Archinect - News 2017-08-23T23:28:46-04:00 The New York Times compiles a glossary of climate change-adaptive building strategies Nicholas Korody 2017-04-05T12:46:00-04:00 >2017-04-05T14:34:22-04:00 <img src="" width="650" height="402" border="0" title="" alt="" /><em><p>Communities across the country are confronting the mounting evidence of climate change and developing means of fortifying buildings and infrastructure against rising sea levels and ever-more-intense storms, even as the Trump administration reverses policies premised on climate change. &ldquo;We&rsquo;re not spending money on that anymore,&rdquo; Mick Mulvaney, the director of the Office of Management and Budget, told reporters in Washington recently. &ldquo;We consider that to be a waste of your money.&rdquo;</p></em><br /><br /><p><em>"People who live, work or build in flood plains like West Chelsea and elsewhere say they cannot be so dismissive. They are spending money."</em></p><p><em>The New York Times</em>&nbsp;has compiled case studies as well as an associated glossary of steps taken in New York City and its environs to help shore up the built environment against the encroachment of high waters, winds, and heavy rains. For example, the glossary features technical terms like a "500-year flood plain", or an area with a 0.2 percent chance of flooding any given year, as well as strategies, like "dry flood-proofing", or the use of impermeable materials and barriers to keep buildings dry.&nbsp;</p><p>Check it out this useful glossary <a href="" rel="nofollow" target="_blank">here</a>.</p> Christopher Gray, wry architecture author/researcher, dies at age 66 Julia Ingalls 2017-03-14T12:48:00-04:00 >2017-03-14T12:48:51-04:00 <img src="" width="650" height="434" border="0" title="" alt="" /><p>Rooting himself less in a strictly academic tradition and more in an observed, on-the-street context, architecture author and researcher Christopher Gray catalogued what he considered to be beautiful and surprising for <em>The New York Times</em> from 1987 to 2014 in his "Streetscapes" column. He also started a kind of architectural detective business known as the Office for Metropolitan History in 1975, which would research the history, deeds, old photographs and any other paperwork connected with a particular building in the days before the instant compendium of the internet. His work was often used to add depth and context to the work of other architects/critics including <a href="" rel="nofollow" target="_blank">Robert A.M. Stern</a>, who <em><a href="" rel="nofollow" target="_blank">The New York Times</a></em> quoted as saying about Gray that he "was generous with his time and always willing to share what seemed like his almost infinite knowledge of the city&rsquo;s architectural and social history.&rdquo; Gray, who died Friday at age 66 from complications due to pneumonia, leaves behind over 1,40...</p> Architects Alejandro Aravena and Trix & Robert Haussmann included on NYT's 2016 Creative Geniuses list Alexander Walter 2016-12-28T18:14:00-05:00 >2017-01-03T22:40:10-05:00 <img src="" width="650" height="274" border="0" title="" alt="" /><em><p>From their studios, ateliers, film sets and kitchens &mdash; and even the White House &mdash; these are the people whose inventive spirits shaped the conversation this year.</p></em><br /><br /><p>It certainly was an eventful career year for Alejandro Aravena (Pritzker Prize, Venice Biennale, et al.), and the ambitious Chilean's cultural footprint can be traced throughout a handful of our <em><a href="" rel="nofollow" target="_blank">Archinect 2016 Year In Review</a></em> posts:</p><ul><li><a href="" rel="nofollow" target="_blank">The top prize-winning architects of 2016</a></li><li><a href="" rel="nofollow" target="_blank">How starchitect culture shifted in 2016</a></li><li><a href="" rel="nofollow" target="_blank">Top Features: Our Favorite Feature Articles of 2016</a></li><li><a href="" rel="nofollow" target="_blank">The stories that influenced architecture culture in 2016</a></li><li><a href="" rel="nofollow" target="_blank">From the border wall to the Pritzker Prize: the architectural controversies that defined 2016</a></li></ul> Oana Stanescu, the architect behind Kanye's volcano, talks to NY Times about pushing design boundaries via pop culture Justine Testado 2015-08-06T18:45:00-04:00 >2015-08-09T10:31:04-04:00 <img src="" width="650" height="406" border="0" title="" alt="" /><em><p>For a serious architect who has designed public housing in Dallas and a bridge in Slovenia, it may come as a surprise that Oana Stanescu&rsquo;s best-known work is a 50-foot-high volcano that Kanye West ascended onstage during his grandiose Yeezus tour...Along with Dong-Ping Wong, her partner in the West Village architectural firm Family, Ms. Stanescu is making a name for herself in design circles for her ability to merge pop culture with utilitarian design.