Location: Alabama
Website:
Our primary mission is to advocate for the collaboration of the design arts and their importance in creating and enhancing place in Alabama.
Who is DesignAlabama?
DesignAlabama is a nonprofit, citizen-led organization that seeks to raise the bar for design in our great state through education of the applied arts, promoting designers who live and work in Alabama and supporting sound design thinking to sustain our communities. Our board of directors is made up of design professionals, community development officials and business professionals who champion design.
What does DesignAlabama do?
DesignAlabama was founded in 1987 under the wing of the Alabama State Council on the Arts. The organization has since developed initiatives to bring awareness to design professions that help shape how we live and the environment around us. The design arts supported include a range of interconnected fields including architecture, engineering, graphic design, industrial design, interior design, landscape architecture and urban design.
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Some of our most impactful initiatives have been our Mayor’s Design Summits. In these daylong workshops civic leaders work with designers and planners to excavate ideas that will help make their communities desirable, profitable and more livable. We even tackle important design problem solving such as rebuilding after a natural disaster.
DesignAlabama also creates educational content to inform civic leaders and the general public of design processes and why design is a critical factor in using resources effectively. We share case studies from Alabama designers to highlight examples of successful creative work being done across our state.
Professionals associated with DesignAlabama visit communities selected to participate in the DesignPlace Program to provide design, planning and community identity assistance. Included are design professionals with experience in architecture, landscape architecture, urban design, graphic design, interior design and planning, showing the underlying success of community development when design arts are used. During intensive visits of one to four days, DesignPlace professionals survey the community, review issues to be addressed, meet with community groups and leaders, develop recommendations, and outline strategies for implementation.
How are communities selected for DesignPlace?
Communities who have been represented at the DesignAlabama Mayors Design Summit can apply to participate in DesignPlace. Please download the application, complete and submit to DesignAlabama for consideration. A committee of design professionals charged with directing the program will make final selections.
What are the benefits of DesignPlace?
Perhaps the greatest benefit is the stimulation and mobilization of the general public. Citizen participation is absolutely critical to the success of DesignPlace or any local design and planning initiative. A DesignPlace visit is not an end in itself; rather, a new beginning. DesignPlace is invaluable for illustrating the value of community design and planning in Alabama. It stimulates awareness of design issues and dramatizes the impact design can have upon a community’s vitality and the quality of life within its boundaries.
What are the costs associated with DesignPlace?
The DesignAlabama design professionals offer their time and expertise at no cost to the community. The community, however, is expected to commit to the following:
• Reimbursement of travel and other out-of-pocket expenses for team members
• Provide lodging, meals, equipment, supplies and a workspace for team
• Defray cost of publication and distribution of team’s findings and recommendations
• A financial commitment by the community to implement recommendations
Showing posts with label Architecture. Show all posts
Showing posts with label Architecture. Show all posts
Monday, July 31, 2017
Saturday, December 3, 2016
L.A. Conservancy
Location: Los Angeles, CA
Website: laconservancy.org
Think about your favorite building in Greater Los Angeles. Chances are, it’s one of the fantastic historic places that help make the region unique. The Los Angeles Conservancy works every day – as we have since 1978 – to make sure these places survive and thrive for future generations.
A private, member-based nonprofit, the L.A. Conservancy was formed in 1978 as part of the effort to prevent demolition of the stunning Los Angeles Central Library. What started as a handful of concerned citizens is now the largest group of its kind in the U.S., with more than 6,000 member households, hundreds of volunteers, and a full-time staff of nearly twenty.
The Conservancy is based in downtown Los Angeles but works throughout L.A. County—which spans 88 cities plus the County’s unincorporated areas.We work through education and advocacy to raise awareness of historic places, prevent their needless demolition, empower people to save the places they love, and foster strong preservation laws and incentives.
Why Preserve Historic Places?
As people rely more on technology and virtual connections, and as cookie-cutter development makes cities look more and more alike, we have a growing need for authenticity, character, and distinction. We don’t want our communities to look like everyone else’s. Historic buildings, structures, landscapes, and neighborhoods help fill this critical need. They tell great stories, give us a sense of place, help us learn who we are and what we value as a culture, and embody our shared history.
The L.A. Conservancy has a vision of Los Angeles as a place that values our past and considers it an essential part of our present and future. The Conservancy is a nonprofit membership organization that works through education and advocacy to recognize, preserve, and revitalize the historic architectural and cultural resources of Los Angeles County.
We raise awareness of the value of historic places in strengthening communities, fostering economic development, and enriching lives.
For more than thirty-five years, our walking tours, special events, and other programs have brought countless Los Angeles residents and visitors closer to the beautiful buildings and unique spaces that make Los Angeles County so special. Our educational programs have introduced many people to the history and value of Greater Los Angeles' built environment.
We also work on a vast range of preservation issues throughout Los Angeles County, both proactively and in response to specific threats to historic cultural and architectural resources.
We provide technical assistance and resources to help people enjoy and preserve the historic places they love.
The largest local preservation group in the United States, our large and active membership reflects an unprecedented level of support for L.A.'s historic resources and we continue to gain ground in making preservation part of public policy, urban planning, and public consciousness.
Website: laconservancy.org
Think about your favorite building in Greater Los Angeles. Chances are, it’s one of the fantastic historic places that help make the region unique. The Los Angeles Conservancy works every day – as we have since 1978 – to make sure these places survive and thrive for future generations.
A private, member-based nonprofit, the L.A. Conservancy was formed in 1978 as part of the effort to prevent demolition of the stunning Los Angeles Central Library. What started as a handful of concerned citizens is now the largest group of its kind in the U.S., with more than 6,000 member households, hundreds of volunteers, and a full-time staff of nearly twenty.
The Conservancy is based in downtown Los Angeles but works throughout L.A. County—which spans 88 cities plus the County’s unincorporated areas.We work through education and advocacy to raise awareness of historic places, prevent their needless demolition, empower people to save the places they love, and foster strong preservation laws and incentives.
Why Preserve Historic Places?
As people rely more on technology and virtual connections, and as cookie-cutter development makes cities look more and more alike, we have a growing need for authenticity, character, and distinction. We don’t want our communities to look like everyone else’s. Historic buildings, structures, landscapes, and neighborhoods help fill this critical need. They tell great stories, give us a sense of place, help us learn who we are and what we value as a culture, and embody our shared history.
The L.A. Conservancy has a vision of Los Angeles as a place that values our past and considers it an essential part of our present and future. The Conservancy is a nonprofit membership organization that works through education and advocacy to recognize, preserve, and revitalize the historic architectural and cultural resources of Los Angeles County.
We raise awareness of the value of historic places in strengthening communities, fostering economic development, and enriching lives.
For more than thirty-five years, our walking tours, special events, and other programs have brought countless Los Angeles residents and visitors closer to the beautiful buildings and unique spaces that make Los Angeles County so special. Our educational programs have introduced many people to the history and value of Greater Los Angeles' built environment.
We also work on a vast range of preservation issues throughout Los Angeles County, both proactively and in response to specific threats to historic cultural and architectural resources.
We provide technical assistance and resources to help people enjoy and preserve the historic places they love.
The largest local preservation group in the United States, our large and active membership reflects an unprecedented level of support for L.A.'s historic resources and we continue to gain ground in making preservation part of public policy, urban planning, and public consciousness.
Tuesday, November 29, 2016
American Architectural Foundation
Location: Nationwide
arch Website: archfoundation.org
The American Architectural Foundation (AAF) is dedicated to the vibrant social, economic, and environmental future of cities. In the past decade alone, AAF has worked directly with local leaders through more than 500 city engagements. During this time, AAF has served every major metropolitan region and most second-tier cities in the United States. All told, it has provided design leadership training and technical assistance to hundreds of elected officials, public-private partnerships, education leaders, business leaders, and other key local decision makers in the design process.
These engagements are based on real-world challenges and opportunities from the participants’ cities, which provide the focus for intensive, collaborative design leadership programs. The overarching goal is to equip these leaders with the knowledge, inspiration, and resources that they need to lead their communities to transformative change through design.
To inform its efforts, AAF leverages its extensive network of city leaders and design innovators. Their collective experience and expertise is rich in depth and diversity, spanning such key sectors as building design and construction, urban planning, landscape, transportation, infrastructure, finance, and communications. Underlying all these concerns is a commitment to advancing the cause of sustainability.
The impact of AAF’s efforts is visible in the local design leadership behind hundreds of projects across the United States, ranging from brownfield remediation to waterfront redevelopment to downtown corridor revitalization.
arch Website: archfoundation.org
The American Architectural Foundation (AAF) is dedicated to the vibrant social, economic, and environmental future of cities. In the past decade alone, AAF has worked directly with local leaders through more than 500 city engagements. During this time, AAF has served every major metropolitan region and most second-tier cities in the United States. All told, it has provided design leadership training and technical assistance to hundreds of elected officials, public-private partnerships, education leaders, business leaders, and other key local decision makers in the design process.
These engagements are based on real-world challenges and opportunities from the participants’ cities, which provide the focus for intensive, collaborative design leadership programs. The overarching goal is to equip these leaders with the knowledge, inspiration, and resources that they need to lead their communities to transformative change through design.
