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Today’s News - Thursday, April 24, 2014

•   ArcSpace offers Meyer's take (and lots of pix) on Hadid's design plaza in Seoul, and whether it is "an architectural marvel or an 'urban pimple' - it is political envy that blurs its appreciation now." + Q&A with structural engineer Takaue re: his fine art architectural photography.

•   Urban planner McDonnell calls for planners to "stop being boring": the field needs to start "rocking it out" instead of being "curmudgeons who default to 'no' and 'how much is that going to cost?' instead of 'it's possible' and 'let's see where this can go?'"

•   Capps ponders the significance of Saffron's Pulitzer and what it means for architectural criticism.

•   Adler explains "how the media is getting the story on cities and millennials wrong."

•   A great look at how urban alleys, once considered "dirty and dangerous, are moving beyond garbage and garages" to become "pathways to revitalization."

•   Baumgart cheers a subdivision outside of Melbourne using "sound landscape design principles as a starting point for the layout," but too bad about the "rather drab" housing design - "we can hope that a maturing landscape will cover a great many sins."

•   Heathcote and Bevan weigh in on Heathrow's new Terminal 2: "cost-cutting slipstreams into terminal disappointment" + it's "not an especially bad building, it is just £2.5 billion worth of ordinariness."

•   Bozikovic cheers this year's Canadian Governor-General's Medals in architecture winners: they "are far more than visual one-liners - notable for their careful urban design and public spirit" that "animate and enliven public spaces."

•   Rosenbaum ruminates on the demise of AFAM: "many of MoMA's spaces designed by big-name architects have been razed or significantly altered to make way for the next architect's vision," so "why should anyone be shocked?"

•   Goldberger waxes positively poetic about "New York's most beautiful ruin," the New York State Pavilion: it "does make a rather cool ruin. But it could also be something else...and it is one of the best reminders we have that the architectural legacy of the 1960s is more than just glass boxes."

•   Novak takes another tack entirely re: all the attention to Johnson's pavilion: "The architecture community has a bit of soul searching to do. Why do so few people want to discuss the fact that he was a despicable fascist? And should we consider his history of hate during debates about what to do with his buildings?"

•   Bernstein cheers FLW's "masterpiece, with shortcomings" in Racine, WI, being open for tours: Some will see it "as proof that he cared more about form than function; others will recognize a triumph of architectural experimentation. Neither group will be disappointed."

•   ARM Architecture wins competition for the Joondalup Performing Arts and Cultural Center near Perth with a design "centered around a limestone scheme that was intentionally reflective of the region."

•   Diamond Schmitt's living wall in Toronto turns 10 and is still growing strong: "we now we have a very good library of data demonstrating how well the technology works."

•   A Chinese company claims it made 10 3D printed houses costing $4,800 each in less than 24 hours, but are they genuinely 3D creations, or will the DUS project in Amsterdam still hold the title as the "world's first."

•   Wainwright parses the seven category winners in London's Design Museum's Designs of the Year, from "chairs that make you fidget" (on purpose), to Hadid's "billowing monument to the Azerbaijan's former president - who presided over a tyrannical regime."

•   Warren-Hicks weighs in, wondering how one can determine "the superior merits of a curvy Zaha Hadid building over an app that works to reduce blindness worldwide."

•   From Milan's Salone del Mobile, Haldane found an "emboldened design industry" with the prevalent trend being "the playful exploration of material imitation."

•   Zara, on the other hand, found it appeared "to be better to do so with well-worn, proven classics than a proliferation of wares that may come and go."

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