains curator Jean-Francois Chevrier in the text that accompanies the show, is Charmet’s proclivity to move “at land, to quote the first film by Maya Deren. [...] She makes her way as one would sail, through cities and parks, among bodies, giving her pictures an oceanic and kinematic dimension.” Read More
The Storefront for Art and Architecture was founded in 1982 in a small, street-level space on Prince Street. Kyong Park, the founder of the gallery, created a cheaply reproduced catalogue or “newsletter” that he circulated to a mailing list to announce exhibitions. Now the Storefront has published a $69 limited-edition version of the newsletter Storefront Newsprints 1982–2009. It will serve as the definitive archive of this important gallery, but current Storefront director Joseph Grima said that the effort is missing a single newsletter for the 1988 exhibition From Destruction to Construction that documents projects by the Japanese artist Tadashi Kawamata. Grima will give a free book to anyone who can locate the missing newsprint, and he can be contacted at 212-431-5795.
First the cracks, and now this? Sure, Peter Eisenman’s Memorial to the Murdered Jews of Europe in Berlin has seen its fair share of controversies over the years, but it doesn’t get much worse than a fashion shoot for an in-flight magazine. According to the New Statesman‘s scoop, easyJet had no idea the Holocaust memorial had been used as the backdrop for a bunch of models because its magazine is produced by an outside company. That company has yet to speak up about the matter, so it remains unclear whether the fine folks at INK publishing are ignorant or just stupid. Looks like Hannah Arendt is right once again. Read More
According to our friends at Curbed LA, Eric Owen Moss’s planned Venice project , on the corners of Venice and Lincoln Boulevards, has been put on the shelf. Fred Mir, who works for the developer, Group III Investments, told Curbed that the neighborhood “didn’t like the height,” and that they had decided to scrap the project back in August, after a bumpy community meeting. No sign of what will replace Moss’s scheme, but we’ll be looking into it…
If you’ve passed by One Bryant Park in the past month or so, you may have noticed what looks like a kind of leafy-green Stonehenge clustered in the lobby of the Bank of America building. The three monoliths and twenty-five foot tall archway are made of galvanized steel frames seeded with thousands of ferns, mosses, and lichens, an installation designed by a team from Wallace Roberts & Todd, led by designer Margie Ruddick and sculptor Dorothy Ruddick. The piece is meant as a reminder of the building’s green cred, as the Cook + Fox tower achieved LEED Platinum. Unlike the original Stonehenge, we don’t have to wonder how this one was built. In fact, you can watch it being assembled in the above time-lapse clip, which compresses the entire 42 hours of installation into a mere 30 seconds. Watch as the mysterious shruboliths rise before your eyes, and check some photos after the jump. Read More