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Today’s News - Thursday, May 23, 2019

EDITOR'S NOTE: Tomorrow and Monday will be no-newsletter days. We'll be back Tuesday, May 28.

●  ANN feature: Susanne Angarano: Building Abundance #4: Abundance from Regeneration - Our Opportunity as Designers: Design strategies that are driven by an understanding of place, community, and full intentionality can achieve abundance.

●  Davidson takes an eloquent dive into "the evolving cultural density of Grand Avenue" and how, 16 years later, the "ebullient building" that is Gehry's Disney Hall "is still spinning off energy, and the neighborhood around it is still being born."

●  Before reviewing performances, Ross parses The Shed, and whether it can "inject culture into Hudson Yards," where the "buildings resemble skyscrapers that have been expelled from other cities and deposited here, their mismatched angles gesturing in an aesthetic void" - HY "has a prematurely dated air, like one of yesterday's forgotten tomorrows."

●  On a brighter note, JPW Architects' Parramatta Square 6 & 8, Western Sydney's largest commercial development, gets underway.

●  Montague reports on the growing concern about the future of Lester Collins's 1981 Hirshhorn Museum garden as the museum taps Sugimoto to redesign it with a large performance space in the center.

●  O'Sullivan, on a brighter note, cheers plans to create Paris's largest gardens, by Gustafson Porter + Bowman, around the Eiffel Tower "that will create an unbroken spine of greenery a mile long across the city."

●  Stinson parses "the refreshingly simple and deceptively complex architecture of SO-IL" that "revels in playful material conceits that leave no two projects looking quite of a type."

●  Court documents "reveal warring executors agreed to rebrand" ZHA practice - but disagree on motive - Schumacher accepts that he consented to drop the name "Zaha Hadid" from the practice" (no mention of any potential new names).

●  Baker checks out how "museums are making the most of" the Bauhaus' 100th anniversary: "By highlighting the design school's function of teaching and learning, institutions like Harvard and new designers like Addenda Architects might just propel Bauhaus' importance into the next century."

●  ICYMI: ANN feature: Bernstein's beautiful obit of Pei, who "was as urbane as his best buildings: "If there's one thing I know I didn't do wrong, it's the Louvre."

●  ICYMI: ANN feature: Weinstein's review of "Buildings and Almost Buildings - nARCHITECTS" by Bunge and Hoang that "wryly showcases their journey to create 'almost buildings.'"

More praise for Pei:

●  Manfredi considers Pei "a master who used the symbolism of form to tell stories and communicate ideas. Because he made harmony within conflicting domains of artistic discipline, public narrative, and human empathy, he created the greatest portfolio of buildings of the late 20th century" (with "never a line or curve wasted").

●  Tributes to Pei by Rob Rogers, Trussell Porter, Suckle, Gorlin; O'Herlihy, Speaks, Heintges, and Ogawa. "His belief that architecture can enrich human life at every scale was profound."

●  Diane Sawyer's 60 Minutes interview with Pei in 1987, "while he was building the addition to the Louvre" - when asked "how he thought the French would react to his audacious design, he said, 'I was sure that I would be kicked out of town.'"

Page-turners:

●  Art historian Allen finds Lamster's "The Man in the Glass House" to be "an absorbing new biography - there's quite a bit of devil in all those details"; Lamster balances it all "with a flair Johnson might very well admire" ("he was barely competent and always had serious backup help").

●  Lamster, meanwhile, cheers "The Open-Ended City: David Dillon on Texas Architecture" - "a welcome reminder of his intelligence and flair for the mot juste. He was tough when the city failed to meet his standard, but generous and insightful when it did."

●  Newhouse hails Hines's "Architecture and Design at the Museum of Modern Art: The Arthur Drexler Years, 1951-1986," a "meticulously researched account" of how he gave the MoMA's A&D department "a new purposeful cohesiveness. Drexler's career is a tale of triumph and tragedy."

●  Pedersen's great Q&A with Goldberger re: "Ballpark: Baseball in the American City": His "premise is a good one: Ballparks do parallel trends in American urbanism" ("If Hudson Yards had only had a baseball stadium, it would have been much better," sayeth PG).

●  A great Q&A with Locktov re: "the mesmerizing 'Dream of Venice' books, the city, and the responsibility of creators in the age of overtourism," and "refusing to present Venice as a fleeting bucket-list destination."

●  Marshall cheers how photographer Greenberg revives "the lost urban art of looking closely" in "Codex New York: Typologies of the City" that "takes a close, almost forensic look at New York City. It's about the street equivalent of water towers - things that visitors and residents have walked past, oblivious, until someone said, 'Look!'"

●  Italian photographers Conte and Perego's "Soviet Asia" captures "the largely unknown modernist buildings that shaped the area's urban development between 1955 and 1991," which they hope "will expose the architectural realities of a less-explored side of Soviet Modernism."

  


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