Friday 10 July 2015

Summer 2015 Architectural Walking Tours

I've got a couple architectural walking tours this summer, both coming up this month. Click on the links below to purchase tickets from the 92Y.

Saturday, July 18, 11am - 1:30pm
The High Line and Its Environs
Trek the High Line taking in the park and the surrounding buildings and step off to get a closer look at select buildings.
High Line Section 2

Saturday, July 25, 11am - 2:30pm
Brooklyn G Train Tour
Hop on and off the G train from Carroll Gardens to Clinton Hill and Williamsburg, taking in townhouses, campus facilities and other buildings along the way.
Junction

Thursday 9 July 2015

Currencies of Architecture

The Chicago Architecture Club's 2015 Burnham Prize Competition isn't a building, a landscape or an installation – it's an image. Specifically, "the iconic image that defines or challenges the state of architecture today." Read on for more information on Currencies of Architecture.


[All images courtesy of Chicago Architecture Club]
Throughout the history of architecture, iconic images have demarcated, defined, represented or challenged the state of architecture. The crystalline form of the Friedrichstrasse Skyscraper, developed in 1921 by Ludwig Mies van der Rohe, inspired and spoke of an imminent future. Rem Koolhaas and Madelon Vriesendorp’s cinematic 1972 rendering The City of the Captive Globe encompassed ideas of ideological pluralism forever altering our conception of the city. Stanley Tigerman’s 1978 photomontage The Titanic depicted Ludwig Mies van der Rohe’s iconic Crown Hall sinking into Lake Michigan, challenging the perceived norm in architecture during a period that saw the postmodern movement becoming an opposition to the established modernist legacy in Chicago.

These images represent but a few examples of definitive moments in the history of architecture. They were able to not only capture the Zeitgeist of a period but were laden with meaning that suggested possible new directions forward. They remain provocative and polemical artifacts. What would the iconic image that defines or challenges the state of architecture today look like?

Inspired by the title of the inaugural Chicago Architecture Biennial—The State of the Art of Architecture— the Chicago Architectural Club’s 2015 Burnham Prize challenges participants to develop a single image that represents a strong point of view that explores the question: What is the State of the Art of Architecture today? The competition allows the CAC to champion the work of a new generation of architects and seeks contributions that foster vigorous debates on the fundamental issues of the state of the art of architecture.
More information is available at the Chicago Architectural Club website.

Wednesday 8 July 2015

Ten Big Buildings in Google Maps

Just a fun little mid-week diversion: While doing some virtual globetrotting I noticed that many buildings I was looking for have modeled footprints in Google Maps. Below is a sampling of ten of the most interesting ones, all roughly at the same scale and sorted from big to bigger to huge. Click on each map to "visit" the building in Google Maps.

J. Mayer H.'s Metropol Parasol in Seville, Spain:


Herzog & de Meuron's de Young Museum in San Francisco, California:


Daniel Libeskind's Jewish Museum in Berlin, Germany:


EMBT's Scottish Parliament in Edinburgh, Scotland:


SANAA's Rolex Learning Center in Lausanne, Switzerland:


Frank Gehry's Guggenheim Museum in Bilbao, Spain:


Charles Correa's Jawahar Kala Kendra in Jaipur, India:


Renzo Piano's Jean-Marie Tjibaou Cultural Center in New Caledonia:


BIG's 8 House in Copenhagen:


Louis Kahn's National Parliament House in Bangladesh:


Any good ones I missed? Please comment below and maybe I'll add them.

Tuesday 7 July 2015

Exhibition of the Moment: Foreground

I wish I could make it out to Los Angeles to see the Center for Land Use Interpretation's (CLUI) current exhibition, Foreground: The Landscape of Golf in America. Alas, these couple photos and description will have to do. (If anybody makes it out to the exhibition and snaps photos or does a write-up, please let me know and I'll add a link here.)


