Yule Heibel's Library tagged metropolis_magazine → View Popular, Search in Google

Feb

2012

Tribal Plan | Metropolis Magazine

2009 article about Ziba's (then-new) HQ, which I visited recently when I attended GOOD Ideas for Cities. It's a knock-out space and building, very beautiful. I found the following passage intriguing, given the interest in 'pinning'...
QUOTE
The workstations are situated amid an interlocking sequence of podlike meeting rooms connected by sliding doors. It’s in these rooms that teams spend most of the workday, pinning their inspirations and ideas to the walls. “At first they were looking at one big room for everything,” says Jeff Stuhr, one of Holst’s two founders. “But we suggested a sequence of intimate spaces that you could journey through.”
UNQUOTE

www.metropolismag.com/...tribal-plan

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pinning ziba metropolis_magazine brian_libby portland architecture design

Feb

2012

Say What? | Metropolis Magazine

Interesting piece by Karrie Jacobs on the word urban's changing meaning(s) ...in Austin, Texas.
QUOTE
Up until recently, I hadn’t taken “lifestyle centers” seriously as places or as proto-cities. But on this trip to outermost Austin, my attitude changed. I’m not sure whether it was the perceptual magic worked by Dresher, Benedikt, and Rotondi, who literally turned my point of view around, or the shock of returning to the Aloft late on a sunny Saturday afternoon and encountering Dogtoberfest, a full-scale street fair for dogs with booths selling artisanal biscuits and doggie portraits, and a costume parade. I showed up just as hoards of people were leaving with their tutu-wearing pets. Suddenly, I understood what I was seeing. While The Domain and its ilk are not replacements for real cities, they are genuine urban places. They’re a conscious remix of the twentieth-century mall and the postwar subdivision, for a generation that wants absolutely nothing to do with either.
UNQUOTE

www.metropolismag.com/...say-what

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metropolis_magazine karrie_jacobs urbanism austin_tx

Apr

2010

Pissoir Artists | Metropolis POV | Metropolis Magazine

Metropolis Magazine does a write-up of the City of Victoria's pissoir, designed by Vancouver-based firm Matthew Soules Architect. Key feature? "...the humble steel pipe used to support stop signs, parking notices, and the like."

www.metropolismag.com/...pissoir-artists

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metropolis_magazine mason_currey pissoir victoria

Oct

2009

Carbon Neutral Now

Nice article about Yale's Kroon Hall and Victoria BC's Dockside Green as true carbon-neutral projects (with Dockside Green a model for building entire neighborhoods as green/ carbon neutral).
"Across the continent, at the southern tip of the mountainous and densely forested Vancouver Island, Dockside Green will soon become carbon neutral. A mix of town houses, mid-rise apartments, and commercial buildings being built on a brownfield at the edge of downtown Victoria, British Columbia, the large, multiphase urban development takes a comprehensive approach to carbon reduction, showing how much is possible at the neighborhood scale. "

www.metropolismag.com/...carbon-neutral-now

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green_strategies green_buildings dockside_green victoria metropolis_magazine yale kroon_hall

Jul

2008

Looming Debate, by Veronique Vienne (Metropolis Magazine)

Interesting article (with some inaccuracies, too), focused chiefly on Bertrand Delanoe, the "Situationist"-inspired left-leaning, assassination attempt survivor and openly gay mayor of Paris, who gets blind-sided by Nikolas Sarkozy, the pro-business president of France, who wants Paris to be a bit more get-go-ish. Delanoe is on the side of the human-scale advocates who want to preserve its "charms," whereas Sarkozy doesn't mind a tall building or two. The article is interesting because it's one of the clearest outlines I've seen so far on making political linkages between certain attitudes toward modernization and height in Paris, vs preservation (and rejuvenation) of what that city's status quo as well as historical "essence" (at least mid-19th century onward) is.

www.metropolismag.com/...story.php

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paris metropolis_magazine high_rise urbanism urbanplanning bertrand_delanoe

