Making a strong, modular and architecturally significant pavilion on pocket change
For the Designers in Residence exhibition, Design Museum London asked four teams to respond to a brief entitled “Thrift.” The four resulting projects address the notion that “the limitations of economy require more resourceful, inspired and intelligent use of materials and process” and that the constraints of thrift ultimately lead to “a more creative and fully resolved outcome” than a project with limitless resources.
One of the four chosen proposals came from Lawrence Lek, an architect and sculptor who worked with Ken Yeang in Malaysia and Foster + Partners in London before founding his eponymous studio in 2011. For his project, “Unlimited Edition,” he reflected on how he has approached fabricating prototypes since completing his studies at the Architectural Association (AA) in 2008. “I remember a lot of students’ work, and mine especially, could be very extravagant with materials because being in school you have the luxury of many resources… One thing I found difficult just after leaving the academic world was actually fabricating prototypes.”
Saint Louis University announced in January that its law school would move downtown, winning praise from many who saw the move as a reinvestment in the city’s urban core.
NextSTL sounded an alarm, however, over new renderings of the Joe and Loretta Scott Law Center that show a closed circular driveway along Chestnut Street—a downtown thoroughfare whose theoretical closure would amount to “suburbanizing the central business district,” in the words of NextSTL writer Alex Ihnen. The Board of Public Service would have to okay such a closure, which according to the Street Department has not yet been submitted for approval.
Everybody seems to be opening up new offices these days. One of our favorite firms, Barton Myers Associates, is moving from Westwood all the way to Santa Barbara, which doesn’t sound promising. Cunningham Group has opened new digs in Culver City’s Hayden Tract, the collection of arts offices made famous by the wild constructs of Eric Owen Moss. And UCLA Architecture will remain in Westwood. But it’s ready to open a new robotics lab inside the old Playa Vista research facilities of Howard Hughes.
New York-based artist Leo Villareal is creatively illuminating the constructed form. In Madison Square Park, Villareal’s LED light-up geodesic dome, Buckyball, stands tall, undamaged but unlit after Hurricane Sandy. The Madison Square Park Conservancy told AN that the lights are expected to be back on tonight. And soon, Villareal also plans to light-up a far larger construction on the West coast: the San Francisco Bay Bridge.
You can’t make a monument without breaking some eggs. Fabergé cosmetics heir Reed Rubin is protesting a decision by the board of Roosevelt Island’s Four Freedoms Park to not include a donor inscription on the Louis Kahn-designed FDR memorial. For a $2.5 million donation in honor of Rubin’s parents Vera D. and Samuel Rubin, founders of the cosmetics firm and the Reed Foundation, the foundation claims it was promised an inscription in a prominent spot (preferably near the bust of FDR on a slab facing Manhattan).
The board of the park, not wanting to compromise the monument’s design, proposed an inscription in another location in the park. Rubin and the foundation are fighting back, and had tried to postpone October’s dedication. The New York Daily News quoted a letter written by the park’s board chairman William vanden Heuvel to the foundation: “You may prevail in a courtroom. But it will be a Pyrrhic victory, dear friends, a scar not a medal on the list of your achievements.”
While New York and the East Coast try to return to normal after the brutal Hurricane Sandy, AN takes a look at most dramatic storm-related sights as we batten down the hatches for the oncoming nor-easter. Our Lower Manhattan offices reopened on Monday with lights working but our steam-powered heat is still out (space heaters have been working overtime). Architecture for Humanity and AIA New York have already begun mobilizing the design community to help with the recovery effort, as have countless other organizations accepting donations and volunteers.
Last week AN learned that Hollywood’s Capitol Records building may be in for a dwarfing by two new adjacent towers. Now we learn from our friends at Curbed that the historic Hollywood Palladium, renovated in 2008 by Coe Architects, might also be in trouble. Miami developer Crescent Heights is about pay $55 million for the Palladium site, and it’s rumored that they want to build luxury apartments or condos there. The 72-year-old theater apparently has no historic protections, so this could get ugly. Stay tuned.
Dear readers, Eavesdrop had the opportunity to explore Louisville, KY—our hometown—and Cincinnati, OH (a.k.a. Porkopolis) over the weekend. It’s been six or seven years since our last trip to Cincy and we have a couple things to say about it. It’s kind of a real city, like dense and old, with just enough corporate headquarters looming over the skyline.
We finally got to see the HOK designed Great American Tower in real life and it’s just as bad in person as its renderings. You may remember that we thoroughly made fun of its fugly, Princess Di inspired, steel tiara—something about lipstick on a pig. Let’s update that to a more current comparison. That tiara is more Honey Boo Boo than Princess Di. Eavesdrop is not a fan of hats or tiaras on buildings—i.e. the Pappageorge Haymes-designed One Museum Park in Chicago with its sailor cap. The American Institute of Steel Construction disagrees, recently giving said tiara a design award.
Though you might not know it to look at them, Oscar Niemeyer’s new line of sneakers for Converse are apparently inspired by his country’s greatest natural resources, namely its mountains, rivers, and its bodacious women. The Chuck Taylor All Star Hi sneaker is still the classic shape, but on his version Niemeyer has emblazoned one of his most famous quotes, in Portuguese, of course. Here’s the English translation:
“It is not the right angle that attracts me, nor the straight line, hard and inflexible, created by man. What attracts me is the free and sensual curve – the curve that I find in the mountains of my country, in the sinuous course of its rivers, in the body of the beloved woman.”