Today’s News - Thursday, October 4, 2018

EDITOR'S NOTE: We're a bit short on news and long on diversions today - the technology gods have not been kind to us this week. Meanwhile, tomorrow and Monday will be no-newsletter days. We'll be back Tuesday, October 9 (with friendlier gods, we hope!).

●  ANN feature: Taylor's third and final Venice in Three Parts: There are treasures and treats to be found beyond the confines of the Giardini della Biennale.

●  Filler weighs in on Venturi, the "visionary mannerist of main street - he and Denise Scott Brown's "support of a more egalitarian, inclusive approach to high-style architecture might have been their most important accomplishment."

●  Azaroff explains how "collaboration is key in helping New York [and elsewhere] to advance its sustainability and resilient policies": City agencies and officials "have learned a lot from architects," but "have these attitudes proliferated to the next generation of leaders and architects? That, I'm not sure about. I hope that it does."

●  Call for entries (deadline looms!): WinterStations 2019: "Migration": international competition to bring temporary public art installations/lifeguard stands to The Beaches in Toronto (one of our faves).

Weekend diversions:

●  Keller offers "not-to-miss happenings" during NYC's Archtober 2018: "From pumpkin-carving contests to talks on women in design, there's something for everyone."

●  John Cary curates "Design for Good: Architecture for Everyone" at the Museum of Design Atlanta.

●  Q&A with Cary re: "Design for Good" at MODA: He discusses "the many ways design shapes our lived experience, even if we don't realize it."

●  Wainwright parses "Living With Buildings" at the Wellcome Collection in London: The "history of architects' efforts to make our lives fitter by design is both fascinating and alarming" - but the show "is an odd mix that sometimes feels like it wants to be more of an exhibition about housing and the ills of gentrification than a focused investigation into how architects have tackled health."

●  Housing advocate Robbins minces no words re: "Renzo Piano: The Art of Making Buildings" at London's Royal Academy: The show is "a love-in for the cultural establishment" that "perpetuates the view of design as a benign social abstraction. At a time when 80 London council estates are threatened with demolition, a more critical view is needed."

●  Frearson, on a brighter note, parses the centerpiece of the Piano show - a fictional metropolitan island with 102 of RPBW's projects, complete with roads, mountains and trees (and Piano-designed boats).

●  In Winterthur, Switzerland, ETH Zurich "creates an outdoor pavilion using nothing more than 30 tons of loose stones, 120 kilometers (about 75 miles) of string, and a construction robot," part of "Hello, Robot. Design between Human and Machine" at the Gewerbemuseum.

●  Campbell-Dollaghan thinks "the best James Turrell skyspace is the one you can ski to" in Lech, Austria, which includes a movable ceiling and a 45-foot-long tunnel offering "a view of the region's most prominent mountains."

●  The traveling "Place, Culture, Time - Design in Drastically Changing China" lands at UC Berkeley, presenting the "remarkable practices of He Jingtang and his team" with the aim "to bridge over the east and west and promote dialogue and communication between the two countries."


●  Frank cheers Filler's "Makers of Modern Architecture, Volume III" in which he "lyrically recounts" the "stories about individuals both liked or strongly disparaged."

●  Tarmy cheers "Atlas of Brutalist Architecture," a new encyclopedia of brutalist buildings that "makes the case that the movement is mounting a comeback - renewed attention translated into conservation efforts - thanks to Instagram" (great pix!).

●  Urbach hails Segal's "Space Packed: The Architecture of Alfred Neumann" that "follows the rise and fall of Israel's unsung architect - and convincingly asserts that this man at the margins was ahead of the times" (and "lavishly illustrated").

●  Hall Kaplan hails the Riches' "Mod Mirage," an "unabashed appreciation for the architectural style and affection for Rancho Mirage" that "makes for a coffee table must for Midcentury fans."

●  Fusselman cheers Lange's "The Design of Childhood": "We are lucky to have a writer like Lange putting children's environments into context, to help us see the responsibility we bear, and to make better decisions about what and how we build for children in the future."

●  Carpenter, Donoff, and Deean parse positively Lange's "The Design of Childhood," Sorkin's "What Goes Up: The Right and Wrongs to the City," and Frederick & Mehta's "101 Things I Learned in Urban Design School."

●  Welton waxes almost poetic about Harmon's "Native Places: Drawing as a Way to See," a "series of words [and drawings] held together with depth and dexterity - his instincts are spot-on. And now we have the book to prove it."


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