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Today’s News - Thursday, June 20, 2019

EDITOR'S NOTE: Tomorrow and Monday will be no-newsletter days. We'll be back Tuesday, June 25.

A creative placemaking kind of day:

●  Worth spending time with: "'For Whom, By Whom' - a series of articles about how creative placemaking can expand opportunities for low-income people living in disinvested communities."

●  Cheers to the 7 "outstanding fellows" receiving the inaugural Knight Public Spaces Fellowship "for their efforts to transform cities" (each will get $150,000 "to advance their work").

●  Lebanese-Polish sisters of T Sakhi studio "create public spaces using Beirut's security infrastructure - two interventions provide places to sit down" in a city with "few attractive places where people can gather and enjoy spending time outdoors."

●  Griffiths cheers Jasper Morrison curating a collection of designer benches for the inaugural Fiskars Village Art & Design Biennale in Finland that "emphasizes the principles of diversity and sustainable development" ("an antidote to the endless design fairs," sayeth he).

●  Meanwhile, the winning designs by young designers in the London Festival of Architecture's City Benches competition "brighten London's Cheapside" (we love the giant sleeping whippet!).

●  Bucknell gives (mostly) thumbs-up to Ishigami's Serpentine Pavilion - "an undulating slate-clad mass held aloft by a forest of impossibly thin poles" - its "delicacy belies its structural muscle - equal parts breathtaking and frightening" (too bad compromises had to be made).

●  The story behind Kuma's affinity with Yusuhara on the island of Shikoku that he's helped make "a secret destination for architecture buffs" - the "seeds" of the "recent development, imagined by arguably the world's most sought-after architect were planted long ago."

In other news:

●  Pacheco reports that changes to Graves' Portland Building "have been so transformative as to effectively nullify the iconic postmodern tower's historical significance," and will likely be delisted from the state and National Register of Historic Places.

●  Brussat parses Betsky's recent "bark at the Bauhaus" in Architect "that seems just a bit rough on the old school. Is that a twinge of jealousy I detect?"

●  Sisson reprises the oral history of Gray's E.1027 - "the legendary modernist building, its reopening, and the controversy that remains to this day."

●  Martyn Evans reminds us that Pride Month is "a reminder for us all to be a bit more humane. Thoughtless language and design can exclude people who are different - this is not just an issue for LGBT+ people."

●  Speaking of Pride Month, brief profiles of "7 architects who raise the pride and design flag high" by "forwarding the cause of design" and "doing their bit for the LGBTQ community."

●  One we couldn't resist: 12 images of what New York, London, and other major cities almost looked like (an airport atop the Thames River next to Parliament?!!?).

Weekend diversions:

●  A great reason to be in or head to L.A.: the 9th annual LA Design Festival, themed "Design with Purpose," celebrates the city's breadth and legacy in architecture, fashion, graphics, industrial design, and other disciplines.

●  Lange luxuriates in nature at Raymond Jungles' "remix" of Burle Marx at the New York Botanical Garden's "Brazilian Modern: The Living Art of Roberto Burle Marx" - a "lush and dramatic pastiche" that inspires.

●  At UPenn School of Design in Philly, "Design With Nature Now: Five Themes, 25 Projects" takes "as its point of departure Ian McHarg's landmark book 'Design With Nature'" (1969) that "surveys 25 dynamic and visionary approaches to landscape architecture around the world."

●  Plensa's (stunning) nearly 25-foot-tall elongated head of a woman covering her eyes takes center stage at Rockefeller Center along with 13 international artists as part of the inaugural Frieze Sculpture.

●  "Borrowed Light: Barbara Ernst Prey" at Hancock Shaker Village, MA, "captures the results of the Shakers' efforts in 10 large-scale watercolors," and "offers an opportunity to understand the Shakers' beautifully minimalist structures, furniture and domestic objects in an entirely new way."


  


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