The London art world won’t be quite the same after July 8. That’s the day Julia Peyton-Jones is finally taking her leave of the Serpentine Gallery where she has been director since 1991. Over 25 years, she has overseen a programme that, bearing in mind the organisation’s relatively diminutive scale, has punched well above its weight with exhibitions that have included everything from Helen Chadwick’s unforgettable bubbling chocolate fountain to Marina Abramović’s 512 hour-long performance piece. — telegraph.co.uk
When we first visited Bankside Power Station for the original Tate Modern competition in 1994, it seemed like the castle in Sleeping Beauty – an enormous urban mountain that was completely overgrown, surrounded by barbed wire and prickly roses, as if protecting the hidden beauty inside. It seemed dangerous. It is totally unimaginable now, but this was a huge chunk of the city that was totally excluded from public life, set back behind high walls. — theguardian.com
Mr. Margolies, who died on May 26, at 76, was considered the country’s foremost photographer of vernacular architecture — the coffee shops shaped like coffeepots; the gas station shaped like a teapot (the Teapot Dome Service Station in Zillah, Wash.); and the motels shaped like all manner of things, from wigwams to zeppelins to railroad cars — that once stood as proud totems along America’s blue highways. — The New York Times
The show, curated by the V&A’s Maria Nicanor and Zofia Trafas White, is a fascinating exploration of the 20th century engineer’s life and work, and how it has influenced today’s practices in his field. Arup, fittingly argue the curators, was a true pioneer, championing real collaboration with architects, using a computer for the first time during the Sydney Opera House project in the 1960s – a hefty but fascinating machine called 'Pegasus', on display at the show. — wallpaper.com
In particular, La Brea to Fairfax, which parallels Miracle Mile on Wilshire, was a hotbed of dispensaries with some areas having up to 3 on the same block, making it “the Green Mile.” [...]
I began noticing how the dispensaries branded themselves through signage and typography, and what these choices might convey to their prospective clientele. Second, the fleeting nature of these businesses was such that the green paint hardly dried before a “For Lease” sign would appear — lataco.com
In this video that blends time lapse and slow-motion techniques to fully showcase the visual splendor of the building, director Heidi Zuckerman of the The Aspen Art Museum speaks about how the "modesty" of Shigeru Ban's signature preferred materials perfectly suited the Colorado-based institution...
With the working title Utzon, The Man Behind the Opera House, the film will tell the story of Danish architect Jørn Utzon, who was just 38 years old and relatively unknown when he won the international competition to design an opera house on Sydney’s Bennelong Point in 1957...
The Sydney Opera House was completed by Australian architect Peter Hall – a handover which ostracised Hall from the architectural community, and which his family believe led to his ruin. — The Guardian
When a couple sets out to build their dream house, they enlist the services of a visionary modernist architect, whose soaring ideas are matched by only his ego. The woman is swept away by the uncompromising creative artist whose personality provides a stark contrast to her practical husband's. She is so taken she hardly notices the Architect is building HIS dream house. — the Architect
With the new mayor focusing our attention on smart development and social equality, 2016 will be a banner year for the London Festival of Architecture. Election watchers will be familiar with many of this year’s hot topics: community spaces, social housing, docklands renewal. But considering the theme this year is ‘community’, there will be something for every tribe of Londoner. Out of 300 events, we’ve picked the 10 must-sees. — thespaces.com
In any city, space is a commodity. In South African cities space is historical and emotional. A new photo series by an American living in Cape Town captures the dramatic inequality of South Africa’s most beloved city. From an aerial view, Cape Town’s scenic beauty gives way to a stark reminder of the country’s past and the continued racial segregation. [...]
“Looking straight down from a height of several hundred meters, incredible scenes of inequality emerge,” he writes on his website. — qz.com
“I set about programming algorithms to generate an imaginary city...One that I could populate with buildings and structures without having to draw or 3-D model.”
[Daniel] Brown begins by plugging random numbers into the program, which uses fractal mathematics to create unique shapes that resemble a 3-D graph. He spends several hours “exploring” the terrain until he finds an interesting form. Brown isolates the shape, and tweaks it until he arrives at something he likes. — wired.com
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