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Today’s News - Friday, May 21, 2010

•   Ouroussoff gives thumbs-up to Lincoln Center's "dazzling lawn with a twist," but finds "a surprising insensitivity to the way bodies flow through space" in much of DS+R's renovation.

•   Across the Big Pond, Piano's riotously colorful Central St Giles "achieves a superlative synthesis between architecture and public realm. This is contextual architecture at its very best."

•   Glancey on a number of towering developments that are "beginning to reach for the London cloudscape all over again."

•   Litt on Cleveland's Medical Mart mall plans: "The drawings are dry and abstract, the details skimpy," but the architect and landscape architect "are clearly thinking outside the rectangle."

•   The newest addition to Mexico's Mayan Riviera is a "fetish" hotel with "a mix of urban jungle, red-light district and elegant symmetry" that "inspires strong feelings of awe, interest and disgust - all at once."

•   Brussat cheers Centerbrook's "brilliant" Ocean House hotel: "a rather brave endeavor" in being faithful to the past "insofar as 'copying the past' is considered verboten by most architects, architectural historians and even preservationists."

•   Is the sketch superior to the computer-generated image? Yes, says Alan Dunlop; no says Alice Scott.

•   2010 AIA/HUD Secretary's Awards for affordable housing design (great presentation).

•   An eyeful of NYC's "newest crop of star architects...who might one day be dominating the field."

•   Weekend diversions (and lots of 'em!): architects take center stage in two plays in NYC: "The Bilbao Effect": "Oren Safdie has archibabble and legal-speak down pat - and takes both to task" says yours truly; Teachout says it's "both funny and cruelly smart in its portrayal of the lunatic excesses of the more extreme varieties of starchitecture"; and Bernstein thinks a model resembling "a Frank(Gehry)enstein monster of a building...is the play's least terrifying character."

•   Rather than choosing "to paint portraits of misunderstood saviors, deluded madmen, or monstres sacre," Finfer takes a more welcome approach to Mies in "The Glass House"; Moore marvels at its "smart writing, intelligent direction," and acting that tell the story of "the cigar chomping, champagne guzzling womanizer Mies van der Rohe and the gay, raspy voiced conniving Philip Johnson."

•   "Felipe Dulzaides: Utopía Posible" at Chicago's Graham Foundation revisits Havana's National Art Schools and captures "the structures' alien beauty in a way the few images available online cannot."

•   "OMA Book Machine" at London's AA exhibits the "paradox at the heart of Koolhaas' obsession with the book."

•   In Montreal, "Yesterday's Tomorrows" has 10 artists in "a discursive dialogue" with Modernist architects and designers.

•   Dallas Center for Architecture showcases forgotten modern masterpieces in "Ju-Nel Homes: Dallas Jewels of Mid-Century Modernism."

•   Bas Princen's "Refuge, Five Cities" at Storefront for Art and Architecture proves that in the Middle East "the relationship between past and present, order and disorder, is not so neatly defined."

•   Dieter Rams stars in Frankfurt: "I think that design has a great responsibility for the future. And I'm always optimistic."

•   Stamp's "Britain's Lost Cities: a Chronicle of Architectural Destruction" may be "a very depressing book," but "there are lessons enough here to be learned by those who are not too deaf to listen or too blind to see."

•   "Fascismo Abbandonato" presents "some of the weirdest monsters the Modernist century left behind."

•   Despite "conceptual problematics and editorial glitches," IAAC's "Self-Fab House" offers an "abundance of optimistic proposals."

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