To inform its efforts, AAF leverages its extensive network of city leaders and design innovators. Their collective experience and expertise is rich in depth and diversity, spanning such key sectors as building design and construction, urban planning, landscape, transportation, infrastructure, finance, and communications. Underlying all these concerns is a commitment to advancing the cause of sustainability.
The impact of AAF’s efforts is visible in the local design leadership behind hundreds of projects across the United States, ranging from brownfield remediation to waterfront redevelopment to downtown corridor revitalization.
Saturday, May 17, 2014
Conserving Modern Architecture lnitiative
Location: Nationwide
Website: http://www.getty.edu/conservation/our_projects/field_projects/cmai/
The Conserving Modern Architecture Initiative (CMAI) is a comprehensive, long-term, and international program of the Getty Conservation Institute (GCI). The goal of the CMAI is to advance the practice of conserving twentieth-century heritage, with a focus on modern architecture, through research and investigation, the development of practical conservation solutions, and the creation and distribution of information through training programs and publications. The CMAI will work with international and local partners, including professional and organizational networks focused on modern architecture conservation, to expand the existing knowledge base.
In the late 1980s and early 1990s, new conservation challenges emerged as the seminal works of the Modern Movement reached fifty years of age and became eligible for heritage protection. Many of these buildings have not aged well. The new and innovative construction methods and materials that typify the era challenge traditional conservation approaches and raise new methodological and philosophical issues. Despite increased recognition of modern architecture's cultural significance, there is a lack of practical conservation knowledge that addresses the many complex challenges. Effectively tackling these issues demands leadership, strategic research, and brokering with industry to develop appropriate repair techniques that translate research into practice and achieve conservation aims. A concerted effort to bring together and distribute existing information as well as identify and fill information gaps is also needed.
Website: http://www.getty.edu/conservation/our_projects/field_projects/cmai/
The Conserving Modern Architecture Initiative (CMAI) is a comprehensive, long-term, and international program of the Getty Conservation Institute (GCI). The goal of the CMAI is to advance the practice of conserving twentieth-century heritage, with a focus on modern architecture, through research and investigation, the development of practical conservation solutions, and the creation and distribution of information through training programs and publications. The CMAI will work with international and local partners, including professional and organizational networks focused on modern architecture conservation, to expand the existing knowledge base.
In the late 1980s and early 1990s, new conservation challenges emerged as the seminal works of the Modern Movement reached fifty years of age and became eligible for heritage protection. Many of these buildings have not aged well. The new and innovative construction methods and materials that typify the era challenge traditional conservation approaches and raise new methodological and philosophical issues. Despite increased recognition of modern architecture's cultural significance, there is a lack of practical conservation knowledge that addresses the many complex challenges. Effectively tackling these issues demands leadership, strategic research, and brokering with industry to develop appropriate repair techniques that translate research into practice and achieve conservation aims. A concerted effort to bring together and distribute existing information as well as identify and fill information gaps is also needed.
Saturday, April 12, 2014
Cape Cod Modern House Trust
Location: Cape Cod, MA
Website: www.ccmht.org
In the late 1930s, on the isolated back shore of Wellfleet, a group of self-taught architecture enthusiasts began building experimental structures based on the early Modern buildings they had seen in Europe.
Through mutual friends they invited some of the founders of European Modernism to buy land, build summer homes and settle. Like their local hosts, the recently emigrated Europeans admired the traditional Cape Cod ‘salt boxes’.
These ancient houses were simple, functional, owner-built and designed for long winters. The Modernist summer houses were inversions of these, oriented to capture views and breezes, perching lightly on the land.
In the three decades that followed, these architects built homes for themselves, their friends and the community of internationally influential artists, writers, and thinkers that took root nearby. Though humble in budget, materials and environmental impact, the Outer Cape’s Modern houses manage to be manifestos of their designers' philosophy and way of living, close to nature, immersed in art and seeking community.
The work of these architects and their clients spread around the world. These houses are the physical remnants of this unique convergence.In the summer of 2006, The Provincetown Art Association and Museum hosted ’A Chain of Events: Modernist Houses on the Outer Cape from Marcel Breuer to Charles Jencks.
The show was reviewed in The Boston Globe & New York Times and received the first place award for Best Architecture or Design Exhibition from the International Association of Art Critics and Writers, New England Chapter, for 2006. All the models, photographs, drawings and research material in the exhibit, as well as all materials collected subsequently, are permanently archived at the museum in their secure vault.
We are seeking drawings, photographs and narratives pertaining to these buildings. This material is fast disappearing.
Our goal is to digitize and archive as much of it as possible to allow for future scholarship and publication. Loaned material will be reproduced and returned promptly. If you can donate your time and/or experience in research, fundraising, construction, event planning, publicity, graphic design or technical support, it would be a great help.
Donations of art and furnishings connected to mid 20th century modernism on the Outer Cape, however modest, would allow us to recreate environments in the renovated houses that give context to the architecture.
Receipt for tax deductions is available based on appraised value. Tax deductible donations are greatly appreciated.
Website: www.ccmht.org
In the late 1930s, on the isolated back shore of Wellfleet, a group of self-taught architecture enthusiasts began building experimental structures based on the early Modern buildings they had seen in Europe.
Through mutual friends they invited some of the founders of European Modernism to buy land, build summer homes and settle. Like their local hosts, the recently emigrated Europeans admired the traditional Cape Cod ‘salt boxes’.
These ancient houses were simple, functional, owner-built and designed for long winters. The Modernist summer houses were inversions of these, oriented to capture views and breezes, perching lightly on the land.
In the three decades that followed, these architects built homes for themselves, their friends and the community of internationally influential artists, writers, and thinkers that took root nearby. Though humble in budget, materials and environmental impact, the Outer Cape’s Modern houses manage to be manifestos of their designers' philosophy and way of living, close to nature, immersed in art and seeking community.
The work of these architects and their clients spread around the world. These houses are the physical remnants of this unique convergence.In the summer of 2006, The Provincetown Art Association and Museum hosted ’A Chain of Events: Modernist Houses on the Outer Cape from Marcel Breuer to Charles Jencks.
The show was reviewed in The Boston Globe & New York Times and received the first place award for Best Architecture or Design Exhibition from the International Association of Art Critics and Writers, New England Chapter, for 2006. All the models, photographs, drawings and research material in the exhibit, as well as all materials collected subsequently, are permanently archived at the museum in their secure vault.
We are seeking drawings, photographs and narratives pertaining to these buildings. This material is fast disappearing.
Our goal is to digitize and archive as much of it as possible to allow for future scholarship and publication. Loaned material will be reproduced and returned promptly. If you can donate your time and/or experience in research, fundraising, construction, event planning, publicity, graphic design or technical support, it would be a great help.
Donations of art and furnishings connected to mid 20th century modernism on the Outer Cape, however modest, would allow us to recreate environments in the renovated houses that give context to the architecture.
Receipt for tax deductions is available based on appraised value. Tax deductible donations are greatly appreciated.
Monday, October 21, 2013
Modern Architecture London
Location: London, England
Website: modernarchitecturelondon.com
Although I grew up in a town outside London, visits to the capital to see family and the sights were frequent throughout my childhood. I'd always been keen on art and design and my interest in modern architecture probably started when my Dad took me to see the Le Corbusier exhibition at the Haywood Gallery in 1987. My first photographs of modern architecture in London were taken in 1988 as part of a school project. I moved to London in 1989 to study graphic design at a place then known as Middlesex Polytechnic.
There are some very good guides to London architecture in book form, but they all have to make compromises because of space limitations. The guides that include a lot of buildings can't devote much space to each one, and often have only a short description with a postage stamp sized photo. Some guides only include the well known buildings or the most recent ones, which means than many interesting places get forgotten about,
The point of this site is to try and take advantage of what websites can offer and combine photos, text, floor plans and mapping information. I'm not limited by space, but I am limited by time. Some buildings have very minimal information at the moment. The site will always be a work in progress and I'm aiming to continue adding to it on a regular basis.
What's the criteria for a building to appear on the site?
The main reason for a building to be on this site is that I like it, or at least find it interesting in some way. There's a major bias towards north London because that's where I live. I'm going to stretch the definition of what counts as London as I see fit - I think the building furthest out is probably Stansted and I've included that because it's thought of as a London airport. The buildings are from the 20th and 21st centuries but I'm going to have to write a separate piece at some point to explain what I consider to be 'modern' architecture.
The purpose of the images on this site is to help explain the buildings - I'm not particularly interested in photography for it own sake. The internet is awash with digital photography and I don't really know what the point of it is most of the time. I'm certainly not trying to create 'art' photographs.
The majority of the photos on the site are taken with a Canon Powershot digital camera. However, you may be able to detect a few traces from a previous era of photography. There are a small number of images from 35mm slide and negative film taken with an SLR camera and a compact camera.
I occasionally do very minor digital retouching but I don't paint out graffiti, streetsigns or any of the other street furniture because I want the photos to be an accurate record of how the building is experienced as much as possible. I often crop the photos and for some of them I distort the image in Photoshop to correct for converging verticals.
