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Tuesday, September 30, 2014

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ArcSpace brings us Kiser's take on Foster + Partners' Vieux Port Pavilion in Marseille; and an exhibition at the Danish Architecture Center that "investigates a new wave of urban creativity." -- Betsky banters with the "artwashing" of Brutalist affordable housing in London: "It's nothing new, of course. The older term was gentrification - all you have to do is clean them up, and present them as beautiful building blocks for yuppie living." -- In Buenos Aires, "tensions are rising" as citizens take to the courts to save the city's architectural heritage from bulldozers (and becoming "a major headache" for developers and city authorities - poor dears). -- In Denver, a movement is afoot to save HHPA's 1978 Boettcher Concert Hall from the wrecking ball. -- AIA Queensland Chapter raises a rallying cry to save Gibson's "iconic Brutalist" Queensland Performing Arts Centre in Brisbane from disappearing to make way for two 30-story towers. -- Architects also rally behind a bid to halt plans to turn Moscow's iconic Melnikov House into a museum: "the entire architecture community is now watching the situation with worry and astonishment." -- Perez lays out the Top 10 misconceptions about form-based codes (no, they don't always dictate architecture or mandate high-density residential or, or, or...). -- Moscow adopted a design code only recently - but much could be learned by looking at "how rules work on European streets" to create "a comfortable and non-aggressive environment on the streets" that "does not prohibit and force, but rather directs and guides." -- Hawthorne has high hopes for L.A.'s Union Station master plan that goes well beyond the station itself: "we're getting a glimpse - encouraging if opaque - of what its next 75 years might look - a literal and symbolic place in the middle of something new." -- Litt cheers the end of "a bitter, slow-motion war over land use" on Cleveland's waterfront: "a shared vision identifies how industry, nightclubs, residents and visitors can coexist peacefully in the city's historic and visually striking riverfront neighborhood." -- King gives thumbs-up to San Francisco's new cruise ship terminal, "a crisply detailed shed of corrugated aluminum" that is "deferential to its surroundings, understated in its efficiency," and "an invitation to linger, to savor the fusion of city and bay." -- Broome offers a thoughtful (and sometimes amusing) take on Gehry's "dazzling" Biomuseo in otherwise "culturally bereft" Panama City: the "tumult of color" of its own Bilbao "is a rather simplistic and garish interpretation. But the building, festooned in its fantastical plumage, is a grand gesture" (pix by Baan to boot). -- It seems Gehry is stepping up to the plate when it comes to doing something about labor conditions at his Guggenheim Abu Dhabi that "could serve as a model for doing things right" for workers on other sites. -- Meanwhile, the Guggenheim in New York has expansion plans for a Collection Center, and "considering whether to hold a competition to find an architect." -- Saffron goes into full poetic mode strolling the new segment of the Schuylkill Banks Boardwalk: "Let New York gloat about completing the High Line" - Philly's linear park over the water "might be even more impressive...a joyous journey more than 2,000 feet long...without even the involvement of an architect!" (but do expect some overcrowding). -- An Australian/New Zealand team "pips NY's High Line" to win the inaugural Rosa Barba International Landscape Prize for its Auckland Waterfront project - the "transformation of a decrepit industrial maritime site into a vibrant and diverse public precinct." -- Jacobs offers a lively profile of "the most famous architect you've never heard of": the woman overseeing 1 WTC is "not the kind of architect you'll find spouting metaphors." -- A lively conversation between Blumenfeld and Willis re: the new BWAF project, Built By Women. -- One we couldn't resist (and from the U.K. Government Office for Science, no less): a visual history of the "the ways future cities have been depicted in print and on film over the last 100 years" (images are amazing!). -- Eyefuls of the winners of the ASLA 2014 Professional and Student Awards (great presentation!).

  

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