[Photos: CLUI]

Description from CLUI:
Most sports are played on rectangles of consistent dimensions, and can be pursued almost anywhere, even indoors. Golf’s field of play is irregular in form, and defined by features of the outdoors, such as grass, trees, sand, mounds, and water. Golf is a sport played on, and with, a landscape.

Golf courses are romantic, evoking notions of a pastoral sublime. They are also site-specific, distilling scenic qualities of the place where they are. In this way golf is a celebration of the diversity of the American landscape.

Primarily, though, golf is a landscape reduced to a functional stage, a simplified vista, serving the needs of the sport. Golf is an assertion that nature can be thoroughly tamed, sculpted, and placed under control, so long as we can maintain it.

Exhibit on display at CLUI Los Angeles through September 21, 2015.

Monday 6 July 2015

Today's archidose #847

Here are some photos of Parc Martin Luther King (2014) in Batignolles, Paris, by Atelier Jacqueline Osty & AssociƩs, photographed by victortsu.

Untitled

Untitled

Untitled

Untitled

Untitled

Untitled

Untitled

To contribute your Flickr images for consideration, just:
:: Join and add photos to the archidose pool
To contribute your Instagram images for consideration, just:
:: Tag your photos #archidose

Saturday 4 July 2015

Happy 4th of July!



Update: The above clip is from the Astoria fireworks on June 30, but the below one is from the "official" fireworks on July 4th, set off by Macy's in the East River and seen from Gantry State Park in Long Island City.

Wednesday 1 July 2015

Book Review: Out of the Loop

Out of the Loop: Vernacular Architecture Forum Chicago edited by Virginia B. Price, David A. Spatz, and D. Bradford Hunt
Midway Books, 2015
Paperback, 204 pages



In early June the Vernacular Architecture Forum, "the premier organization in North America dedicated to the appreciation and study of ordinary buildings and landscapes," held its 35th annual conference in Chicago, a modern city that would appear to lack vernacular buildings. Take a look at any book on vernacular buildings, be it by Paul Oliver or any other historian focused on the subject, and pre-modern buildings populate their pages, not those from a place born in the industrial 19th century. But when the definition of vernacular is broadened to encompass just about any building designed without architects – designed by and for the people – then Chicago fits in pretty well. After all, Chicago boomed so quickly and greatly in the late 19th century that there was no way architecture and planning could keep up (the famous 1909 Plan of Chicago was an attempt at doing so, but it came pretty late and was realized to only a very small extent).

This book is a companion to the conference and a guide to the city's vernacular architecture, all of it found, as the title makes clear, outside of the city's downtown. It is organized into two halves: the first part ("Building Vernacular Chicago: Forming City Neighborhoods and Forging Communal Structures") features twelve essays on various aspects of the city's built fabric, from its grid and common building types to racism and industry; and the second part ("Touring Vernacular Chicago: Neighborhood Transition and Community Identity") is made up of eight tours that range from Pilsen and Oak Park to Calumet and public housing on the South Side.

With divergent neighborhoods and topics under the "vernacular architecture" umbrella, the book offers something for everybody. I found myself drawn to the essays and tours that focused more on buildings rather than, say, social structures; the latter is found in abundance, which makes sense given that vernacular buildings arise from joint concerns and traditionally Chicago was made up of ethnic enclaves (Irish in Bridgeport, Germans in Old Town, Swedish in Andersonville). So highlights for me include Terry Tatum's "A Brief Guide to Chicago's Common Building Types," such as worker's cottages, two-flats, and bungalows; David A. Spatz's history of Chicago's expressways; Lawrence Okrent's thorough photo-tour of Little Italy; and Bill Savage's short piece on the city's 800-to-a-mile grid. Although the tours are not set up to be of use only when in the city with book in hand, I'm looking forward to using the book as such the next time I'm in Chicago, when my usual explorations of modern and contemporary architecture will be amended to embrace the vernacular in its myriad forms.