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Today’s News - Wednesday, February 28, 2018

●  An obituary, of sorts: We are so sad to learn of the collapse of Artifice and Black Dog Publishing that has left "architects scrambling to rescue copies of their books and retrieve digital files," or waiting to hear whether the purchaser will go ahead with projects already underway.

●  George-Parkin parses a survey of "some of the industry's most powerful practices" re: how they "measure up in the #MeToo era" - is architecture facing "a reckoning of its own?"

●  Waite reports on the London Festival of Architecture's anti-discrimination campaign "tackling the elephant in the room" by "calling on the industry to 'pledge positive actions to stamp it out for good'" - the "built environment industry must get its house in order."

●  Betsky, in light of last week's school shooting in Florida, explains "how architects must work to make our world safer": He "lays some blame at the triumph of the virtual over the real, and tasks architects with helping to change that."

●  If the National Rifle Association has its way, the way to "harden" schools of the future would be to turn them into prison-like "windowless bunkers."

●  Mathew looks at how a new zoning law in Manhattan is helping JPMorgan Chase to "tear down one of Natalie de Blois's greatest achievements"; DOCOMOMO wonders why the bank doesn't just relocate to another, larger building; and Alter points out that its 2011 LEED Platinum renovation makes the 57-year-old Union Carbide building actually only six years old.

●  Brasuell offers a fascinating look at FLW's "place in Los Angeles architectural history" that "stands as a small but deeply informative collection of case studies" about how difficult it is to navigate the "long and expensive obstacle course" facing preservation - "even homes by some of the world's most famous architects don't survive this gauntlet."

●  On a brighter note, the L.A.-based father/son team of Stayner Architects wins the bid to buy and restore Walter S. White's "Wave House" in Palm Desert (yay!).

●  And just because: Eyefuls from photographer/architectural historian John Margolies' archive of 30 years "documenting the quirky, tourist-y architecture" of America's roadside attractions - "functional signage and structures built by local tradesmen rather than a fancy design firm" (now owned by the Library of Congress).

●  Kamin visits "two TOD hotbeds" and explains why one "sparkles," and another that's "just dull" (and worse)

●  Stephens tells a most engaging "tale of two cities" in Sri Lanka: one is ancient, and couldn't be built today ("it wouldn't have enough parking"); the other (scarcely older than Instagram) "amounts to 30 restaurants connected by a traffic jam - both are having their moments. For completely different reasons."

●  An impressive series of articles looking at rethinking urban spaces in Dhaka and beyond.

●  Morshed offers a great, in-depth look at the past and future of architecture in Bangladesh: "an architectural culture has been taking root with both promises and perils, introducing contentious debates about its origin, nature, and future."

●  Fluid Motion Architects' avant-garde mosque in Tehran "has emerged as the latest battleground in a longstanding culture war between hard-liners and Iran's vibrant artistic community" (fab interior photos).

●  Las Vegas is inspired by a project in San Antonio: a "Corridor of Hope" that will make a homeless encampment permanent, complete with social services and a path to finding homes.

●  Dickinson brings home lessons from Michelangelo's "remarkable drawings" that "revealed a reality that we're losing in the avalanche of technology" by "the balkanization of architecture into constellations of independent operators of exclusive expertise."

●  Architect Hafeez Contractor, architect-activist, PK Das, and others offer to design railway stations in India for free: "the country suffers when a 'lousy job' is done."

●  Yona Friedman named the Austrian Frederick Kiesler Prize winner for his "innovative achievements in the fields of architecture and the arts."


  


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