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’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. — The Municipal Art Society of New York

That the Antinori family embraced a more ambitious project, allowed Archea to design everything down to the furniture and fittings, then paid the bills after the budget more than doubled from its original $45 million, and also endured years of delays because of construction problems, shows how much fine, successful architecture depends on the right client. — New York Times

It might seem like a mismatch: the Dolans, veterans of many public brawls, against Kimmelman, an urbane trained pianist who previously wrote primarily about art. But such is the power of the Times when it’s given to a crusading voice. — NY Magazine

The value of an institution isn’t measured in public square feet. But its value can be devalued by bad architecture...The designs have all the elegance and distinction of a suburban mall. I was reminded that Mr. Foster is also responsible for the canopied enclosure of the inner court at the British Museum, a pompous waste of public space that inserts a shopping gallery into the heart of a sublime cultural institution. — New York Times

Mels Crouwel, the lead architect for the Stedelijk, was government architect for years. His firm is normally reliable, with an industrial bent. He promoted the tub as a technological novelty, its aerodynamic exterior made of a reinforced synthetic fiber coated in white airplane paint to give the museum a shiny, enameled finish and to nod to the old Stedelijk’s white rooms, which still fails to explain the plumbing metaphor or other moves. — NYT

No, this isn’t a beautiful or ingratiating building, but it’s technologically smart, with an underground turntable for trucks that may sound eye-rollingly dull but makes traffic engineers like the city’s transportation commissioner, Janette Sadik-Khan, swoon...SHoP has also spared Brooklyn another retro stadium. — NYT

Adding on top of the old Prentice is intended as a thought exercise in what might be called a third way that may not always get its due in preservation battles...And this is where Ms. Gang comes in, compellingly. After our conversation she rapidly crafted a concept for a 31-story skyscraper atop the cloverleaf. — NYT

As for the notion that expanding the interstate tangle and adding the sister bridge next to the Kennedy might bring more people and jobs into the city, I can only say that 40 years after the interstates supposedly started pumping life into Louisville’s downtown, the streets here looked pretty empty, especially at night. — NYT

Reacting to Tatzu Nishi’s concept for Discovering Columbus, Donna Sink exclaimed "Wow, I love the interior environments he makes for these installations! The existing piece is so out-of-place." The conceptual piece will consist a living room six stories up in the air wrapped around the historic statue of Christopher Columbus found in Columbus Circle, NYC.

Mr. Landman views these attempts at defining the critic’s frame of reference — Kimmelman-style and Scott-style — as entirely appropriate. Critics, he said, are not supposed to be objective; they are free to champion certain kinds of work. They are “free to like or dislike anyone or anything.” — NYT

It is easy to see how Kimmelman’s resistance to conventional criticism can open the discussion of architecture to those outside of the field. But perhaps more importantly, it prompts critics, readers and architects who look to the Times to consider architecture as both a large-scale work of art, deserving of lofty theoretical contemplation, and an equally large-scale social intervention, deserving of anyone’s comments. — blogs.artinfo.com

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. — observer.com

Anthony J. Lumsden, a prolific Southern California architect who helped develop new ways of wrapping buildings in smooth glass skins, died Sept. 22 in Los Angeles. eric chavkin shared a personal memory “I remember Tony Lumsden. He taught 5th year studio at SCI-Arc , the time between Cesar Pelli and Alberto Bertolli...Lumsden's after work crits started from later afternoon and lasted to evening , always over-sketching on flimsy. A roll a night. One student after another.”

We are looking at the work of very good if far from famous architects doing remarkable work right here at home—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. — New York Observer