Maps are something that guidebooks sometimes struggle with. My copy of Nairn's London contains grid references to an edition of the London A-Z that no longer exists. I'm able to include Google maps and Google streetview in most instances. I've also included bird's eye views from Microsoft 'Bing' - they're a great way to understand the form of a building from an aerial view.
I think floor plans are an essential part of understanding architecture. They're time consuming to research and produce so for now, they are limited to the housing category. All of the floor plans have been redrawn to ensure that they're in the same style and to the same scale.
Where appropriate, I've listed the sources I've used for each of the buildings. Some information comes from the web and some from books. I consult the periodicals in the library at the Royal Institute of British Architects for more detailed information about particular buildings. I've also learnt a lot from numerous visits to buildings as part of the annual Open House event.
Website: modernarchitecturelondon.com
Although I grew up in a town outside London, visits to the capital to see family and the sights were frequent throughout my childhood. I'd always been keen on art and design and my interest in modern architecture probably started when my Dad took me to see the Le Corbusier exhibition at the Haywood Gallery in 1987. My first photographs of modern architecture in London were taken in 1988 as part of a school project. I moved to London in 1989 to study graphic design at a place then known as Middlesex Polytechnic.
There are some very good guides to London architecture in book form, but they all have to make compromises because of space limitations. The guides that include a lot of buildings can't devote much space to each one, and often have only a short description with a postage stamp sized photo. Some guides only include the well known buildings or the most recent ones, which means than many interesting places get forgotten about,
The point of this site is to try and take advantage of what websites can offer and combine photos, text, floor plans and mapping information. I'm not limited by space, but I am limited by time. Some buildings have very minimal information at the moment. The site will always be a work in progress and I'm aiming to continue adding to it on a regular basis.
What's the criteria for a building to appear on the site?
The main reason for a building to be on this site is that I like it, or at least find it interesting in some way. There's a major bias towards north London because that's where I live. I'm going to stretch the definition of what counts as London as I see fit - I think the building furthest out is probably Stansted and I've included that because it's thought of as a London airport. The buildings are from the 20th and 21st centuries but I'm going to have to write a separate piece at some point to explain what I consider to be 'modern' architecture.
The purpose of the images on this site is to help explain the buildings - I'm not particularly interested in photography for it own sake. The internet is awash with digital photography and I don't really know what the point of it is most of the time. I'm certainly not trying to create 'art' photographs.
The majority of the photos on the site are taken with a Canon Powershot digital camera. However, you may be able to detect a few traces from a previous era of photography. There are a small number of images from 35mm slide and negative film taken with an SLR camera and a compact camera.
I occasionally do very minor digital retouching but I don't paint out graffiti, streetsigns or any of the other street furniture because I want the photos to be an accurate record of how the building is experienced as much as possible. I often crop the photos and for some of them I distort the image in Photoshop to correct for converging verticals.
Maps are something that guidebooks sometimes struggle with. My copy of Nairn's London contains grid references to an edition of the London A-Z that no longer exists. I'm able to include Google maps and Google streetview in most instances. I've also included bird's eye views from Microsoft 'Bing' - they're a great way to understand the form of a building from an aerial view.
I think floor plans are an essential part of understanding architecture. They're time consuming to research and produce so for now, they are limited to the housing category. All of the floor plans have been redrawn to ensure that they're in the same style and to the same scale.
Where appropriate, I've listed the sources I've used for each of the buildings. Some information comes from the web and some from books. I consult the periodicals in the library at the Royal Institute of British Architects for more detailed information about particular buildings. I've also learnt a lot from numerous visits to buildings as part of the annual Open House event.
Friday, October 11, 2013
City Modern
Location: New York, NY
Website: www.citymodernnyc.com
CITY MODERN will showcase the best of New York's design scene with studio tours, panel discussions, cocktail parties, special installations and home tours.
Meet the brilliant minds behind the city's most innovative spaces and engage with topics including fashion and architecture, food and design, the city’s talented young designers, and so much more.
Join us and be inspired by the brilliant designers, architects, and artists that are helping to build, remodel, and preserve our beloved metropolis.
Co-hosted by New York magazine, the second annual CITY MODERN celebrates New York’s incredible modern design and architecture. The week-long festival, helmed by Dwell editor-in-chief Amanda Dameron.
New York design editor Wendy Goodman, brings together a vital design community—accomplished and emerging designers, students, design enthusiasts, and many others—to share their ideas, creativity, and innovations. Exclusive programming, from September 27 through October 4, will include daily panel discussions, compelling home tours, lively parties and receptions, and much more.
Website: www.citymodernnyc.com
CITY MODERN will showcase the best of New York's design scene with studio tours, panel discussions, cocktail parties, special installations and home tours.
Meet the brilliant minds behind the city's most innovative spaces and engage with topics including fashion and architecture, food and design, the city’s talented young designers, and so much more.
Join us and be inspired by the brilliant designers, architects, and artists that are helping to build, remodel, and preserve our beloved metropolis.
Co-hosted by New York magazine, the second annual CITY MODERN celebrates New York’s incredible modern design and architecture. The week-long festival, helmed by Dwell editor-in-chief Amanda Dameron.
New York design editor Wendy Goodman, brings together a vital design community—accomplished and emerging designers, students, design enthusiasts, and many others—to share their ideas, creativity, and innovations. Exclusive programming, from September 27 through October 4, will include daily panel discussions, compelling home tours, lively parties and receptions, and much more.
Thursday, September 26, 2013
Flint Public Art Project
Location: Flint, MI
Website: www.flintpublicartproject.com
We organize workshops and temporary installations to inspire residents to reimagine the city, reclaim vacant and underutilized buildings and lots, and use innovative tools to steer Flint's long-range planning.
We support collaboration among local residents and organizations as well as with leading artists, architects, planners and community organizers from around the world, connecting Flint to regional, national and global movements to revitalize neighborhoods and cities through art and design.
We will document and amplify the many ways local residents, businesses and institutions are transforming Flint and its public image and identity, and will broadcast this new story to audiences throughout the city and the world.
Executive Director Stephen Zacks is an internationally recognized architecture and urbanism reporter, theorist and cultural producer based in Greenpoint, Brooklyn and a native of Flint, Michigan. Co-founder of the Bring to Light–Nuit Blanche New York festival, he is currently writing Beautiful Ruin: The Generation that Transformed New York, 1967-1986,a nonfiction narrative about New York during the mid-70s fiscal crisis
Director of Programs Jerome Chou is an urban planner and landscape architect. Previously he was Director of Programs for the Design Trust for Public Space, where he led projects to retain garment factories in Midtown Manhattan and to expand urban agriculture throughout New York City. He also has worked for the Baltimore City Planning Department, as a community organizer for ACORN, and for the nonprofit book publisher The New Press.
Architect-in-residence Andrew Perkins recently completed a collaborative Master's thesis project at the University at Buffalo, which transformed an abandoned house into his year-long off-the-grid home, using only waste materials. Focusing on areas of blight, depopulation, and economic tension, he uses waste materials as the common denominator to transcend social and financial gaps. His work with Flint Public Art Project involves transforming the long-vacant Spencer's Mortuary into a cooperative art space and model for material reuse.
James Andrews is an artist, educator, organizer, curator, and arts producer based in New York City. His work involves exploring new forms of social organization and experimental groups. Prior to studying systems approaches to art and collaboration with Paul Ryan at The New School, Andrews was artist in residence at the Banlozi Camp for Refugees in Bosnia-Herzegovina. In 2003 he co-produced Art, Circuitry, and Ecology, a conference at the City University of New York Graduate Center and Berkeley Hall of Science, honoring the anthropologist Gregory Bateson. Andrews has exhibited, taught, performed, and organized extensively, including shows and events at Postmasters Gallery, Sculpture Center, the National Gallery of Bosnia and Herzegovina, ABC No Rio, Lower Manhattan Cultural Council, Deitch Projects, and the Queens Museum. Andrews is a founding member of Nsumi Collective. Nsumi creates collaborative artwork that combines fine art, architecture, community engagement and experimental design. They produce and participate in exhibitions and events, conduct research on public art, pedagogy and emerging collaborative practices. Andrews has organized numerous public workshops and lectures on topics such as formal decentralization, swarm intelligence and emerging forms of civic protest with the Museum of Arts and Design, Storefront for Art and Architecture, School of the Future, and Creative Time as a part of the Living as Form show, with Trade School NYC.
His collaborative work has been covered by NHK TV (Japan), The New Yorker, Metro NY, Total Theater Magazine, Archinect, the New York Times, Art News, Waging Non-Violence, and The Economist.
Website: www.flintpublicartproject.com
We organize workshops and temporary installations to inspire residents to reimagine the city, reclaim vacant and underutilized buildings and lots, and use innovative tools to steer Flint's long-range planning.
We support collaboration among local residents and organizations as well as with leading artists, architects, planners and community organizers from around the world, connecting Flint to regional, national and global movements to revitalize neighborhoods and cities through art and design.
We will document and amplify the many ways local residents, businesses and institutions are transforming Flint and its public image and identity, and will broadcast this new story to audiences throughout the city and the world.
