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Today’s News - Monday, November 18, 2013

•   ArcSpace brings us Siza's housing complex in Porto, Portugal; a funeral home in Barcelona; and a profile of Kurokawa, "one of the most radical and productive thinkers in recent Japanese architecture."

•   It's a grumpy lot today: Lamster laments that, after 50 years, "Dallas still hasn't figured out an appropriate way to memorialize JFK" - its newest marker - a plaque "the size of a large door."

•   London's skyline under yet another towering "threat"; a legal challenge "is likely to raise questions about the credibility of the government's planning policy."

•   Wainwright visits the newest mega-building in "Manhattan on the Maas," Koolhaas's De Rotterdam, that "looks like someone has sliced up the drawings but not put the pieces back together quite right" (Rem drops him at the front door: "That's all you need to see. The rest is just a cheap office building").

•   Hawthorne sees a larger lesson in the sad future facing Houston's Astrodome: it's "a test case for the health of the preservationist movement."

•   Groves x 2: a new NTHP report shows "hundreds of landmarks on U.S. Department of Veterans Affairs properties are at risk of being permanently abandoned or demolished."

•   On a smaller scale, but brighter note, she reports that a 1940 Paul R. Williams-designed house will most likely be saved from the wrecking ball (thanks to some very influential neighbors).

•   A 1953 Durell Stone house in Connecticut (great pix!) that "marks a pivotal turn in his architectural career" could "make way for a developer's vision: a neocolonial pastiche home" (doesn't that sound just divine).

•   King x 2: a new casino in Sonoma County "plays a dull hand" with lots of fake greenery (and lots of parking): "Instead of giddy Vegas flash or a hedonistic homage to its setting," it's just "another big suburban box" (though with some good points inside).

•   He delves further into why George Lucas's proposal for the Presidio is out of place: "It's a generic box gussied up with arches and domes, with no more depth than a street on a Hollywood lot."

•   Davidson and Saltz tour the renovated Queens Museum: "it troubles me that the shorthand for a renovation is to slap a layer of glass on the side facing the road and call it new," but "at least it broadcasts, 'Hey, come here. We're big and new and shiny. This could be fun.'"

•   Now for some good news: Rinaldi cheers that "the box is back in museum design. Programmatically smart, yet never plain."

•   Bernstein gives thumbs-up to the Piano Pavilion at the Kimbell Art Museum: it "defers but doesn't genuflect. Wisely, the Kimbell let Piano do what he does best" (lots of pix, too!).

•   Moore is more than impressed with Caruso St John's alterations to Tate Britain: "their rejection of conventional ideas of what it is to be modern are all qualities that British architecture badly needs."

•   PPS offers an in-depth look at how "the DIY ethos that grew out of Detroit's struggles has prepared it for its role as a hotbed of Lighter, Quicker, Cheaper (LQC) civic innovation today."

•   Kimmelman cheers Selldorf's Brooklyn recycling plant: it's "an architectural keeper" that "makes a good case for the social and economic benefits of design."

•   Downey's TEDTalk re: "how a blind architect would re-build his city" will make your day!

•   NYIT architecture students hope to make their design to turn plastic bottles into disaster relief shelters a reality.

•   HUD makes its pick of the final 10 in the Rebuild By Design competition (great presentation).



  


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