</p></em><br /><br /><p>For more Family on Archinect, you can check out <a href="" rel="nofollow" target="_blank">Oana's archived Archinect School Blog</a>, the <a href="" rel="nofollow" target="_blank">+POOL</a>, and the firm's <a href="" rel="nofollow" target="_blank">other cool projects</a>.</p> Archinect's critical round-up: the week's best architectural critiques so far Julia Ingalls 2015-08-06T17:48:00-04:00 >2015-08-09T10:32:45-04:00 <img src="" width="650" height="423" border="0" title="" alt="" /><p>Over at the&nbsp;<a href="" rel="nofollow" target="_blank">Los Angeles Times</a>, Christopher Hawthorne eloquently pans the new addition to the 405 freeway, noting that "The expanded 405 might be the first L.A. freeway project to look haggard and disjointed the day it opened." His review comes at a time when infrastructure, especially in California, is starting to (violently) show signs of its age: last year, the University of California Los Angeles briefly flooded thanks to an aged <a href="" rel="nofollow" target="_blank">water main</a>&nbsp;breaking, and in July a freak thunderstorm collapsed a portion of interstate 10. Hawthorne's displeasure is focused primarily on the 405's haphazard design to please multiple neighborhoods, its tacky soil-nail construction retaining walls ("This technique is something like the comb-over of freeway design"), and its simple underwhelming-ness as a public works project.</p><p>Meanwhile, James S. Russell's thoughtful examination of Thomas Heatherwick in the <a href=";emc=rss&amp;_r=2&amp;utm_content=bufferb2c3c&amp;utm_medium=social&amp;;utm_campaign=buffer" rel="nofollow" target="_blank">New York Times</a> delves into one of the perennially feisty debates of the architectural realm: just ...</p> The New York Times reviews MoMA exhibit, Latin America in Construction: Architecture 1955-1980 Joachim Perez 2015-05-01T11:12:00-04:00 >2015-05-04T14:52:27-04:00 <img src="" width="650" height="406" border="0" title="" alt="" /><em><p>The exhibition recalls an earlier era when architects there believed that social challenges should be tackled by design, that humane societies deserved beautiful new forms, and progressive development put faith in art, nature and the resilience of ordinary people.</p></em><br /><br /><p>Michael Kimmelman of The New York Times wrote a review on the recent MoMA exhibit,<em>&nbsp;&lsquo;Latin America in Construction: Architecture&nbsp;1955-1980&rsquo;</em>. The exhibit highlights the work of Oscar Niemeyer, Lina Bo Bardi,&nbsp;Eladio Dieste, Rogelio Salmona and others who helped define Latin American modern architecture. &nbsp;On display are photographs, videos, drawings, blueprints and models. &nbsp;Some models shown in Kimmelman's article feature the work of University of Miami students who collaborated with MoMA on this exhibit.</p> At Auschwitz-Birkenau, Preserving a Site and a Ghastly Inventory b3tadine[sutures] 2015-04-15T21:06:00-04:00 >2015-04-20T20:31:25-04:00 <em><p>The strategy, she said, is &ldquo;minimum intervention.&rdquo; The point is to preserve the objects and buildings, not beautify them. Every year, as more survivors die, the work becomes more important. &ldquo;Within 20 years, there will be only these objects speaking for this place,&rdquo; she said.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> NY exhibitions reflect on Latin American midcentury architecture + design Justine Testado 2015-03-30T16:01:00-04:00 >2015-04-05T09:17:10-04:00 <img src="" width="650" height="488" border="0" title="" alt="" /><em><p>Until the advent of cable television and then the Internet, Latin Americans, creators and consumers alike, were often more aware of trends in Europe and the United States than in nations neighboring theirs: Whatever similarities in style that emerged regionally were largely the result of discrete, parallel responses to the challenges of urbanization, poverty and the need to somehow integrate modernity and tradition.