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Thursday, July 31, 2014

EDITOR'S NOTE: Just a reminder that we're on our summer schedule now, and not posting on Fridays and Mondays. We'll be back Tuesday, August 5.

Click here to see today's news:
ANN Feature: Gutzmer's in-depth Q&A with Behnisch Architekten partners, who pull no punches in discussing the challenges of urban planning, the differences working in Europe and the U.S., architects' social and ethical responsibilities (Zaha included), and much more. -- We are saddened by the news of the passing of planning master Peter Hall. -- It seems fitting, then, that much of today's news is about urban planning and public spaces: -- Kimmelman calls for the Frick to re-think its expansion plans that would erase "a prized garden": "there are other options" to becoming yet another "outpost of civilization falling prey to the bigger-is-better paradigm." -- Science may be able to tell us "how cities grow and why they fail," but "no discussion of the health of cities can be complete without thinking about the role of art - public art." -- Not everyone is thrilled with Sydney's "ambitious $9 million public art plan" that includes a "wacky" arch, an oversized milk crate, and 60 handmade bronze birds. -- Hogan, on the other hand, thinks "it's about time Sydney had an arch. Australia's cringe against public art" and "using public space for art that does not fit an existing national mythos has us backing away from public spending on public goods." -- Davies, meanwhile, ponders how Melbourne's Federation Square made a Top 10 list as "the sixth best public square in the world" without having the scale or historical, religious or political significance" of the others: "its claim is it simply works extraordinarily well as a place for people to meet for the decidedly modest routines of daily life." -- AIANY and the Center for Architecture are on a mission "of advancing the fraught debate over what constitutes and threatens public areas" (including bathrooms) "in ways that could provoke opposition." -- Dunlap reports on clashing visions for another "ghost rail bed" in NYC: bring back the trains, or make it a park - "just don't call it the High Line of Queens" (and a reason to check out "QueensWay Connection" proposals at the Center for Architecture). -- A look at what could be next for NYC's proposed subterranean Lowline park: it "could be a reality by 2018," but "reality will take more than technology - it will take cash." -- Hatherley rounds up "famous skyscrapers that flopped." -- Jones waxes poetic about the throngs who gathered to cheer the demoltion of three cooling towers: it "reveals the truth - avant-garde structures are most popular when they fall...architecture is - at its worst - the most arrogant of the arts." -- Two Ukrainian photographers create "surreal landscapes in which art institutions, such as the Guggenheim and Pompidou Center, appear mired in very recent disasters." -- Turner, on a brighter note, visits Zumthor's zinc mine museum in Norway, and the man himself in his Swiss studio to find out why the project has taken so long: "His obsessive attention to detail even saw him create the recipe for the beef and vegetable soup that will be the only fare on offer" (oh - and knitwear, too). -- Weekend diversions: -- Heathcote x 2: "Lazar Khidekel, Suprematism and the Russian Avant-Garde" at the Pushkin House: he may be "barely known compared with his now-stellar contemporaries, yet in his fusing of art, architecture and urbanism, he remains arguably the most visionary of them all." -- He gives (mostly) thumbs-up to Louis Kahn show at London's Design Museum: "So can this exhibition convince the unenlightened? Despite the fact that it is quite a good show, I'd have to suggest that the answer is no" (Kahn's son got there first with "My Architect" - "perhaps the best film about architecture ever made"). -- Bevan cheers the "first major survey of Kahn's splendid work in decades. He may never have built in London but the consequences of his influence are all around us." -- Turner turns the pages of Wilkinson's "Bricks & Mortals: Ten Great Buildings and the People They Made" that goes "beyond the 'kings and queens' version of architectural history." -- Flint is entranced by Cape Cod's Modernist legacy, "lovingly detailed" in McMahon and Cipriani's "Cape Cod Modern."

  

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