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Today’s News - Friday, October 24, 2014

EDITOR'S NOTE: Monday is next week's "floating" no-newsletter day. We'll be back Tuesday, October 28.

•   Glancey gabs with Gehry re: Paris's "most exciting new building in a generation. For all its flamboyance, it feels as though it belongs here - it is all architectural adventure."

•   Zara cheers "Gehry's imagination run wild. It is awe-inspiring. It is a triumph. This is Gehry with a capital G" (with bunches of her own photos).

•   Meanwhile, the Big G goes to Spain to pick up an award, and ends up calling 98% of modern architecture "pure sh!t," and gives a journalist the finger (for which apologized).

•   The online gallery of Guggenheim Helsinki submissions "is as extensive as it is overwhelming - it is clear that the designers got the message; while the plans may range in quality and viability, nobody played it safe."

•   Wainwright explains how a Swedish town plans to relocate, in toto, so it doesn't fall into a mine: it will be "dismantled and resurrected like an Ikea flatpack on a grand scale. But it is a vision that many of the existing residents seem unlikely to be able to afford."

•   A round-up of The Cultural Landscape Foundation's list of 11 threatened or at-risk American landscapes.

•   Grand plans to transform Granada Studios into the Manchester Grande "event hotel."

•   Foster tells Tholl "how architecture helps us communicate, where our fascination with bigness stems from, and why we need to do more with less."

•   Zumthor talks to Turner about his LACMA expansion plans and his love of L.A. (and tar).

•   An amusing Q&A with Dykers re: designing Norway's currency, Times Square, and tchotchkes.

•   Barton balks at those who continue to look down on interior architecture courses - it's time to stop.

•   Weekend diversions:

•   Jacobs gives (mostly) thumbs-up to Wenders' "Cathedrals of Culture": "As far as the concept goes, it turns out that buildings speak better in pictures than in words."

•   A new documentary on EAA - Emre Arolat Architects' Sancaklar Mosque, "a building that stands out as one of the rare examples of modern architecture among Turkey's Islamic places of worship."

•   Giovannini takes a long look at Moore's "Why We Build": it's "jargon-free, highly readable and even enjoyable: paced, rich, detailed, sweeping, droll, insightful, unexpected" - and throws in his own thoughtful take on Hadid's architecture "on its own merits."

•   Doig gives (mostly) thumbs-up to Lerner's "Urban Acupuncture: "some of Lerner's ideas do feel a little like Creative Class whimsy run amok."

•   Lerner wows an NYC crowd, calling "for less 'ego' architects, and more 'eco' architects. 'The city is more than just a fashion show.'"

•   Rademacher's "Mellon Square" offers "fascinating glimpses of a highly tenuous time for the field" of landscape architecture, and valuable lessons for those considering historic restoration of public spaces in other cities.

•   Welton says "It's hard not to marvel at the multifaceted arc of Michael Graves' 50-year career" as the Po-Mo master is honored with two exhibitions and an upcoming symposium.

•   Barton Myers takes center stage in a "beautifully curated" retrospective at UC Santa Barbara: "Today we call this kind of urban planning interesting and intelligent; in 1968, it was revolutionary."

•   One we couldn't resist: an architect's own (very cool) house in Massachusetts serves as the fictitious Chicago home of Robert Downey Jr. in "The Judge."



  


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