</p></em><br /><br /><p>Midcentury architecture and design from the Latin America region seems to be a trend in recent exhibitions in MoMA, MAD, and Americas Society in New York. New York Times writer Larry Rohter compares and contrasts the exhibitions, which shed light on the all-too-familiar tension of integrating globalized innovation with local traditions and techniques that was present throughout Latin American architecture and design.</p> How to Rebuild Architecture: Another "Back to the Drawing Board" Op-Ed Amelia Taylor-Hochberg 2014-12-16T12:24:00-05:00 >2014-12-24T13:25:31-05:00 <img src="" width="650" height="478" border="0" title="" alt="" /><em><p>Architecture, of the capital &ldquo;A&rdquo; variety, is exceptionally capable of creating signature pieces, glorious one-offs. We&rsquo;re brilliant at devising sublime (or bombastic) structures for a global elite who share our values. We seem increasingly incapable, however, of creating artful, harmonious work that resonates with a broad swath of the general population [...] We&rsquo;ve taught generations of architects to speak out as artists, but we haven&rsquo;t taught them how to listen.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> Why local architects do it better, and the case against franchised architecture Amelia Taylor-Hochberg 2014-06-12T16:16:00-04:00 >2014-06-17T17:42:02-04:00 <img src="" width="592" height="592" border="0" title="" alt="" /><em><p>Architecture, however, is a social art, rather than a personal one, a reflection of a society and its values rather than a medium of individual expression. So it&rsquo;s a problem when the prevailing trend is one of franchises, particularly those of the globe-trotters: Renzo, Rem, Zaha and Frank. It&rsquo;s exciting to bring high-powered architects in from outside... But in the long run it&rsquo;s wiser to nurture local talent; instead of starchitects, locatects.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> NYT Architecture Critic Michael Kimmelman to Receive the 2014 Brendan Gill Prize Archinect 2014-03-11T18:00:00-04:00 >2014-03-12T10:42:29-04:00 <img src="" width="530" height="357" border="0" title="" alt="" /><em><p>MAS is proud to announce that Michael Kimmelman, architecture critic of The New York Times, has been named the winner of the 2014 Brendan Gill Prize. [...] The jury singled out Kimmelman&rsquo;s exceptional coverage of the challenges posed by an overstressed Penn Station, challenging New Yorkers and their regional neighbors to no longer settle for anything less than planning and design excellence that befits the busiest transportation hub in North America.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> The Humble Beginnings of Early Roman Architecture Justine Testado 2013-08-20T18:22:00-04:00 >2013-08-26T20:07:52-04:00 <img src="" width="600" height="398" border="0" title="" alt="" /><em><p>Any definitive insight into the formative stages of Roman architectural hubris lies irretrievable beneath layers of the city&rsquo;s repeated renovations through the time of caesars, popes and the Renaissance [...] Now, at excavations 11 miles east of Rome&rsquo;s city center, archaeologists think they are catching a glimpse of Roman tastes in monumental architecture much earlier than previously thought, about 300 years before the Colosseum.</p></em><br /><br /><p> The New York Times recently reported on the ongoing excavations of Roman monumental&#8203;<br> remnants from the city's pre-Colosseum era at the Gabii digging site not far from the capital.<br> Since last summer, a team of archaeologists and University of Michigan students led by classical studies professor Nicola Terrenato have found a number of significant discoveries from the formative stages of early Roman architecture, including a possible public building from the city-state Gabii, where the digging site gets its name.</p> <p> The team's findings so far reveal the more modest beginnings of early Roman architecture instead of the image of grandeur many are accustomed to seeing -- and even evidence of urban planning. At this point, the Michigan group has explored two-thirds of the site and continues to unearth the vast layers of ancient Roman history.</p> <p> Click <a href="" rel="nofollow" target="_blank">here</a> to read the full article.<br><br><em>Photo by </em><em>Anna Gallone/The Gabii Project, via The NY Times.</em></p> Driven Away: The Role of Urban Planning in a Car-Dependent Society Justine Testado 2013-07-26T17:46:00-04:00 >2013-08-01T18:47:06-04:00 <img src="" width="514" height="280" border="0" title="" alt="" /><em><p>&ldquo;Ultimately people can&rsquo;t get around conveniently because they are far away from everything.