The owners of the 222-metre (734ft) “Cheesegrater” building, the second tallest building in the City of London, are to replace dozens of long bolts on its structure after it was revealed that another one had fractured.

The bolts, among 3,000 on the building’s 15,000-tonne frame, are each just under a metre long. Two snapped in November, with some debris falling to the ground from the fifth floor. Nobody was hurt, but an area below the tower is still cordoned off. — theguardian.com

[...] a gallery dedicated to design and architecture will soon also be added the Centre.

Like the “Galerie de Photographies," which is housed in former technical facilities, the future design gallery will be located within the existing Piano + Rogers-designed building. “Eventually, there should be almost no offices in the building, and we'll keep only the technical facilities that are strictly indispensable," said Seban. — news.artnet.com

No-one was injured but an area around the 47-storey Leadenhall Building in the city has been cordoned off.

It fell from the fifth floor to the ground at the side of the building - another bolt also broke off but was contained within the skyscraper.

It is understood the bolts are about the size of an arm and the piece that fell was about the size of a hand. — bbc.com

Someone has told the bouncers to be nice. It is now standard for architectural anoraks like myself to find ourselves challenged by smile-less security as we go about our blameless business – no loitering, no photography, no looking, as if al-Qaida scouts would do their dastardly work in this way or as if, years after the invention of the camera phone, photography can be controlled as it could in the age of the tripod. But not at the base of the Cheesegrater. — theguardian.com

This, if it is a harsh way to describe the British Museum's attempts to update itself over the last two decades, with the help of the most famous architects in the land and hundreds of millions in generous donations, nonetheless reflects what's going on. Like large cultural institutions everywhere, the museum finds itself dealing with similar pressures to those of commercial players in the fields of leisure and entertainment [...] and it reaches for similar solutions.. — theguardian.com

Rogers's 1958 student report from the AA exhibited a remarkable level of consistency: Elementary Construction; Concrete Design; Specifications & Materials … he failed them all. As his tutor concluded, Rogers "has a genuine interest in and a feeling for architecture, but sorely lacks the intellectual equipment to translate these feelings into sound building. His designs will continue to suffer while his drawing is so bad, his method of work so chaotic and his critical judgment so inarticulate." — guardian.co.uk

“For us, it was really a blend of what’s the right concept for Park Avenue, a place that has not had a new building for almost 50 years, an avenue that is quite possibly the most important commercial boulevard in New York City, quite possibly the United States, and what is the place of a new build down the street from Seagrams and Lever House, two of the greatest buildings ever built,” Daivd Levinson said. — New York Observer

“We are grateful to each of the firms for the thoughtfulness and creativity they demonstrated throughout the process. There is no doubt that each group was fully capable of helping us realize our vision of a 425 Park Avenue tower that redefines the modern office environment while also respecting and enhancing the timeless allure of the Plaza district.” — New York Observer

The developer David W. Levinson could have set for himself the simple task of commissioning a better-designed tower for 425 Park Avenue than the one that’s been there since 1957.

But that would have been a very low bar.

He has engaged four of the world’s leading architects to compete for the job: Norman Foster of Foster & Partners, Zaha Hadid of Zaha Hadid Architects, Rem Koolhaas of OMA, and Richard Rogers of Rogers Stirk Harbour & Partners. — cityroom.blogs.nytimes.com

Richard Rogers's 1986 headquarters for the insurers Lloyd's of London has just been listed Grade I. This makes it, along with the Royal Festival Hall, one of the few 20th-century structures to be placed at the same level as, say, St Paul's. But, like the gothic cathedrals it so closely resembles, Lloyd's was not meant to be an entirely finished product. Look up to the top of its facade, and you'll find cranes are still there... — guardian.co.uk

So far 33 flats have been registered at the Land Registry with a combined value of £727.4m [$1,182,243,220]. According to Project Grande, total completed sales to date – about 45, although not all have been registered – have amounted to £963.5m [$1,565,976,550]. There are about 30 still to be sold, with deals worth about £125m expected this quarter. — Daniel Thomas and Cynthia O’Murchu, Financial Times