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Today’s News - Tuesday, September 23, 2014

•   ArcSpace brings us Meyer's tour of Tokyo; Hybel's take on H&deM and "their commitment to challenging the Modernist ornament-aversion"; 7 "sharp-eyed architectural photographers"; and 7 "remarkable architects using the freedom of the hand drawing to express their particular architectural vision."

•   High praise for the last stretch of NYC's High Line: Kimmelman: "If it doesn't make you fall in love with New York all over again, I really don't know what to say."

•   Goldberger: the final segment is "stunningly refreshing," with "some deft variations on the design themes of the two older sections, and they show some gentle wit."

•   Davidson: it "becomes more playful in its latest incarnation," but "preserves the look as it was during its years of abandonment - weedy, wild, poetic."

•   Cuozzo: "Vestiges of a lost industrial age, views of buildings destined to fall for new ones, strike a melancholy chord. But sadness" is "overcome, by the promise, and visible reality, of regeneration."

•   Russell's riff strikes a more rueful tone: after the starchitect-designed buildings went up, "the bottom-feeders moved in, throwing up the oversized, under-designed cookie-cutter junk. Trying to bathe in the High Line's reflected glory has not inspired the making of architecture to match."

•   Saffron has high hopes for the long-abandoned Delaware Station: "We've begun to recognize the value of Philadelphia's industrial heritage and the awe-inspiring cathedrals it produced. There are few better examples than this building" - why not Philly's own version of Tate Modern?

•   King cheers Freemont, CA's "imaginative planning" that puts "San Francisco's to shame - it's startling to see a major city take an open-ended approach to planning nearly 900 acres - a long-term gamble with a real chance for success."

•   Albuquerque's long-abandoned rail yard "is getting the Eric Owen Moss treatment": "adaptive reuse, not preservation, is the goal...buildings are certain to be built with brash, inventive form-making" that will "honor this industrial history without nostalgia or mimicry."

•   Sydney issues a draft Walking Strategy and Action Plan with a series of projects and targets to make the city "a safe and convenient walking environment, backed up with clear wayfinding and engaging public art."

•   Merrick gives (mostly) thumbs-up to RSH+P's Cheesegrater that is "striking not only for its height but also for the two significant voids it creates" ("shining entrails," a "steel hernia," and a "gaping shark bite" included).

•   Bevan, on the other hand, gives thumbs-down (and then some) to the Walkie Talkie, which may offer the "most spectacular views" of London, but it has "a face only a mother could love" that "looms with its dumpy body and thick neck jutting aggressively forward as if it is about to start a sack race, thumping its way towards the river" (ouch!).

•   Morgan isn't much kinder to Providence College's Ruane Center for the Humanities that "portends a journey into a Disney-fied architectural wilderness. This is the same sort of Potemkin village found in upscale shopping malls and themed suburban restaurants" (ouch, again!)

•   Rollo brings us back to a happier note with (mostly) cheers for the "wonderful new" Melbourne School of Design: "Like most complex buildings, this one has faults...but on balance it is an architecture of light and space and transparency."

•   Rochon revels in Maki's "sublimely detailed" Aga Khan Museum and Correa's "stunning" Ismaili Centre that have moved Toronto's cultural brand "into a new galaxy."

•   "How in the world do you design a museum that says 'Bible'" near the National Mall? "It's a tricky thing to put in the nation's capital. Politics come to mind..." (no kidding).

•   Lubell has a great Q&A with Pali re: his split with Piano on the Academy of Motion Picture Arts and Sciences: "what I expected out of the process was some sort of interesting discourse. And that is not where it went."

•   Hawthorne welcomes the first day of Fall with an architectural preview of the season: "a steady supply of ambitious, market-tested architecture is emerging" in L.A that may be "less breezily unorthodox, perhaps, but also tougher-nosed and harder won."

•   Capps delves deep into how Lowe's Project Row Houses in Houston earned a (well-deserved) MacArthur Grant.

•   Time to cash in those frequent-flier miles to head to the 2014 World Architecture Festival in Singapore (who won't be there - besides us?).

•   Call for entries deadline reminder: Workplace of the Future 2.0 Design Competition (deadline looms!).



  


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