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Today’s News - Thursday, February 20, 2020

EDITOR'S NOTE: Tomorrow and Monday will be no-newsletter days. We'll be back Tuesday, February 25.

●  ANN feature: Bloszies brings back Left Coast Reflections with #6: Charrette: The word has evolved and taken on a new meaning - one that belies its origins. Some Beaux-Arts terms have retained their original meanings - "atelier" is often used as a pretentious substitute for office.

●  Blander considers the driverless city, and whether it's "a road to nowhere," and presents speculative plans by SWA, Sorkin, Ratti, Gensler, Snøhetta and others - "some are rather fanciful, others demonstrate a more measured response."

●  Holland considers whether "the wooden skyscraper revolution" has finally arrived with "a growing body of evidence that timber can provide a sustainable alternative to concrete and steel - there remain very practical barriers: building regulations."

●  Bozikovic cheers Provencher_Roy's renovation of Taillibert's Montreal Olympic Tower that has sat empty for 30 years, now repurposed as a workplace for 1,300 - "Taillibert's sinuous architecture captures the big dreams of mid-century in concrete."

●  We are sad to learn that, "after nearly a decade of planning," the Lowline, "an ambitious project to transform a disused trolley terminal" in NYC "into a subterranean park is dead."

●  One we couldn't resist: Walker, Plitt & Spivack map "New York City's best places to cry in public" (IKEA Brooklyn is a hoot!).

●  ICYMI: ANN feature: Design Workshop's MacRae & Ficht consider three trends they see shaping landscape architecture.

Weekend diversions:

●  Kimmelman and Koolhaas talk about "Countryside, The Future" at the Guggenheim: Some might "find it exhilarating or shambolic" - the "huge, text-heavy show may invite charges of slumming by a world-famous architect who, it is said, often gives off the imperious, slightly impatient impression that he has something better to do."

●  Shaw re: "Countryside: The Future": The familiar layouts and fonts make the exhibition seem more like the work of a signature architect or firm, not a global coalition. No, but seriously, folks, go see the show!"

●  Michaelsen catches up with Koolhaas in Milan for a Q&A that is both insightful - and strange: he "hardly lifted his eyes for two hours. Instead, he drew labyrinths, roman numbers" ("This is a typical tabloid question, but I'll still give you an answer.")

●  Zeiba x 2: Q&A with Eyal Weizman re: "Forensic Architecture: True to Scale," opening today at the Museum of Art and Design in Miami, "changes of the past decade, the power of technology, and the importance of forensics in a 'post-truth' era."

●  He reports that Weizman was preparing to fly to Miami, but "received an email from the U.S. Embassy informing him that his visa had been revoked - an 'algorithm' had identified him as a security threat" (huh???) + Weizman's full statement that will be read at the opening tonight.

●  10 (stunning) highlights from The Morgan Library & Museum's "Jean-Jacques Lequeu: Visionary Architect. Drawings from the Bibliothèque nationale de France" - from "otherworldly sphere temples to impossibly complex dairy barns" (self-portraits are wild!).

Page-turners:

●  Bierig: Kelbaugh's "The Urban Fix: Resilient Cities in the War Against Climate Change, Heat Islands and Overpopulation" - the "book's sprawling attempts - each well-intentioned if inadequate - provide one indication of the immense complexity of the problems we face."

●  Bell delves into Owen Hopkins' "Postmodern Architecture: Less is a Bore": "PoMo was declared flippant and frivolous. Yet many ignored the critics and persisted" - the book "shows us why we should be grateful that they did" (PoMo's "giddy eclectism shines through").

●  C. Davidson re: "The Museum Is Not Enough" by Canadian Centre for Architecture: "If the first-person voice is atypical for an institution, so is the introspective narrative. Is the need for relevance the reason for this introspective book?"

●  Anderton talks to Libeskind, "a bubbly, optimistic and entertaining soul," about "Edge of Order": "While his book is part-memoir and part-overview of his work, it's also a cheerful, highly readable call to readers to tap into their inner architect."

●  Eyefuls from "Container Atlas" that "establishes itself as a sound authority on the typology by providing a clear 'how to' guide, as well as being a beautifully illustrated addition to any booklover's collection."

●  Morgan cheers "Williams College: The Campus Guide" that is "more than a tour of the distinguished liberal arts college. This biography is told as a family epic: A complicated life, full of intrigue, might-have-beens, and triumphs."

●  Noe cheers British photographer Wiper's "Unintended Beauty" that reveals "his capacity for capturing the almost terrifyingly organized beauty" of industrial spaces - "the accidental aesthetics, sublime complexities and rich details of our machines."

  


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