&rdquo; And it is this observation that for me epitomizes the problem of the driverless car &mdash; it&rsquo;s the worst kind of solutionism. By becoming so enamored with how technology might transform the car, we&rsquo;ve neglected to adequately explore how getting rid of cars might transform how and where we live. We&rsquo;d do well to heed Gorz&rsquo;s exhortation to &ldquo;never make transportation an issue by itself.&rdquo;</p></em><br /><br /><p> <img alt="" src="" title=""><br><br> It's a given that America continues to be a car-obsessed society despite the more painstaking reality of driving a car in many major cities of today.&nbsp; In <a href="" rel="nofollow" target="_blank">The New York Times</a>, editor Allison Arieff of <a href="" rel="nofollow" target="_blank">SPUR</a> points out that the U.S. is <em>still</em> fixated on selling, using and enhancing the car when commuters are carpooling more and buying fewer cars.<br><br><img alt="" src="" title=""><br><br> Furthermore, Arieff gets to the root of the problem by pointing out the negative impacts that a car-dependent culture has on public transportation and the even more complex issue of urban sprawl--both which are in need of more attention and innovation. As Arieff mentions in her article, cars aren't what make up the city--it's the city itself. Taking that into account, urban planners have a crucial role in making the Land of the Free less dependent on the car.</p> <p> Do you agree with Arieff? What's your take on the issue? Feel free to share your opinion in the comments below.</p> DWR teams up with NYT for the Design and Architecture Crossword Archinect 2012-10-12T19:04:00-04:00 >2012-10-15T20:05:32-04:00 <img src="" width="650" height="462" border="0" title="" alt="" /><em><p>This puzzle appeared in the October 7 issue of T Design&nbsp;(page 60) in The New York Times.</p></em><br /><br /><p> Click <a href="" rel="nofollow" target="_blank">here to download</a> the printable PDF version.&nbsp;</p> Architecture and the Lost Art of Drawing Archinect 2012-09-04T12:32:00-04:00 >2012-09-14T02:22:19-04:00 <img src="" width="600" height="389" border="0" title="" alt="" /><em><p>IT has become fashionable in many architectural circles to declare the death of drawing. What has happened to our profession, and our art, to cause the supposed end of our most powerful means of conceptualizing and representing architecture? The computer, of course.</p></em><br /><br /><p> Michael Graves pens an opinion piece for the Times.</p> An urban affairs position that coincides with architectural criticism.... Nam Henderson 2012-07-18T10:45:00-04:00 >2012-07-18T10:50:03-04:00 <img src="" width="190" height="240" border="0" title="" alt="" /><em><p>Mr. Landman views these attempts at defining the critic&rsquo;s frame of reference &mdash; Kimmelman-style and Scott-style &mdash; as entirely appropriate. Critics, he said, are not supposed to be objective; they are free to champion certain kinds of work. They are &ldquo;free to like or dislike anyone or anything.&rdquo;</p></em><br /><br /><p> Arthur S. Brisbane, (the Public Editor) provides some insight into the workings of the NYT&nbsp;Arts section. He spoke with Jonathan Landman, The Times&rsquo;s culture editor, in an effort to better understand the rules that The Times plays by. Specifically, when it comes to the New York Times&rsquo;s many cultural critics. They discuss the purpose of reviews and how Michael Kimmelman, The Times&rsquo;s recently minted architecture critic has been given "<strong>perhaps the widest latitude</strong>" with regards to coverage.</p> Michael Kimmelman Will Not Play Your Architecture Games HotSoup 2012-03-09T14:14:00-05:00 >2012-03-09T15:11:51-05:00 <img src="" width="600" height="399" border="0" title="" alt="" /><em><p>Michael Kimmelman is not a very good architecture critic, at least that is what some of his critics would have you believe. As invigorating as his first few columns championing urbanism and public design were, the whole thrust has devolved into a sort of schtick, whereby every article is about the greatness of cities, and barely about architecture. Michael Kimmelman knows this.</p></em><br /><br /><p> What, exactly, should the <em>Times</em>' new architecture critic be writing about? Something, his fellow critics agree.