Executive Director Stephen Zacks is an internationally recognized architecture and urbanism reporter, theorist and cultural producer based in Greenpoint, Brooklyn and a native of Flint, Michigan. Co-founder of the Bring to Light–Nuit Blanche New York festival, he is currently writing Beautiful Ruin: The Generation that Transformed New York, 1967-1986,a nonfiction narrative about New York during the mid-70s fiscal crisis
Director of Programs Jerome Chou is an urban planner and landscape architect. Previously he was Director of Programs for the Design Trust for Public Space, where he led projects to retain garment factories in Midtown Manhattan and to expand urban agriculture throughout New York City. He also has worked for the Baltimore City Planning Department, as a community organizer for ACORN, and for the nonprofit book publisher The New Press.
Architect-in-residence Andrew Perkins recently completed a collaborative Master's thesis project at the University at Buffalo, which transformed an abandoned house into his year-long off-the-grid home, using only waste materials. Focusing on areas of blight, depopulation, and economic tension, he uses waste materials as the common denominator to transcend social and financial gaps. His work with Flint Public Art Project involves transforming the long-vacant Spencer's Mortuary into a cooperative art space and model for material reuse.
James Andrews is an artist, educator, organizer, curator, and arts producer based in New York City. His work involves exploring new forms of social organization and experimental groups. Prior to studying systems approaches to art and collaboration with Paul Ryan at The New School, Andrews was artist in residence at the Banlozi Camp for Refugees in Bosnia-Herzegovina. In 2003 he co-produced Art, Circuitry, and Ecology, a conference at the City University of New York Graduate Center and Berkeley Hall of Science, honoring the anthropologist Gregory Bateson. Andrews has exhibited, taught, performed, and organized extensively, including shows and events at Postmasters Gallery, Sculpture Center, the National Gallery of Bosnia and Herzegovina, ABC No Rio, Lower Manhattan Cultural Council, Deitch Projects, and the Queens Museum. Andrews is a founding member of Nsumi Collective. Nsumi creates collaborative artwork that combines fine art, architecture, community engagement and experimental design. They produce and participate in exhibitions and events, conduct research on public art, pedagogy and emerging collaborative practices. Andrews has organized numerous public workshops and lectures on topics such as formal decentralization, swarm intelligence and emerging forms of civic protest with the Museum of Arts and Design, Storefront for Art and Architecture, School of the Future, and Creative Time as a part of the Living as Form show, with Trade School NYC.
His collaborative work has been covered by NHK TV (Japan), The New Yorker, Metro NY, Total Theater Magazine, Archinect, the New York Times, Art News, Waging Non-Violence, and The Economist.
Tuesday, September 17, 2013
Failed Architecture
Location: International
Website: www.failedarchitecture.com
Failed Architecture is a research platform that aims to open up new perspectives on urban failure – from what it’s perceived to be, what’s actually happening and how it’s represented to the public.
Supported by a website, travelling workshops and a series of lectures, the research collective seeks to develop ongoing and open conversations with experts in the field of architecture and planning and the public at large.
Based in Amsterdam, but operating internationally, Failed Architecture consists of a group of young professionals that share knowledge in architecture, urbanism, media, sociology, history and the arts.
Observing and living in a time in which the position and meaning of architecture is increasingly being questioned, our main drive is to research the political and cultural processes that tag a building as a success or a failure (past/ present/ future).
By using the maxim ‘failed architecture’ we aim to raise questions. What is failure? Which criteria do we/ can we use to define failure? According to whom has something failed? If perceived as failed, what caused this and what are its effects?
We understand architecture as the outcome of larger urban dynamics, which are therefore at the core of our research. By exploring a wide range of viewpoints – e.g. residents, architects, planners, developers and artists – we aim to provide some possible answers to the aforementioned questions.
This will provide us with broad insights into how the relationships between design, politics, economics, culture and human behavior can literally and representatively (re)shape our built environment.
Website: www.failedarchitecture.com
Failed Architecture is a research platform that aims to open up new perspectives on urban failure – from what it’s perceived to be, what’s actually happening and how it’s represented to the public.
Supported by a website, travelling workshops and a series of lectures, the research collective seeks to develop ongoing and open conversations with experts in the field of architecture and planning and the public at large.
Based in Amsterdam, but operating internationally, Failed Architecture consists of a group of young professionals that share knowledge in architecture, urbanism, media, sociology, history and the arts.
Observing and living in a time in which the position and meaning of architecture is increasingly being questioned, our main drive is to research the political and cultural processes that tag a building as a success or a failure (past/ present/ future).
By using the maxim ‘failed architecture’ we aim to raise questions. What is failure? Which criteria do we/ can we use to define failure? According to whom has something failed? If perceived as failed, what caused this and what are its effects?
We understand architecture as the outcome of larger urban dynamics, which are therefore at the core of our research. By exploring a wide range of viewpoints – e.g. residents, architects, planners, developers and artists – we aim to provide some possible answers to the aforementioned questions.
This will provide us with broad insights into how the relationships between design, politics, economics, culture and human behavior can literally and representatively (re)shape our built environment.
Tuesday, August 27, 2013
Modesto International Architecture Festival
Location: Modesto, CA
Website: www.modestoarchfest.com
The mission of the Modesto International Architecture Festival is to celebrate architecture and the architectural profession as both an art and a science, and to heighten public awareness of architecture and the value of architects.
The Modesto International Architecture Festival is a series of events and activities for people to learn about, discuss, and research architecture, landscape, and urban design and how they can contribute to a more livable city. It is one of only a handful of such festivals worldwide.
The Modesto International Architecture Festival is hosted by the Sierra Valley Chapter of the American Institute of Architects and the Modesto Art Museum.
The host city, Modesto, has a metro population of 525,000. We are located 90 miles east of San Francisco and 300 miles northwest of Los Angeles. For decades through the 20th century, Modesto was on the cutting edge of architecture in California and the United States. Modesto's landscape, commercial, residential, and government architecture was held up as a model for others and major architects designed buildings and landscapes in the city. Among them are John Funk, William Wurster, Julia Morgan, Frank Lloyd Wright, Gardner Dailey, Milton Pflueger, Thomas Church, Lawrence Halprin, Russell Guerne Lappe, and John McLaren. For a background on architecture in Modesto, read Modernism in Modesto 1937 - 1972, available from the Modesto Art Museum.
Website: www.modestoarchfest.com
The mission of the Modesto International Architecture Festival is to celebrate architecture and the architectural profession as both an art and a science, and to heighten public awareness of architecture and the value of architects.
The Modesto International Architecture Festival is a series of events and activities for people to learn about, discuss, and research architecture, landscape, and urban design and how they can contribute to a more livable city. It is one of only a handful of such festivals worldwide.
The Modesto International Architecture Festival is hosted by the Sierra Valley Chapter of the American Institute of Architects and the Modesto Art Museum.
The host city, Modesto, has a metro population of 525,000. We are located 90 miles east of San Francisco and 300 miles northwest of Los Angeles. For decades through the 20th century, Modesto was on the cutting edge of architecture in California and the United States. Modesto's landscape, commercial, residential, and government architecture was held up as a model for others and major architects designed buildings and landscapes in the city. Among them are John Funk, William Wurster, Julia Morgan, Frank Lloyd Wright, Gardner Dailey, Milton Pflueger, Thomas Church, Lawrence Halprin, Russell Guerne Lappe, and John McLaren. For a background on architecture in Modesto, read Modernism in Modesto 1937 - 1972, available from the Modesto Art Museum.
Thursday, August 22, 2013
Urban Retail Institute
Location: Nationwide
Website: www.urbanretailinstitute.com
The Urban Retail Institute has been founded to promote sustainable urban retail for historic and new city centers, with the general goal of providing for the goods and services needed and desired by their residents, workers and visitors.
The URI offers a platform for learning about new trends, research, history and an industry insider's understanding of all aspects of urban retail planning, development, operations and management. The institute is targeted for architects, concerned citizens, developers, educators, financial institutions, policy makers, retailers, students and urban planners.
A wide range of urban retail topics are reviewed including: architecture, big box retailers, department stores, cinemas, grocery stores, entertainment, lighting, independent stores, leasing, lifestyle centers, new urbanism, malls, merchandising plans, national chains, neighborhood centers, parks, parking, restaurants, streetscape, store planning, resorts, urban planning, visual merchandising and zoning policy.
The URI offers educational workshops, white papers, research and peer review for urban retail development and planning.
Website: www.urbanretailinstitute.com
The Urban Retail Institute has been founded to promote sustainable urban retail for historic and new city centers, with the general goal of providing for the goods and services needed and desired by their residents, workers and visitors.
The URI offers a platform for learning about new trends, research, history and an industry insider's understanding of all aspects of urban retail planning, development, operations and management. The institute is targeted for architects, concerned citizens, developers, educators, financial institutions, policy makers, retailers, students and urban planners.
A wide range of urban retail topics are reviewed including: architecture, big box retailers, department stores, cinemas, grocery stores, entertainment, lighting, independent stores, leasing, lifestyle centers, new urbanism, malls, merchandising plans, national chains, neighborhood centers, parks, parking, restaurants, streetscape, store planning, resorts, urban planning, visual merchandising and zoning policy.
The URI offers educational workshops, white papers, research and peer review for urban retail development and planning.
