Artist Mike Boucher was excited to bring American suburbia to the Venice Biennale, constructing a floating McMansion—complete with cheesy yellow vinyl siding—set to grace the city’s famed canals. Unfortunately the house tilted off a failed pontoon and sank; a disaster for the artist (who actually seems to find the whole thing hilarious), but a good symbol for our housing market back in the USA.
I’m a Times Square avoider. It’s too crowded, clogged with slow moving tourists, for me to get where I need to go without being so frustrated that I swear to never return. On rare occasions, I succumb to the charm of the lights, but those moments are usually glimpsed from a distance, down a street corridor or out the window of a cab. But yesterday, on my way to an event in midtown, I chose to go through Times Square to see how it had changed since Department of Transportation Commissioner Janette Sadik-Khan’s recent street closure plan had been implemented. Read More
My In Detail article in the current issue covers Rafael Moneo’s Northwest Corner Building at Columbia University. In addition to filling the final vacancy in the 1890 McKim, Mead & White master plan, the building had to bridge a subterranean recreation center with a 120-foot clear span. In answer, Moneo—along with executive architect Davis Brody Bond Aedas and structural engineer Arup—designed the building’s steel framing system as one big truss, with diagonal members bolstering the perimeter moment frame. The majority of the gravity loads, however, are supported by three gargantuan trusses that run the length of the building four levels above the street. These trusses are so big and heavy that Turner Construction had to assemble them on site, on a shed built above the sidewalk, and then slide them into place. The above stop-action video was also assembled by the construction manager, documenting its elegant solution to this seriously heavy erection.
Today we got an email from the fine folks at Archphoto announcing that one of its trio of photographers, Paúl Rivera, has been featured in the current issue of the Japanese architecture magazine, A+U. The featured work was of the MASterworks award-winning TKTS Booth, including the above photo. In addition to being an unexpected and breathtaking view of the structure and surrounding environs, it made us realize something we hadn’t yet about the much-talked about closure of Broadway in the square: While all those cars whizzing by may have been a pedestrian and congestion nightmare, they sure brought wonderful life to the countless photos that have come to define the Crossroads of the World.
Part of Ferris Bueller’s Day Off (1986) renown as a classic truancy film and Chicago landmark travelogue is the über-modernist glass and steel house with the disaster-inviting garage from which Ferris launches the priceless 1961 Ferrari belonging to friend Cameron’s father. The house (and garage), of course, is a metaphor for Cameron’s sad and lonely home life. As Ferris, the budding architectural critic, explains to his vaguely suicidal foil, “The place is like a museum. It’s very beautiful and very cold, and you’re not allowed to touch anything.” Read More
We just got our invitation to the Municipal Art Society’s annual MASterworks awards. Contained therein are the heretofore unannounced winners, as well. (You can find all four after the jump.) Sadly, the party is invite only, but it’s at the new glassy, glamorous Sheila C. Johnson Design Center at Parsons, so if nothing else, you can wander by Tuesday night and press your face to the glass, making puppy-dog eyes at we revelers therein. It’ll be the perfect Oliver Twist/recession moment. If you’re lucky/pretty, we might even sneak you in the side door. Read More
Construction projects are dropping like flies everywhere you look, falling in the water deader than Air France Flight 447. It’s gotten to the point that when a major milestone is met on a significant piece of architecture there is cause not only for rejoicing, but commentary by the architectural press. And lo, our latest great happiness comes (yet again) from the Arabian Desert: In the city of Dubai, United Arab Emirates, work has completed on the structural frame of O-14, an office building somewhat redolent of a block of swiss cheese. Designed by the New York City firm Reiser + Umemoto, the structure makes a significant departure from the otherwise glass-curtain walled edifices of this arid city by the sea. It’s exterior is composed of a perforated concrete bearing wall, which does double duty as a shading device, protecting the building from the blazing middle-eastern sun. For a full low down on O-14′s uncommon framing system, as well as more construction photos, see our 2008 feature on concrete.
As promised, here’s Sara’s inaugural Eavesdrop ALERT. Have at it.
CA Boom, which grandly bills itself as “North America’s Only Multi-Discipline Non-traditional Design Show,” will be exhibiting for the sixth time over the last weekend in June at a larger venue this year in Beverly Hills. That very same weekend, Dwell Magazine will return to the Los Angeles Convention Center with its own heavily branded trade show, Dwell on Design, billed less grandly as “The West Coast’s Largest Modern Design Event.” An embarrassment of riches or a conundrum for vendors who can’t be in two places at the same time? Read More