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Today’s News - Thursday, October 8, 2015

EDITOR'S NOTE: Tomorrow will be a no-newsletter day - we'll be back Monday, October 12.

•   Weinstein weighs in on Schultz's "Time, Space, and Material: The Mechanics of Layering in Architecture" that "provocatively illuminates essentials of architectural layering, storytelling, interpretation, and wonder - layer after layer."

•   OMA's de Graaf finds an "eerie" connection between Piketty's "Capital in the Twenty-First Century" and "the story of my own profession - it becomes difficult to view the ideologies of modern architecture as anything other than the dream of social mobility captured in concrete."

•   Dyja tells the fascinating tale of Mies's Crown Hall that, in 1956, "landed like a spaceship on that weary African-American community that was being demolished to make way for a future they were not invited to share."

•   Saffron finds a gritty hippie heaven in the new Fillmore on Philly's waterfront in Fishtown: "the kind of love child you would expect from a Live Nation-Bill Graham pairing, an uptown girl slumming in a downtown joint."

•   Moore cheers three new projects by Caruso St John Architects, the "subtle rule-breakers who deserve to build big."

•   Wainwright cheers Caruso St John's "immaculate new home for the art prankster" Hirst - "and there's not a diamond skull or formaldehyde animal in sight" (their "obsessive precision can verge on psychotic" - but that's a good thing).

•   A look at who and what is driving Beirut's museum boom that includes star turns by Hadid, Piano, and Adjaye, but "it remains to be seen how many international visitors will visit these new institutions in the current climate."

•   Beirut's legendary Sursock Museum "rises from the ashes," but even "after a £9.7m makeover, can it become a vital destination for modern art again?"

•   Gehry's Foggy is a yacht that "looks like nothing you've ever seen": "Don't let me go too crazy. The boat has to work" (wild windows and a touch of Austin Powers included - Eberle's fab photos prove it!).

•   Brussat thinks Gehry's H.M.S. Foggy "is lovely" (gasp!): "The wonder is that it looks like a sailboat" (though he does take issue with the wheel).

•   One last touch of Gehry: he's set to design the set for "AY, CARMELA!" at the Stella Adler Theatre in Los Angeles.

•   Weekend diversions:

•   The 9th annual Docomomo US Tour Day starts Saturday, and takes on 37 cities and 50 tours throughout October.

•   The AILA's 2015 Festival of Landscape Architecture, "This Public Life," gets underway in Melbourne.

•   The 7th annual Architecture & Design Film Festival gets underway in NYC - this year with virtual reality experiences included (for free).

•   Rhodes looks at "architecture's fine line between stealing and inspiration" in "Un/Fair Use" at NYC's Center for Architecture.

•   Gunther ponders preservation and "Saving Place: 50 Years of New York City Landmarks" at the Museum of the City of New York.

•   Welton cheers "Drawing Ambience: Alvin Boyarsky and the Architectural Association" at The Cooper Union, which stars early drawings by current starchitects "created in the pre-digital era."

•   In Antwerp, "Lived-In. The Modern City as a Performative Structure" illustrates "the capacity of modern architecture to embrace change without losing its original qualities."

•   Keskeys is quite taken by Adjaye's "Making Place" at the Art Institute of Chicago that includes "mockups on a dramatic scale that is so rarely seen in architectural exhibitions - much can be learned from the immersive installation."

•   Kolson Hurley's great Q&A with Simpson re: "Young-Old: Urban Utopias of an Aging Society," his new book on the evolution and sociology of retirement communities (RVs included).

•   An excerpt from Arup's "Shaping Aging Cities" report on "how Europe is responding to aging populations" that "underscores the need to review failing policies."



  


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