Thursday, July 11, 2013
Los Angeles Forum for Architecture and Urban Design
Location: Los Angeles, CA
Website: www.laforum.org
Founded in January of 1987, the Forum has organized lecture series and site visits to significant buildings and sites throughout Los Angeles and the region; hosted a number of special events, symposia and a theory reading group; held several design competitions; distributed a quarterly newsletter and online articles; produced many publications, including Experimental Architecture in Los Angeles (Rizzoli International) and Everyday Urbanism (Monacelli Press), as well as national-distributed pamphlet-sized books.
Website: www.laforum.org
Founded in January of 1987, the Forum has organized lecture series and site visits to significant buildings and sites throughout Los Angeles and the region; hosted a number of special events, symposia and a theory reading group; held several design competitions; distributed a quarterly newsletter and online articles; produced many publications, including Experimental Architecture in Los Angeles (Rizzoli International) and Everyday Urbanism (Monacelli Press), as well as national-distributed pamphlet-sized books.
The Forum has worked with other groups, architects and institutions to understand its community and participate in activities to rebuild it.
Los Angeles Forum for Architecture and Urban Design provides a framework for design professionals and members of the general public to explore, evaluate, and impact the development of architecture in Los Angeles.
Throughout its 20+ years of operation, the Forum has brought together young designers, seasoned professionals, critics, urban theorists, artists, students, and people interested in their physical environment in a diverse series of activities.
The Forum seeks to reach out beyond the confines of professional organizations, schools and established groups and does not limit itself to one approach to design or theory.
It provokes discussion, seeks out places and designs unseen or unnoticed by the general public, publicizes architectural investigation and commentary, and promotes the serious exploration of strategies to influence the development of our urban environment.
Financial support for LA Forum projects has been received from the National Endowment for the Arts, the Graham Foundation for Advanced Studies in the Fine Arts, the California Arts Council, the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, the City of Los Angeles Department of Cultural Affairs, the Woodbury University School of Architecture, and from many members over the years.
The Forum is widely recognized as one of the most active architecture and urban design groups in Southern California.
Los Angeles Forum for Architecture and Urban Design provides a framework for design professionals and members of the general public to explore, evaluate, and impact the development of architecture in Los Angeles.
Throughout its 20+ years of operation, the Forum has brought together young designers, seasoned professionals, critics, urban theorists, artists, students, and people interested in their physical environment in a diverse series of activities.
The Forum seeks to reach out beyond the confines of professional organizations, schools and established groups and does not limit itself to one approach to design or theory.
It provokes discussion, seeks out places and designs unseen or unnoticed by the general public, publicizes architectural investigation and commentary, and promotes the serious exploration of strategies to influence the development of our urban environment.
Financial support for LA Forum projects has been received from the National Endowment for the Arts, the Graham Foundation for Advanced Studies in the Fine Arts, the California Arts Council, the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, the City of Los Angeles Department of Cultural Affairs, the Woodbury University School of Architecture, and from many members over the years.
The Forum is widely recognized as one of the most active architecture and urban design groups in Southern California.
Tuesday, June 18, 2013
eme3
Location: International
Website: www.eme3.org
Eme3 was born in 1999 in response to the need to find a space for architects, urbanists and artist from different disciplines, where they could meet and present innovative and unconventional projects that went beyond common trends in urban planning and construction.
It was the volumetric concept, the measure unit in cubic meters that gave it the name. Although the social parameters and context have greatly changed since then, eme3 still operates as an opportunity and platform for the presentation and exchange of ideas. Eme3 has become a forum and facilitator for interaction and a shuttle of proposals that in a retrospective sense can be fully defined as avant-garde architecture. With architecture as the starting point, and the combination of both art and design, eme3 brings together the new producers of emergent architectures in a space for experimentation, display and debate.
Eme3 generates projects that take shape in different formats (installations, urban projects, workshops, lectures, discussions and audiovisual projections) and locations, through the continuous program, eme3_on, as well as the annual encounter, eme3_festival. As a think-tank, eme3 provides the participant with a physical and interactive space to interact and share his ideas, as well as the possibility for the visitor to discover a different architecture yet close to the real and current problems in society, bringing an optimistic perspective. All the material generated during and for eme3 remains registered and will be available through the web and the catalog of each edition.
Website: www.eme3.org
Eme3 was born in 1999 in response to the need to find a space for architects, urbanists and artist from different disciplines, where they could meet and present innovative and unconventional projects that went beyond common trends in urban planning and construction.
It was the volumetric concept, the measure unit in cubic meters that gave it the name. Although the social parameters and context have greatly changed since then, eme3 still operates as an opportunity and platform for the presentation and exchange of ideas. Eme3 has become a forum and facilitator for interaction and a shuttle of proposals that in a retrospective sense can be fully defined as avant-garde architecture. With architecture as the starting point, and the combination of both art and design, eme3 brings together the new producers of emergent architectures in a space for experimentation, display and debate.
Eme3 generates projects that take shape in different formats (installations, urban projects, workshops, lectures, discussions and audiovisual projections) and locations, through the continuous program, eme3_on, as well as the annual encounter, eme3_festival. As a think-tank, eme3 provides the participant with a physical and interactive space to interact and share his ideas, as well as the possibility for the visitor to discover a different architecture yet close to the real and current problems in society, bringing an optimistic perspective. All the material generated during and for eme3 remains registered and will be available through the web and the catalog of each edition.
Saturday, June 15, 2013
Main Street Matters
Location: Nationwide
Website: www.paintwhatmatters.com
Benjamin Moore, North America's most respected interior and exterior paint manufacturer and color authority, announced its biggest initiative ever to revitalize communities across North America through the launch of "Main Street Matters." The campaign asks consumers around the country to cast their vote online for which 20 Main Streets should be revitalized of the more than 100 North American cities nominated.
The effort will be undertaken with the help of multiple partner organizations around the country, including Make It Right, a long-time partner of Benjamin Moore that was founded by actor-philanthropist Brad Pitt. Brad Pitt will be lending his voice in support of the effort that Benjamin Moore is undertaking with Main Street Matters.
In addition to partner organizations, this effort will be brought to life with local Benjamin Moore dealers and in conjunction with local municipalities, small businesses and local Chambers of Commerce. The effort will begin this summer and the work on repainting these Main Streets will be completed over the next year.
"Our Main Streets are the vital hubs of our communities - and Benjamin Moore and our network of independent dealers have always been integral parts of Main Street," said David Melançon, Chief Marketing Officer of Benjamin Moore. "This investment we're making in communities around North America is core to our business and to who we are; Main Streets make us who we are and we're proud to honor that with this effort.
Benjamin Moore will not only provide the paint and supplies needed for façades, porches, railings, shutters and other exterior building trims, but its color experts will consult on the best choices to enhance the architectural style, regional influences and historic references in each community.
Skilled professional painters, many of them members of the Painting and Decorating Contractors of America, will be hired, putting another segment of local business to work along with the local Benjamin Moore retailer who will be mixing the paints that are used.>The communications portion of "Main Street Matters", which allows local businesses and community members to tell their stories, includes not only the online component, but also is being supported by an aggressive advertising program.
> A mix of national and local market TV, radio, online and print ads will hit North America starting in May as part of the company's overall increase in marketing, which is up 61% compared to the previous year.
Voting began at 12:00 a.m. EST on May 16, 2013 and will end at 11:59 p.m. EST on June 30, 2013. Benjamin Moore will post the final list of Main Streets and towns to be repainted in July.
Website: www.paintwhatmatters.com
Benjamin Moore, North America's most respected interior and exterior paint manufacturer and color authority, announced its biggest initiative ever to revitalize communities across North America through the launch of "Main Street Matters." The campaign asks consumers around the country to cast their vote online for which 20 Main Streets should be revitalized of the more than 100 North American cities nominated.
The effort will be undertaken with the help of multiple partner organizations around the country, including Make It Right, a long-time partner of Benjamin Moore that was founded by actor-philanthropist Brad Pitt. Brad Pitt will be lending his voice in support of the effort that Benjamin Moore is undertaking with Main Street Matters.
In addition to partner organizations, this effort will be brought to life with local Benjamin Moore dealers and in conjunction with local municipalities, small businesses and local Chambers of Commerce. The effort will begin this summer and the work on repainting these Main Streets will be completed over the next year.
"Our Main Streets are the vital hubs of our communities - and Benjamin Moore and our network of independent dealers have always been integral parts of Main Street," said David Melançon, Chief Marketing Officer of Benjamin Moore. "This investment we're making in communities around North America is core to our business and to who we are; Main Streets make us who we are and we're proud to honor that with this effort.
Benjamin Moore will not only provide the paint and supplies needed for façades, porches, railings, shutters and other exterior building trims, but its color experts will consult on the best choices to enhance the architectural style, regional influences and historic references in each community.
Skilled professional painters, many of them members of the Painting and Decorating Contractors of America, will be hired, putting another segment of local business to work along with the local Benjamin Moore retailer who will be mixing the paints that are used.>The communications portion of "Main Street Matters", which allows local businesses and community members to tell their stories, includes not only the online component, but also is being supported by an aggressive advertising program.