One of Delanoë’s priorities has been to blur the line separating affluent Parisians from their often less privileged neighbors. In the last decades, Paris has steadily lost its working-class residents, who migrate to poorer bedroom communities beyond the city limits—a trend Delanoë wants to stop.
- Yule Heibel on 2008-07-09
  Well, good luck. You can "want" to stop something like that, but that won't make the inner Paris more affordable or make land values drop.
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Whether it will work remains to be seen, but this solution is a typical Delanoë move. The former head of a PR agency, the mayor likes projects that “speak”—those that tell a good story and make his political intentions clear.
16 more annotation(s)...
- “He is clever, even mischievous. In this town, it’s the only way to be innovative while respecting the fetters of tradition.”
- promote small punctual interventions that improve the quality of life of Parisians. He is less supportive of projects that flaunt the vitality of corporations and financial institutions eager to pitch towering office buildings inside Paris
- For tall structures to be erected, Delanoë would have to change existing regulations that cap the height of buildings at 82 feet in the center of Paris
- Delanoë would rather spend taxpayers’ money improving the urban experience than sweetening deals to attract big investment.
  - Yule Heibel on 2008-07-09
    again, it's a question of affordability, non? If you can afford to do that as a city, great. if you're not Paris, maybe you can't afford it, though...
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- He knows that living well is the most effective business incentive and the reason everyone wants to come to Paris.
  - Yule Heibel on 2008-07-09
    Isn't that sort of like making a place into a resort community for the well-off? Isn't that what's happening (or in danger of happening) with Vancouver, and even with Victoria?
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- The capital can no longer afford to be a museum of its glorious past. It needs to jump over the beltway, reach out to the suburbs, and become the center of the metropolis that encircles it.
- But under the pretext of helping him achieve this goal, Delanoë’s political opponents are launching a campaign, spearheaded by French President Nicolas Sarkozy, to create a new administrative chain of command to supervise the economic development of a new urban entity that would incorporate the capital and its suburbs, an area whose outer boundaries are still to be determined but that has already been named Grand Paris. In the wrong hands, this proposal might be used to undermine Delanoë’s authority. And, indeed, recently reelected by a landslide vote that reaffirmed the left-leaning preferences of the historically defiant Parisians, the mayor has many enemies in the pro-business Sarkozy government.
  - Yule Heibel on 2008-07-09
    - sounds familiar...
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- The question of Paris and its suburbs is linked to that of building heights because it is at the frontier between these two worlds that city planners propose to challenge the traditional size limits and build skyscrapers.
- Tall buildings are anathema here for many reasons. The City of Light is built atop a city of shadows. Paris is laid over a subterranean limestone quarry, its huge system of ancient tunnels weakening the ground. Its low-rise skyline is the product of geological circumstances. But there is another reality—a political one—that has shaped the way the city looks: Parisians don’t like authority. They’re an unruly bunch, known to tear down or burn symbols of oppression. In fact, the architectural form that is most typically Parisian is not the mansard roofline or the Haussmann facade but the barricade. A low structure, usually made of a pile of cobblestones and pieces of trash from construction sites, it has been the type of edifice local residents choose most often to express their political views. Tall buildings in Paris? You must be kidding! To Parisians it would be an open invitation to dissent.
  
  
  But Lion, like so many French architects, would like to see Paris compete in terms of contemporary architecture with cities like Barcelona, Berlin, and London. He says he enjoys working with clients in cities that are much more dynamic, much more creative—and much more polluted—than Paris, adding, “Yet at the same time, I can’t wait to fly back home where I can walk wherever I want and breathe freely. It’s not just the nice streets and the clean air I crave; it’s the democracy.” As annoying as it is, a convoluted “democratic” process safeguards the public good in Paris, he says. Indeed, in an unprecedented move, Delanoë has imposed on private developers the same time-consuming competition-and-jury review procedure foisted on public projects. “Things are so stagnant in this administratively driven city,” Lion says about this design-by-committee method, “but even I’m grateful for all the resistance. In Paris I feel there is hope for the human race. But they do get on my nerves!”
- “We want folks to apprehend Paris in another mode, in a less goal-oriented fashion,” Girard says, referring to the Situationist doctrine of the 1960s, a left-wing movement that advocated deliberate “disorientation” as a cure for conspicuous-consumption boredom.
- a generation influenced by the ideology of that time. His vision of Paris stems from a culture of dissent that condemned the constant hype required to sell consumer goods and products.
- “We’re here to do a city, not a collection of objects. A collection of objects never amounts to a city. Look at New York. There’s an array of amazing buildings there, but look at the poor quality of the public space! In contrast, compare this with the quality of the streetscape in Paris.”
- This antispectacular stance is a Delanoë trademark.
- The elegant translucent canopy that will spread its wings over Les Halles’s commercial center is indeed an unobtrusive structure, not the grand architectural gesture likely to appeal to Parisians who would like to see the city demonstrate the vitality of its financial community with truly dramatic buildings.
- Dominique Alba, director of the Paris Arsenal museum and the authority on contemporary architecture, bristles every time someone calls her hometown a museum city. “The architectural heritage of Paris is so rich, it swallows the most novel urban forms,” she explains. “There are plenty of exciting new buildings around, but they do not stick out.”
- Mercifully few and far between inside Paris, the tall apartment buildings and office towers that “stick out” were built in the 1970s in accordance with poorly understood Le Corbusier design principles.

