Musicians look at the bridge differently. Mickey Hart, the former Grateful Dead drummer, sees the Golden Gate Bridge as a "giant wind harp." He plans to be at Crissy Field on Sunday evening, the bridge's 75th birthday, to perform an original composition.

The bridge will be the star. "The most famous bridge in America," Hart said, "is actually a musical instrument." — sfgate.com

The proposal would replace a parking lot and a low building near the northwest corner of Market and Van Ness with a 34-story, 400-foot residential tower designed by New York's Richard Meier & Partners. — San Francisco Chronicle

Academic institutions have a mandate to contribute to public knowledge, but the structures that support the transfer and dissemination of research, and the application of research within urban design practice, are often weak. There is a widening gap between what happens within the academy and what happens on the ground in cities — often a retrograde, generic and ad hoc agglomeration of politically or financially motivated initiatives. — Places Journal

Construction cranes have only recently returned to the skyline and stasis remains the quo. Instead, here are five changes that I'd like to see in San Francisco. Some involve structures, but most involve sensibilities: the need to pay attention to the final product, rather than the process along the way. — sfgate.com

Scott Weaver's amazing piece, made with over 100,000 toothpicks over the course of 35 years, is a depiction of San Francisco, with multiple ball runs that allow you to go on "tours" of different parts of the city. It will be on display in the Tinkering Studio until June 19th! — vimeo.com

The architects' sketches for SFMOMA's new expansion reveal a transformative design for the museum, the neighborhood, and the city. "Our design for SFMOMA responds to the unique demands of this site, as well as the physical and urban terrain of San Francisco," says Snøhetta principal architect Craig Dykers. "The scale of the building meets the museum's mission, and our approach to the neighborhood strengthens SFMOMA's engagement with the city. — sfmoma.org

With innovative mechanical systems, natural daylighting, clear signage and a variety of behind the scenes sustainability strategies, San Francisco International Airport's Terminal 2 has become a destination unto itself. And the LEED Gold certification? Well, that's just an added bonus. — Inhabitat

The source of the disconnect between San Francisco's transit-first heart and its car-centric hand is an arcane engineering measure called "level of service," or LOS. In brief, LOS suggests that whenever the city wants to change some element of a street — say by adding a bike lane or even just painting a crosswalk — it should calculate the effect that change will have on car traffic. — Eric Jaffe

Is it a building filled with art with some people in it, or a building filled with people with some art in it? There needs to be enough social space to make people feel comfortable in what can be an austere environment, the white box. You shouldn’t feel like you need to be quiet in the public spaces. — New York Times

Today the California Academy of Sciences achieved a groundbreaking feat of sustainable design as the U.S. Green Building Council presented it with its second LEED Platinum certification, making it America’s first double platinum museum, and the world’s largest double platinum building. — Inhabitat

[Legorreta and Legorreta] caught Salesforce founder Marc Benioff's eye with its UCSF community center, a red stucco cube enlivened by an oversized purple-walled courtyard and, at one corner, a steep sculptural tower. It's the only campus building that brings a smile; it also typifies the firm's knack for spirited buildings that strive to catch the eye. — sfgate.com

In San Francisco, you feel like you’re always leaving and going, you go up and down, up and down. You’re always provided with a new view of the city. So we felt we could use that idea to allow people to experience the museum and the city in different ways. We’re creating a lot of variation within the design. So even though the building is relatively compact, you’ll always be able to step into a space and look down or across or up into another space. — Simon Ewings, via fastcodesign.com

Designed by busy Norwegian firm Snøhetta, which is also at work on the museum at New York's ground zero, the addition will slip a massive, 335-foot-long cruise ship of a structure behind the museum's existing building, which was designed by Mario Botta and opened in 1995. The main entry to Botta's museum, along Third Street, will remain, but a second gateway to the museum will open up along Howard Street. — latimesblogs.latimes.com