> A mix of national and local market TV, radio, online and print ads will hit North America starting in May as part of the company's overall increase in marketing, which is up 61% compared to the previous year.
Voting began at 12:00 a.m. EST on May 16, 2013 and will end at 11:59 p.m. EST on June 30, 2013. Benjamin Moore will post the final list of Main Streets and towns to be repainted in July.
Monday, May 20, 2013
Row House Community Development Corporation
Location: Houston, TX
Website: www.rowhousecdc.org
Row House CDCwas established in 2003 as a sister corporation to Project Row Houses (PRH) in direct response to PRH’s vision to “create community” in Houston’s Northern Third Ward. Row House CDC’s mission is to develop housing for low-to-moderate income residents, public spaces, and facilities to preserve and protect the historic character of the Third Ward.
However, our interests extend far beyond low-income housing, and include strengthening, sustaining and celebrating the life of the Third Ward community. Row House CDC’s target area is the northern section of Third Ward which is bounded by McGowen on the north, Alabama on the south, Scott on the east and Hwy 288 on the west.
The 74-acre district was developed in 1993 as a classical small-scale residential neighborhood, with a grid pattern of 35 blocks served by four major thoroughfares. Civic institutions own about 50% of the area land (38 of 74 acres) and include Riverside General Hospital, Ryan Middle School, Blackshear Elementary, numerous churches, Project Row Houses, and Row House CDC.
The remaining 220 lots are used for housing, small retail shops, or are vacant. Residential development includes classic bungalow architecture featuring pier and beam foundations, front porches, and clapboard siding.
The neighborhood includes major institutions, shops and stores; an indigenous musical heritage; churches, schools, parks; and a mix of historic homes, many of which are in the African-American “shotgun” style originally developed by freed slaves (and their descendants) over 100 years ago.
Row House CDC envisions creating a careful blend of homes, including restored historic residences and architecturally compatible new structures offered for rent and for sale. The community will be woven together with streetscape promenades and greenway pedestrian paths to identify and reinforce the historic and artistic character.
The Row House District will showcase the creative arts and a broad array of cultural and social programs. Working in tandem with current residents, institutional stakeholders, and philanthropies, Row House CDC will preserve and enhance the spirited character of this unique Houston neighborhood.
Website: www.rowhousecdc.org
Row House CDCwas established in 2003 as a sister corporation to Project Row Houses (PRH) in direct response to PRH’s vision to “create community” in Houston’s Northern Third Ward. Row House CDC’s mission is to develop housing for low-to-moderate income residents, public spaces, and facilities to preserve and protect the historic character of the Third Ward.
However, our interests extend far beyond low-income housing, and include strengthening, sustaining and celebrating the life of the Third Ward community. Row House CDC’s target area is the northern section of Third Ward which is bounded by McGowen on the north, Alabama on the south, Scott on the east and Hwy 288 on the west.
The 74-acre district was developed in 1993 as a classical small-scale residential neighborhood, with a grid pattern of 35 blocks served by four major thoroughfares. Civic institutions own about 50% of the area land (38 of 74 acres) and include Riverside General Hospital, Ryan Middle School, Blackshear Elementary, numerous churches, Project Row Houses, and Row House CDC.
The remaining 220 lots are used for housing, small retail shops, or are vacant. Residential development includes classic bungalow architecture featuring pier and beam foundations, front porches, and clapboard siding.
The neighborhood includes major institutions, shops and stores; an indigenous musical heritage; churches, schools, parks; and a mix of historic homes, many of which are in the African-American “shotgun” style originally developed by freed slaves (and their descendants) over 100 years ago.
Row House CDC envisions creating a careful blend of homes, including restored historic residences and architecturally compatible new structures offered for rent and for sale. The community will be woven together with streetscape promenades and greenway pedestrian paths to identify and reinforce the historic and artistic character.
The Row House District will showcase the creative arts and a broad array of cultural and social programs. Working in tandem with current residents, institutional stakeholders, and philanthropies, Row House CDC will preserve and enhance the spirited character of this unique Houston neighborhood.
Friday, April 26, 2013
Institute for Public Architecture
Location: Nationwide
Website: www.instituteforpublicarchitecture.org
The Institute for Public Architecture (IPA) promotes socially engaged architecture through urban research projects and a future residency program for design practitioners. By supporting architects and allied professionals working in the public interest, the IPA strives to improve our public realm.
Vision:
- We envision a world where architects and allied professionals are provided the resources and support they need to create excellent work in the public interest and to contribute to the high quality design of the public realm.
- We believe that supporting and elevating the profile of architects working in the public interest is the first step to creating better design for traditionally underserved populations.
- We believe that a vibrant network of ‘activist’ architects is critical to the improvement of design in the public realm.
- We believe that high quality design in the public realm is critical to the production of socially equitable environments.
Founder's Statement:
From IPA founder Jonathan Kirschenfeld, architect of the Floating Pool, several New York City supportive housing developments, and other socially conscious projects:
Wanting to make meaningful civic contributions through architecture, I embarked in the mid-1990s on a quest to create low-income housing and urban projects for not-for-profit clients with miniscule budgets, supporting underserved populations. Embedded in housing is social engagement. I have taken great pride in serving typically-forgotten clients and making contributions to the design of the public realm. There were times, however, when I was ready to throw in the towel, when my sense of isolation from the profession itself was painfully real and when the idea of creating luxury buildings, with a decent salary, was very appealing. What I did not have through these years, and what I would like now to help create, is a community of like-minded design practitioners working towards the diverse but common goal of high quality public architecture.
Website: www.instituteforpublicarchitecture.org
The Institute for Public Architecture (IPA) promotes socially engaged architecture through urban research projects and a future residency program for design practitioners. By supporting architects and allied professionals working in the public interest, the IPA strives to improve our public realm.
Vision:
- We envision a world where architects and allied professionals are provided the resources and support they need to create excellent work in the public interest and to contribute to the high quality design of the public realm.
- We believe that supporting and elevating the profile of architects working in the public interest is the first step to creating better design for traditionally underserved populations.
- We believe that a vibrant network of ‘activist’ architects is critical to the improvement of design in the public realm.
- We believe that high quality design in the public realm is critical to the production of socially equitable environments.
Founder's Statement:
From IPA founder Jonathan Kirschenfeld, architect of the Floating Pool, several New York City supportive housing developments, and other socially conscious projects:
Wanting to make meaningful civic contributions through architecture, I embarked in the mid-1990s on a quest to create low-income housing and urban projects for not-for-profit clients with miniscule budgets, supporting underserved populations. Embedded in housing is social engagement. I have taken great pride in serving typically-forgotten clients and making contributions to the design of the public realm. There were times, however, when I was ready to throw in the towel, when my sense of isolation from the profession itself was painfully real and when the idea of creating luxury buildings, with a decent salary, was very appealing. What I did not have through these years, and what I would like now to help create, is a community of like-minded design practitioners working towards the diverse but common goal of high quality public architecture.
Friday, April 19, 2013
Renegade Tours STL
Location: St. Louis, MO
Website: www.renegadestl.com
To us, Saint Louis is a state of mind; one that doesn't stop when you leave the city limits. We tell the history of the people that built this place, lived in it, died in it...while setting their stories against the gorgeous and important architecture. At Renegade STL we strive to provide fresh, offbeat, and completely original tours, and we refuse, I repeat, refuse, to take ourselves too seriously.
RENEGADES
Founder, tour guide, and french toast expert Amanda Clark comes armed with a B.A. in History, an obsession with architecture, and a sharp wit acquired from her Southern grandmother. For over 3 years Amanda has been creating private tours for clients such as Arch Grants and Leadership St. Louis.
She is also a founding member of Saint Louis TEN, a very popular story slam event held throughout the city. In 2011, she was listed as part of Alive Magazine's Buzz List, which makes her feel cool sometimes.
Tour guide and cool guy with a cool beard Chris Naffziger is an independent art historian who writes and edits www.stlouispatina.com, which is coming around on its seventh year documenting the history of St. Louis's built environment.
In 2012, Chris's blog was chosen by the Riverfront Times as the Best Architecture Blog in STL, which should make him feel cool all the time.
Lou-lover, world-traveler, lunch room raconteur, Jenny Ingram is our marketing maven and occasional tour guide. A high school English teacher by day with a background in Art History, Jenny is skilled at giving “the look,” deadly with a red pen, and proficient at making a fool of herself to keep an audience entertained.
Jenny is cool all of the time.
Website: www.renegadestl.com
To us, Saint Louis is a state of mind; one that doesn't stop when you leave the city limits. We tell the history of the people that built this place, lived in it, died in it...while setting their stories against the gorgeous and important architecture. At Renegade STL we strive to provide fresh, offbeat, and completely original tours, and we refuse, I repeat, refuse, to take ourselves too seriously.
RENEGADES
Founder, tour guide, and french toast expert Amanda Clark comes armed with a B.A. in History, an obsession with architecture, and a sharp wit acquired from her Southern grandmother. For over 3 years Amanda has been creating private tours for clients such as Arch Grants and Leadership St. Louis.
She is also a founding member of Saint Louis TEN, a very popular story slam event held throughout the city. In 2011, she was listed as part of Alive Magazine's Buzz List, which makes her feel cool sometimes.