Mar

2008

"Saint Brad" by Andrew Blum (Metropolis Magazine)

As I don't follow celebrity news, I had no idea that Brad Pitt is a "design junkie" or a pivotal mover-and-shaker in the rebuilding of the Lower Ninth Ward in New Orleans. (I barely know that Pitt and another actress -- Angelina Jolie? -- are linked/married/ or something... d'oh... )

Andrew Blum's article shines a good light (good as in "kind" and "illuminating") on Pitt's efforts, as embodied in the non-profit he started called "Make It Right" (MIR). And it does an excellent job educating me on the bizarre, yet potentially wonderful, nexus of pop culture/ money/ starchitecture momentum that Pitt has engineered.

The list of star architects makes my jaw drop; Blum discusses their efforts, and doesn't hesitate to poiint out where some of them go wrong (and others get it right). As Blum puts it, "If Pitt can pull this off, he will have transformed a swath of the Lower Ninth Ward, a neighborhood symbolic of everything rotten in America, into one of the world’s most design-intensive sustainable communities."

The article is well-illustrated (Blum's blog doesn't have the illustrations, but this link to Metropolis Magazine does).

www.metropolismag.com/...story.php

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andrew_blum architecture brad_pitt make_it_right_project metropolis_magazine new_orleans rebuilding urbanplanning

Pitt’s new nonprofit, Make It Right, wants to help them “get a house” by providing the difference between their assets and the cost of rebuilding. The catch was that they had to choose one of the sustainable designs by 13 different architects—an amazing list that included Thom Mayne, David Adjaye, Shigeru Ban, and Kieran Timberlake.
Are you bringing these architects here, I asked, because you enjoy working with them? “That’s one of the benefits certainly, but it’s not the driving factor.” So why do it? Why bring not just architects here but some of the world’s best? “I’ll tell you why,” Pitt said, leaning forward and rubbing his hands together. “Because these people suffered a horrific event, and truthfully great injustice in the aftermath, and they’re still suffering that injustice.


