As reported last week by Archinectors Ayesha Ghosh and Alex Stewart, a discussion regarding MoMA's expansion plan and the intended demolition of the American Folk Art Museum took place at the New York Society for Ethical Culture, an appropriate venue for a conversation rife with implications for...
What a National Register [of Historic Places] listing really means is a 20% federal tax credit for structural investing, along with any state tax incentives, but that's often not enough to make preservation a more appealing option over razing and starting over. [...]
Listing on the National Register certainly gives something of an economic incentive for preservation, as well as a national profile for these sites [...]
However, what historic sites ultimately need is sustainable funding. — Atlas Obscura
Vandals have smashed an ‘irreplaceable’ stained-glass window after breaking into Le Corbusier’s Ronchamp Chapel in eastern France.
The hand-painted, coloured glass window designed by the Swiss architect in the early 1950s was destroyed, it is understood, as the intruders forced entry into the famous Chapel of Notre Dame du Haut.
Once inside the vandals lifted a concrete collection box and threw it outside. — Architect's Journal
For the fifth installment in Screen/Print (an experimentation in translation across media) Archinect features Portal 9's Fiction: Contemporary Arabic and Russian Pursuits. Portal 9 is a biannual publication out of Beirut, Lebanon, which puts out a mix of creative and critical urbanism writing...
Despite a city planning report advocating its preservation, Oklahoma City’s Downtown Design Review Committee voted 3-2 last week to green light the destruction of the Stage Center, a futuristic landmark of modern architecture designed by the late John M. Johansen. — artsblog.dallasnews.com
Despite a city planning report advocating its preservation, Oklahoma City’s Downtown Design Review Committee voted 3-2 last week to green light the destruction of the Stage Center, a futuristic landmark of modern architecture designed by the late John M. Johansen. Originally known as the...
Sixteen years after the city spent $9 million to fix the 1982 postmodernist icon’s sagging 14th and 15th floor, it’s now facing a $95-million top-to-bottom overhaul because virtually every joint in the building is leaking. But as haters of the building call for its demolition and preservationists wail to save it, I’d like to pose a simple question that ought to be asked before spending millions of dollars to save any historic building: is the real thing better than the pictures? — portlandmonthlymag.com
The mural project is part of a renewed attention to the Central Library in Grosse Pointe Farms, which received approval from the Grosse Pointe Library Board in October for more than $241,000 in outside masonry repairs, according to Library Director Vickey Bloom. — Eric D. Lawrence, Detroit Free Press
News from the Grosse Pointe library by Marcel Breuer, saved thanks to the efforts of MAPA, a group that came together through Archinect! Grosse Pointe Central Library: Efforts Towards Conservation Virtual Activism
Yesterday, DS+R announced in their proposal for MoMA's redesign that the American Folk Art Museum would have to be demolished. Backlash from the #folkMoMA community quickly arose: architects and critics called the choice callous and unsustainable, outraged not only by the Folk Art Museum's...
[Diller] had great respect for the Folk Art Museum, calling it a “bespoke” design tailored to the needs of the museum. She went through several scenarios on how to integrate the museum in the expanded footprint. [...]
Adapting the Folk Art Museum building, however, would basically compromise the building’s interior beyond recognition. [...]
The architects would have had to destroy the Folk Art Museum building in order to save it. — Architect Magazing
In what looks like the kiss of death for the #folkMoMA movement, Diller Scofidio + Renfro's design for MoMA's expansion will necessitate the destruction of the neighboring American Folk Art Museum, as proposed today in a MoMA press conference. The initial threat to the Folk Museum was made last...
Conceived as low-cost, mass-produced shelters that could comfortably accommodate a family of four, the units, known as D.D.U.s, were manufactured in the early 1940s and distributed to military bases around the world. [...]
Several institutions and individuals have expressed interest in acquiring Camp Evans D.D.U.s. “They’re important artifacts,” said Marc Greuther, chief curator of the Henry Ford Museum in Dearborn, Mich., who hopes to exhibit one of the units with Fuller’s Wichita House. — New York Times
Although superlative residential architectural works are elegant mirrors of their times and an important aspect of the city’s cultural heritage, the pressures of property values, changed styles of living (the craze for open kitchens and great rooms have doomed many period homes), and property owners’ rights often outweigh the glories of the past. The demolition of amazing, one-of-a-kind architectural homes is an all too frequent occurrence in LA, despite epic efforts by preservationists. — la-confidential-magazine.com
Many of the contested demolitions in 2013 involved structures that were once considered innovative, but just a few decades later, have been labeled "obsolete." This fact heats up some food for thought: Just how future-proof are the "futuristic" buildings that are being proposed and built now? — theatlanticcities.com
In the summer of 2011, photographer Victoria Cohen heard that the Chelsea Hotel would undergo drastic renovations to the structure, which was built in 1884. She spent three weeks documenting every nook and cranny of the building and the result is Hotel Chelsea, a collection of photographs of the interior in its authentic, untouched state, as so many knew and loved it. — Fast Company
Its style is “brutalist,” which looks exactly like it sounds: big, blockish, hulking. Basically, a fortress of concrete... But what if these homely structures are actually tomorrow’s historic architecture? What if we just don’t appreciate them yet, and later generations will embrace them even though we think they’re monstrosities? — radioboston.wbur.org
There’s a reason it’s a struggle to save buildings like the Astrodome. They were built less than 50 years ago, the usual cutoff for inclusion on the government’s National Register of Historic Places... it’s relatively young buildings like these, from the 1960s, ’70s, and even ’80s, that preservationists are fighting to save. And in doing so, they are having to confront a tough question: What does tomorrow’s historic architecture look like? — bostonglobe.com
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