Tour guide and cool guy with a cool beard Chris Naffziger is an independent art historian who writes and edits www.stlouispatina.com, which is coming around on its seventh year documenting the history of St. Louis's built environment.
In 2012, Chris's blog was chosen by the Riverfront Times as the Best Architecture Blog in STL, which should make him feel cool all the time.
Lou-lover, world-traveler, lunch room raconteur, Jenny Ingram is our marketing maven and occasional tour guide. A high school English teacher by day with a background in Art History, Jenny is skilled at giving “the look,” deadly with a red pen, and proficient at making a fool of herself to keep an audience entertained.
Jenny is cool all of the time.
Thursday, April 11, 2013
Cosanti Foundation
Location: Mayer, AZ
Website: www.arcosanti.org
Welcome to Cosanti in Scottsdale (Paradise Valley), Arizona. The word “Cosanti” comes from two Italian terms: “Cosa” and “Anti,” which together mean, literally, “Before (or Against) Things.” Here at the residence and sculpture studios of Paolo Soleri and his staff, architecture has come before everything else, and indeed, it is the architecture of this place that makes things possible here.
Choosing the idea that Cosanti means “Against Things” leads to an understanding of Soleri’s anti-materialist stance: the ideas generated here have helped to develop a lean and frugal methodology for approaching life on earth and the designs of cities that would support that attitude and that life.
Either way, Soleri, (later joined by his students) began work on the experimental buildings of Cosanti in the mid 1950’s. Designated as an Arizona Historic Site, Cosanti presents a unique bio-climatic architectural environment. Its structures feature many imaginative design elements, reflecting Soleri’s innovative construction techniques.
Cosanti is open from 9 a.m. - 5 p.m. Monday through Saturday, 11 a.m. - 5 p.m. on Sunday, and closed only on major holidays. Visitors are welcome to take a self-guided walking tour and may be able to see bronze Windbells being poured (call ahead for information). Guided group tours are by reservations only.
The Cosanti Foundation, a non-profit educational organization, seeks opportunities to build partnerships that ensure the growth of Arcosanti and the educational opportunities inherent in the project.
Here are some of the existing and future programs and projects that assist in broadening our capacity to fulfil the goals of the participating partners, while developing Arcosanti to its fullest potential.
GOAL 1: PROGRAM DEVELOPMENT
A. Focus educational parameters of construction workshops and grow student numbers
B. Engage in critical inquiry/ interdisciplinary dialogue with institutional/educational partners
C. Develop support for publishing/media and public lecture activity
D. Develop support for conference activity at Arcosanti
E. Grow public visitation at Arcosanti and at the galleries at Cosanti
F. Expand on- and off-site exhibitions and the work of the Soleri Archive in general
G. Maximize and cultivate potential of alumni to support ongoing work
H. Collaborate with institutions, communities, and industry
I. Expand opportunities for engagement with/outreach to neighboring communities
J. Develop scholar/artist in residence program
K. Develop support for performance and other cultural events at Arcosanti
GOAL 2: PROJECT DEVELOPMENT
A. Improve existing physical facilities and support infrastructure
B. Develop/demonstrate architecture
for food and heat production: greenhouses
C. Program residential and commercial/institutional activity
D. Create and review 5-year financial plan
E. Expand Cosanti Originals (Soleri craft studios) production and sales
F. Expand Board of Trustees for fundraising and planning capability
GOAL 3: DEVELOP CAPACITY FOR GLOBAL URBAN DESIGN INITIATIVES
A. Strengthen and expand Arcosanti’s Planning Internship program and support
B. Accept commercial commissions that further our planning and technical expertise
C. Promote professional partnerships with governments, development entities, and with architects and urban designers globally
Website: www.arcosanti.org
Welcome to Cosanti in Scottsdale (Paradise Valley), Arizona. The word “Cosanti” comes from two Italian terms: “Cosa” and “Anti,” which together mean, literally, “Before (or Against) Things.” Here at the residence and sculpture studios of Paolo Soleri and his staff, architecture has come before everything else, and indeed, it is the architecture of this place that makes things possible here.
Choosing the idea that Cosanti means “Against Things” leads to an understanding of Soleri’s anti-materialist stance: the ideas generated here have helped to develop a lean and frugal methodology for approaching life on earth and the designs of cities that would support that attitude and that life.
Either way, Soleri, (later joined by his students) began work on the experimental buildings of Cosanti in the mid 1950’s. Designated as an Arizona Historic Site, Cosanti presents a unique bio-climatic architectural environment. Its structures feature many imaginative design elements, reflecting Soleri’s innovative construction techniques.
Cosanti is open from 9 a.m. - 5 p.m. Monday through Saturday, 11 a.m. - 5 p.m. on Sunday, and closed only on major holidays. Visitors are welcome to take a self-guided walking tour and may be able to see bronze Windbells being poured (call ahead for information). Guided group tours are by reservations only.
The Cosanti Foundation, a non-profit educational organization, seeks opportunities to build partnerships that ensure the growth of Arcosanti and the educational opportunities inherent in the project.
Here are some of the existing and future programs and projects that assist in broadening our capacity to fulfil the goals of the participating partners, while developing Arcosanti to its fullest potential.
GOAL 1: PROGRAM DEVELOPMENT
A. Focus educational parameters of construction workshops and grow student numbers
B. Engage in critical inquiry/ interdisciplinary dialogue with institutional/educational partners
C. Develop support for publishing/media and public lecture activity
D. Develop support for conference activity at Arcosanti
E. Grow public visitation at Arcosanti and at the galleries at Cosanti
F. Expand on- and off-site exhibitions and the work of the Soleri Archive in general
G. Maximize and cultivate potential of alumni to support ongoing work
H. Collaborate with institutions, communities, and industry
I. Expand opportunities for engagement with/outreach to neighboring communities
J. Develop scholar/artist in residence program
K. Develop support for performance and other cultural events at Arcosanti
GOAL 2: PROJECT DEVELOPMENT
A. Improve existing physical facilities and support infrastructure
B. Develop/demonstrate architecture
for food and heat production: greenhouses
C. Program residential and commercial/institutional activity
D. Create and review 5-year financial plan
E. Expand Cosanti Originals (Soleri craft studios) production and sales
F. Expand Board of Trustees for fundraising and planning capability
GOAL 3: DEVELOP CAPACITY FOR GLOBAL URBAN DESIGN INITIATIVES
A. Strengthen and expand Arcosanti’s Planning Internship program and support
B. Accept commercial commissions that further our planning and technical expertise
C. Promote professional partnerships with governments, development entities, and with architects and urban designers globally
Friday, March 29, 2013
CityVision
Location: Washington, D.C.
Website: www.nbm.org/families-kids/teens-young-adults/cityvision.html
Now in its seventeenth year, CityVision is an award-winning outreach program that uses design as a framework to teach District of Columbia public school students how to become active participants in shaping their communities. Through extensive fieldwork and careful mentoring at the National Building Museum, students identify needs and propose solutions designed to help local neighborhoods.
In CityVision, participants:
- Develop problem solving and critical thinking skills,
- Learn technical skills, including sketching and architectural drawing, photography, scale, and model building,
- Practice negotiation and collaboration while working as a team,
- Sharpen public speaking and communication skills, and
- Explore careers in architecture, engineering, construction and design.
CityVision takes place during the fall and spring of the academic year, and is made possible by a close collaboration between the National Building Museum and D.C. Public Schools and Public Charter Schools.
Each year, junior high and middle schools integrate CityVision as part of their curriculum and offer participating students with academic credit. For the spring 2010 semester, the Museum partnered with John Burroughs Education Campus and Stuart-Hobson Middle School.
Up to 12 students are selected from each school to attend the CityVision program during the fall or spring semester. Participants meet for a full school day, once per week for 12 weeks, to work with Museum staff, educators, and design professionals, on fun, challenging, hands-on activities.
Early CityVision sessions are devoted to teaching participants about the basic elements of the design process. Next, participants work in teams to explore selected neighborhoods where they observe and collect information about the community’s most urgent needs.
Each team then develops a creative solution that addresses those needs, creating architectural drawings and models of their design. The program culminates in a final public presentation, in which team members defend their work to a panel of professionals.
If you are a design professional or student in the fields of architecture, urban planning, or education who would be interested in helping inner-city youth learn about design and the built environment, consider volunteering at the Museum. Volunteers must be able to commit to a minimum of two Thursdays per month, but are strongly encouraged to attend each session. Volunteers must be 18 years of age or older.
Students or recent graduates who are interested in a greater commitment to CityVision are invited to apply for an intern position in the Outreach Department. Interns act as volunteer instructors and assist with the administration of the program. Learn more about internships at the Museum.
If your school is interested in becoming a partner, please contact the Outreach Programs Coordinator. Your school must be a part of the D.C. Public Schools system or D.C. Charter Schools System, and must also recruit a staff member to accompany the students to the program each week.
Spring 2010:
CityVision participants explored three sites along both sides of the Anacostia River on the Southeast Waterfront. Students from John Burroughs Education Campus and Stuart-Hobson Middle School worked with professionals from the National Capital Planning Commission, and other local organizations, to design plans for this emerging area.