So what are you going to follow that injustice with? Crap houses with toxic materials and appliances that run up their electricity bills and may lead to a foreclosure? I mean, really. This to me is a social-justice issue. And to create something that’s equitable and fair and has respect and provides dignity for the family within is absolutely essential to rebuilding here.”
14 more annotation(s)...
- Since when do movie stars have a better sense of architecture’s possibility than most architects? Post-Katrina New Orleans—like post-9/11 Ground Zero—was supposed to be a moment when architecture would prove its relevance. Instead, architects and planners came in like the cavalry, full of expert opinions about what New Orleans should look like and where it should (or more to the point, shouldn’t) be rebuilt. The result was that rather than providing houses, they seemed—in the name of good planning—to be taking them away.
- Architecture has always had trouble connecting with the masses. There’s that famous, perhaps apocryphal, statistic—architects design two percent of American homes—and the bald fact of the contemporary American landscape, with its big-box stores, chain restaurants, and bland condominiums.
- With Make It Right, Pitt—founding a new organization this time, not just being a spokesperson—has massively multiplied Global Green’s effort, setting an initial goal of building 150 houses. Architecturally, it’s equally ambitious, with 13 different designs offered for each homeowner to choose from. All were encourged to include sustainable features like solar panels and rainwater collectors, and they’ll be safe from future flooding—raised up off the ground, with escape hatches to the roof and waterproof safes for valuables. Whenever possible, they’ll use Cradle to Cradle–certified materials (although early talk of the houses themselves being certified hasn’t worked out).
- If Pitt can pull this off, he will have transformed a swath of the Lower Ninth Ward, a neighborhood symbolic of everything rotten in America, into one of the world’s most design-intensive sustainable communities. Modeling it after the Case Study Houses, Pitt wants Make It Right’s architecture program to raise the bar for “answering a new set of challenges,” as he puts it. “It can be such a proving ground for so many things. It’s ready for the next evolution. We can actually advance the discussion and practice of intelligent design—and I’m not talking about creationism.”
- The list of 13 had been assembled by William McDonough + Partners and Graft, the L.A.-based firm that serves as something like Pitt’s in-house architecture wing.
- “We didn’t want somebody who said, ‘I understand that the means of the homeowners are so modest that the design has to be modest,’” McDonough said. “We didn’t want modest designs—we didn’t ask for immodesty either.”
- On the set of the new David Fincher movie in New Orleans last winter, Pitt found himself standing in front of a bright-pink canvas house, meant to be digitally replaced in postproduction with computer-generated images. He called Graft’s L.A. office with an idea: What if we filled a few blocks of the Lower Ninth Ward with these houses as a symbol of what’s still missing? They could pick up the roofs and scatter them around, as if by the storm, then reassemble them as donations for each house arrived. In the meantime, no one could look at these houses and think life here had returned to normal. McDonough, no stranger to big ideas himself, is in awe of Pitt’s sense of possibility: “Who thinks like that?”
- Yet there’s the paradox: this isn’t only about the Lower Ninth. The media circus was the point. Make It Right may be about helping a handful of families get a house, but it’s also about calling attention to the Gulf Coast.
- These 13 houses are meant not only to shelter but to communicate.
- There were cringe-worthy moments when one architect or another slipped into the incomprehensible lingua franca of high design. Shigeru Ban—famed designer of elegant disaster shelters—sent a young guy from his New York office who gave a presentation so tone-deaf it would have embarrassed a first-year architecture student. Ban’s rendering, on display later in a shipping container turned into a gallery, didn’t help: on the house’s front porch was a white man in khakis.
- “I don’t want any of the national people to leave here without learning at least one word of the local language,” Concordia’s Bingler said in his light Louisiana drawl during the press conference. “It’s called ‘Lagniappe.’ It means ‘a little something extra.’” (“For free!” the woman behind me shouted.) “The citizens of the Lower Ninth Ward have been accustomed to getting less than regular, so this is an opportunity to go beyond the normal. Not just the regular stuff—something a little bit extra on top of the regular stuff.”
- The pitch was right on, but it highlighted the challenge of the situation: the people in the Lower Ninth Ward need perfect houses to come home to, but the ambition is also for these homes to be prototypes for the near future—and look good on the Today Show. “We’ve got the devil on one side and the deep blue sea on the other,” Bingler said later. “If we design for the community, we’re going to be in jeopardy of not pleasing our peers, but if we design for the architectural press, we’re going to be in jeopardy of not reaching the community.”
- People found the design by MVRDV, from Rotterdam, offensive. It takes a shotgun house and breaks it in the middle, sending the ends up into the air to form a V. (The floors stay level.) It’s startling and original: “They really put forth an idea to think bold, to be grand in our ideas, not to be caged-in in any way,” Pitt said. But with a car parked underneath, the design looks like the aftermath of the storm, with houses tossed on top of cars. Winy Maas, principal at MVRDV, made no apologies. “People said, ‘Is this a joke?’ And we said, ‘No, it’s serious.’ Because it takes Katrina even more seriously and monumentalizes itself, and it shows that it was there.” No doubt, MVRDV knows how to design functional housing. They just didn’t think that was the point here. “People say, ‘Why would Brad want to do this?’” Maas said just before catching his flight back to the Netherlands. “It’s to address a wider perspective, isn’t it? And then maybe our design embodies that. Provocation is good because it pushes people. We need architectural Michael Moores.”
  - Yule Heibel on 2008-03-23
    ...well, I don't think Maas is doing himself any favours by coming across as what looks like an arrogant design god. Why Katrina should be "monumentalized" in domestic architecture is beyond me.
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- It’s hard to imagine that any of the residents will choose to build MVRDV’s house as their own. And if nobody chooses it, has it failed? At what? “If somebody designs a building that people don’t want to live in, then I would argue that it’s sculpture,” Bingler said. “And maybe that gets to the point about architecture’s role in the twenty-first century: Are we going to continue to create monuments to ourselves, or are we going to start listening? Are we going to develop a different kind of respect?”

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