</p> Michael Kimmelman, the Architecture Critic New York Has Been Waiting For HotSoup 2011-10-13T10:59:39-04:00 >2011-11-24T09:05:52-05:00 <img src="" width="500" height="337" border="0" title="" alt="" /><em><p>We are looking at the work of very good if far from famous architects doing remarkable work right here at home&mdash;not starchitects toiling away on the other side of the planet, cooking up schemes that may well never get built. [...] It was not that long ago that Mr. Kimmelman was writing a column called "Abroad," dealing with artistic matters in Europe. Now, here he is, plying local waters, reminding the world [New York[ is still the place to be and build.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> Michael Kimmelman observed Orhan Ayyüce 2011-08-11T17:34:13-04:00 >2011-08-11T18:59:45-04:00 <img src="" width="400" height="600" border="0" title="" alt="" /><em><p>Ada Louise has a voice (acerbic defender of the city); Goldberger has a voice (the artful company man); Muschamp had a voice (champion of glamour). Nicolai, alas, has no voice. Kimmelman will need to stake out some critical territory for himself, a voice on the subject. &hellip;</p></em><br /><br /><p> Ms. Julie Iovine an ex editor of NYT's Home Magazine whose quotes were relied upon in this article, noted &ldquo;There&rsquo;s a worry now, that someone who is known as an art critic&mdash;an appraiser of the object&mdash;will be tempted to also treat architecture as an object. It ain&rsquo;t so! Especially right now&mdash;the idea of the starchitect is entirely pass&eacute;. No one practices that way anymore. It&rsquo;s over, done, good riddance.&rdquo;</p> New York Times names Michael Kimmelman to be new architecture critic Paul Petrunia 2011-07-06T00:04:49-04:00 >2011-11-24T09:05:52-05:00 <img src="" width="292" height="290" border="0" title="" alt="" /><em><p>New York Times&nbsp;art critic and "Abroad" columnist&nbsp;Michael Kimmelman will become the paper's&nbsp;new&nbsp;architecture critic, the Times&nbsp;is announcing today.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> No More Nicolai: Critic Leaving NY Times Paul Petrunia 2011-06-06T12:56:22-04:00 >2011-11-24T09:05:52-05:00 <img src="" width="500" height="375" border="0" title="" alt="" /><em><p>According to an in-house memo, New York Times architecture critic Nicolai Ouroussoff is &ldquo;moving on&rdquo; at the end of this month. The sweet but short memo about the critic&mdash;who this year submitted his own Pulitzer nomination package&mdash;was sent around this morning from culture editor Jonathan Landman.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> Willis Tower Suspends Visitors Above Chicago Paul Petrunia 2011-05-31T14:25:03-04:00 >2011-11-24T09:05:52-05:00 <img src="" width="650" height="366" border="0" title="" alt="" /><em><p>Despite the reassuring rivets in the 1,500-pound glass panels, the calm stillness of the air at the Windy City&rsquo;s pinnacle and the security of a 10,000-pound weight capacity for each of the four 4.3-foot-deep glass boxes that protrude past the sheer edge of the Western Hemisphere&rsquo;s tallest building &mdash; despite all that, you still feel twinges of queasiness.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> Ghostly Developments Also Haunt Spain’s Banks Paul Petrunia 2011-05-10T15:59:11-04:00 >2011-05-10T15:59:12-04:00 <img src="" width="600" height="350" border="0" title="" alt="" /><em><p>Most of these units have never sold, and though they were finished just three years ago, they are already falling into disrepair, the concrete chipping off the sides of the buildings. Vandals have stolen piping, radiators, doors &mdash; anything they could get their hands on.</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html> End the University as We Know It Paul Petrunia 2011-04-12T18:30:04-04:00 >2011-11-24T09:05:52-05:00 <img src="" width="600" height="265" border="0" title="" alt="" /><em><p>GRADUATE education is the Detroit of higher learning. Most graduate programs in American universities produce a product for which there is no market (candidates for teaching positions that do not exist) and develop skills for which there is diminishing demand (research in subfields within subfields and publication in journals read by no one other than a few like-minded colleagues), all at a rapidly rising cost (sometimes well over $100,000 in student loans).</p></em><br /><br /><!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ""> <html><head><meta></head></html>