Highlights from the three plans include: an underwater library in the Anacostia River near the Florida Rock site, an arts and recreation center surrounded by gardens on Poplar Point, and a large entertainment complex, boardwalk and ferris wheel on the Navy Yards site. All of the plans included wetlands to help improve the Anacostia River.
Fall 2009:
During the fall 2009 CityVision, the Museum partnered with the National Capital Planning Commission to work with local youth on designing a new White House Visitor Center. Students from Browne Education Campus and Columbia Heights Education Campus were challenged to explore three sites around the White House, interview tourists and government officials, and think creatively about design. For their final public presentation, students developed proposals for improving the quality of the experience for people who visit, live, or work in or near the White House.
Fall 2008 and Spring 2009:
Partnering for the 2008-2009 CityVision program, the National Building Museum and the District of Columbia Office of Planning challenged CityVision students to examine and deck over a section of Interstate 395 between E Street & Massachussetts Avenue. The Interstate 395 project reconnected the neighborhoods of Penn Quarter and Union Station. Students were asked to identify what type of development meets the needs of both communities and then presented their final projects to the public. This experience enriched their education and gave them the foundation to express their ideas and opinions about their city and its development.
2006 - 2007
The National Building Museum and the National Capital Planning Commission (NCPC) partnered for the CityVision programs which focused on the design of museum and monument designs for sites identified by the National Capital Planning Commission’s Memorials and Museums Master Plan.
Spring 2006:
LeDroit Park CityVision participants explored the neighborhood’s physical surroundings and examined the area’s historic relationship with Howard University. Students also documented the distinct architectural features of LeDroit Park through photographs and free-hand sketching. As participants met with residents and identified the existing land use in the neighborhood, they noted a lack of support services for the community.
The team’s design proposes to rehabilitate a vacant building into a community center. The proposed 3-story u-shaped building contains spaces for recreation, a library and computer room, child care center, grocery store, and a health clinic.
Students thought deeply about the relationships of these varying services, grouping similar functions such as the health clinic and child care center next to each other. Students also addressed the building’s exterior by creating an elevated pedestrian bridge between the two building wings, and proposing new plantings in the interior courtyard.
Fall 2005:
All eyes are on the Navy Yard neighborhood, these days. An area rich in history, it is currently the site of dramatic development and construction. Students on the Navy Yard team observed that, while promising economic growth for the community, the transformation has forced many residents to move, leaving behind scores of vacant homes and lots.
The team’s design for "Canal Yards," a mixed-use project, responds to the need for more convenient and quality housing for the residents that remain, and those that hope to eventually return. The building includes seven stories of mixed-income apartments, and restaurants, shops and other businesses at the street level.
CityVision is generously supported by The William Randolph Hearst Foundation; the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts; and MARPAT Foundation, Inc.. Additional support for teen outreach programs is provided by Bloomberg, Clark Charitable Foundation, McGraw-Hill, Prince Charitable Trusts, The Tower Companies, and an anonymous donor. Geppetto Catering, Inc. is the official Meal Provider for Teen Outreach Programs at the National Building Museum.
Website: www.nbm.org/families-kids/teens-young-adults/cityvision.html
Now in its seventeenth year, CityVision is an award-winning outreach program that uses design as a framework to teach District of Columbia public school students how to become active participants in shaping their communities. Through extensive fieldwork and careful mentoring at the National Building Museum, students identify needs and propose solutions designed to help local neighborhoods.
In CityVision, participants:
- Develop problem solving and critical thinking skills,
- Learn technical skills, including sketching and architectural drawing, photography, scale, and model building,
- Practice negotiation and collaboration while working as a team,
- Sharpen public speaking and communication skills, and
- Explore careers in architecture, engineering, construction and design.
CityVision takes place during the fall and spring of the academic year, and is made possible by a close collaboration between the National Building Museum and D.C. Public Schools and Public Charter Schools.
Each year, junior high and middle schools integrate CityVision as part of their curriculum and offer participating students with academic credit. For the spring 2010 semester, the Museum partnered with John Burroughs Education Campus and Stuart-Hobson Middle School.
Up to 12 students are selected from each school to attend the CityVision program during the fall or spring semester. Participants meet for a full school day, once per week for 12 weeks, to work with Museum staff, educators, and design professionals, on fun, challenging, hands-on activities.
Early CityVision sessions are devoted to teaching participants about the basic elements of the design process. Next, participants work in teams to explore selected neighborhoods where they observe and collect information about the community’s most urgent needs.
Each team then develops a creative solution that addresses those needs, creating architectural drawings and models of their design. The program culminates in a final public presentation, in which team members defend their work to a panel of professionals.
If you are a design professional or student in the fields of architecture, urban planning, or education who would be interested in helping inner-city youth learn about design and the built environment, consider volunteering at the Museum. Volunteers must be able to commit to a minimum of two Thursdays per month, but are strongly encouraged to attend each session. Volunteers must be 18 years of age or older.
Students or recent graduates who are interested in a greater commitment to CityVision are invited to apply for an intern position in the Outreach Department. Interns act as volunteer instructors and assist with the administration of the program. Learn more about internships at the Museum.
If your school is interested in becoming a partner, please contact the Outreach Programs Coordinator. Your school must be a part of the D.C. Public Schools system or D.C. Charter Schools System, and must also recruit a staff member to accompany the students to the program each week.
Spring 2010:
CityVision participants explored three sites along both sides of the Anacostia River on the Southeast Waterfront. Students from John Burroughs Education Campus and Stuart-Hobson Middle School worked with professionals from the National Capital Planning Commission, and other local organizations, to design plans for this emerging area.
Highlights from the three plans include: an underwater library in the Anacostia River near the Florida Rock site, an arts and recreation center surrounded by gardens on Poplar Point, and a large entertainment complex, boardwalk and ferris wheel on the Navy Yards site. All of the plans included wetlands to help improve the Anacostia River.
Fall 2009:
During the fall 2009 CityVision, the Museum partnered with the National Capital Planning Commission to work with local youth on designing a new White House Visitor Center. Students from Browne Education Campus and Columbia Heights Education Campus were challenged to explore three sites around the White House, interview tourists and government officials, and think creatively about design. For their final public presentation, students developed proposals for improving the quality of the experience for people who visit, live, or work in or near the White House.
Fall 2008 and Spring 2009:
Partnering for the 2008-2009 CityVision program, the National Building Museum and the District of Columbia Office of Planning challenged CityVision students to examine and deck over a section of Interstate 395 between E Street & Massachussetts Avenue. The Interstate 395 project reconnected the neighborhoods of Penn Quarter and Union Station. Students were asked to identify what type of development meets the needs of both communities and then presented their final projects to the public. This experience enriched their education and gave them the foundation to express their ideas and opinions about their city and its development.
2006 - 2007
The National Building Museum and the National Capital Planning Commission (NCPC) partnered for the CityVision programs which focused on the design of museum and monument designs for sites identified by the National Capital Planning Commission’s Memorials and Museums Master Plan.
Spring 2006:
LeDroit Park CityVision participants explored the neighborhood’s physical surroundings and examined the area’s historic relationship with Howard University. Students also documented the distinct architectural features of LeDroit Park through photographs and free-hand sketching. As participants met with residents and identified the existing land use in the neighborhood, they noted a lack of support services for the community.
The team’s design proposes to rehabilitate a vacant building into a community center. The proposed 3-story u-shaped building contains spaces for recreation, a library and computer room, child care center, grocery store, and a health clinic.
Students thought deeply about the relationships of these varying services, grouping similar functions such as the health clinic and child care center next to each other. Students also addressed the building’s exterior by creating an elevated pedestrian bridge between the two building wings, and proposing new plantings in the interior courtyard.
Fall 2005:
All eyes are on the Navy Yard neighborhood, these days. An area rich in history, it is currently the site of dramatic development and construction. Students on the Navy Yard team observed that, while promising economic growth for the community, the transformation has forced many residents to move, leaving behind scores of vacant homes and lots.
The team’s design for "Canal Yards," a mixed-use project, responds to the need for more convenient and quality housing for the residents that remain, and those that hope to eventually return. The building includes seven stories of mixed-income apartments, and restaurants, shops and other businesses at the street level.
CityVision is generously supported by The William Randolph Hearst Foundation; the D.C. Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts; and MARPAT Foundation, Inc.. Additional support for teen outreach programs is provided by Bloomberg, Clark Charitable Foundation, McGraw-Hill, Prince Charitable Trusts, The Tower Companies, and an anonymous donor. Geppetto Catering, Inc. is the official Meal Provider for Teen Outreach Programs at the National Building Museum.
Wednesday, March 27, 2013
Untapped Cities
Location: International
Website: www.untappedcities.com
Rediscover your city. Untapped Cities is a guide, a magazine, a community. We uncover the best of your city, and the ones you’re traveling to. The lens is photography, the writing powered by inquisitive city dwellers like you along with experts in architecture, culture, food and travel.
Website: www.untappedcities.com
Rediscover your city. Untapped Cities is a guide, a magazine, a community. We uncover the best of your city, and the ones you’re traveling to. The lens is photography, the writing powered by inquisitive city dwellers like you along with experts in architecture, culture, food and travel.
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