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Whitetail Woods Regional Park Camper Cabins / HGA Architects and Engineers

  • Architects: HGA Architects and Engineers
  • Location: Dakota County, MN, USA
  • Area: 227.0 ft2
  • Project Year: 2014
  • Photographs: Paul Crosby, Pete VondeLinde

© Pete VondeLinde © Paul Crosby © Paul Crosby © Paul Crosby

Family Retreat / Salmela Architect

  • Architects: Salmela Architect
  • Location: Herbster, WI 54844, USA
  • Principal Architect: David Salmela FAIA
  • Project Architect: David Getty
  • Area: 1280.0 ft2
  • Photographs: Paul Crosby

© Paul Crosby © Paul Crosby © Paul Crosby © Paul Crosby

Frank Gehry to Redesign the “Gateway to Sunset Strip”

An overlooked strip mall at the corner of Sunset and Crescent Heights boulevards will soon be replaced by a mixed-use, walkable community designed by Frank Gehry. Known to be the “gateway to the Sunset Strip,” the West Hollywood site will be comprised of 249 apartments, restaurants, retail storefronts and a central plaza - all within "an environmentally sensitive building that complements and contributes to the historic architecture in the neighborhood.”

“Frank Gehry’s deep understanding of the property, its history and the context will elevate the project to the iconic and timeless status that it deserves,” said Townscape partner and project developer Tyler Siegel.

CALS Children’s Library / Polk Stanley Wilcox Architects

© Tim Hursley © Tim Hursley © Tim Hursley © Tim Hursley

MoMA PS1 YAP 2015 Runner-up: Roof Deck / Erin Besler

Despite Andrés Jaque of Office of Political Innovation emerging as the winner of the 2015 MoMA PS1 Young Architects Program (YAP), his competitors put up quite a fight. One of this year's five shortlisted proposals, Erin Besler's Roof Deck breathes life into arguably the most overlooked aspect of architecture - the roof - by injecting it with an active public program and making it a vessel for summer celebration. 

Read on after the break for more on Besler's proposal.

Site Model. Image by Walker Olesen Courtyard during warm-up. Image Courtesy of Erin Besler Roof programming area. Image by Walker Olesen Roof Deck during warm-up: night. Image Courtesy of Erin Besler

Reclaimed Modern / Julian Weber Architects

© Tucker English © Tucker English © Tucker English © Tucker English

Preservationists Lose Battle to Save Orange County Government Center

Yesterday Orange County legislators decided to “take no action” against blocking the “destructive” rebuild of Paul Rudolph’s Orange County Government Center. The plan, deemed by architecture critic Michael Kimmelman to be “vandalism,” will remove one of the building’s three sections and replace it with a “big, soulless glass box.” 

The 44-year-old brutalist landmark has been the center of a preservation debate for years; lawmakers argue that the building is “not easy to love” and expensive to maintain, while preservationists declare the building is an important piece of modern history and blame its state of disrepair on neglect. The council vetoed an offer last summer to allow a New York architect to purchase the property and transform it into artist studios. More on the decision, and more of Matthew Carbone's images for Architect Magazine, after the break.

Latin America in Construction: Architecture 1955-1980

In 1955 the Museum of Modern Art staged Latin American Architecture since 1945, a landmark survey of modern architecture in Latin America. On the 60th anniversary of that important show, the Museum returns to the region to offer a complex overview of the positions, debates, and architectural creativity from Mexico and Cuba to the Southern Cone between 1955 and the early 1980s.

More about Latin America in Construction: Architecture 1955-1980, opening at MoMA on March 29th, after the break. 

 Miguel Rodrigo Mazuré (Peruvian, 1926–2014). (Peruvian, 1926–2014). Hotel in Machu Picchu, Machu Picchu (Project). 1969. Perspective. © Archivo Miguel Rodrigo Mazuré  Lúcio Costa and Oscar Niemeyer. Plaza of the three powers, Brasilia, Brazil, 1958-1960. Photograph: Leonardo Finotti © Leonardo Finotti  National School of Plastic Arts, Havana, Cuba, Ricardo Porro, 1961-1965. © Archivo Vittorio Garatti Brasilia under construction, 1957. Geofoto. Arquivo Publico do Distrito Federal

Renton House / Stettler Design

  • Architects: Stettler Design
  • Location: Renton, WA, USA
  • Project Team: Daniel Stettler, Will Payne
  • Lot Area: 3,500 sq. ft.
  • Area: 3500.0 ft2
  • Project Year: 2011
  • Photographs: Dale Lang

© Dale Lang © Dale Lang © Dale Lang © Dale Lang

Fate of Paul Rudolph’s Orange County Government Center to be Decided Tomorrow

Tomorrow legislators are due to decided the fate of Paul Rudolph’s Orange County Government Center. The midcentury icon, listed on the World Monuments Fund’s global watch list, has been the center of a prolonged debate challenging its right to be preserved. 

The Cardinal / Modus Studio

  • Architects: Modus Studio
  • Location: 831 West Center Street, Fayetteville, AR 72701, USA
  • Principal Architect: Chris M. Baribeau, AIA
  • Area: 370605.0 ft2
  • Project Year: 2014
  • Photographs: Timothy Hursley

© Timothy Hursley © Timothy Hursley © Timothy Hursley © Timothy Hursley

Walter Netsch: The "Radical Mind" That Designed SOM's Air Force Academy Chapel

Having joined Skidmore, Owings & Merrill after World War Two at the age of 27, Walter Netsch was promoted to become a partner at the age of 31. Netsch entered the firm during what was arguably its defining era, when the reputation of Gordon Bunshaft and the image of a corporate-driven, teamwork-minded made SOM one of the most recognizable practices in the US. He was also, at the age of just 34, responsible for one of SOM's most recognizable projects of the decade, the Air Force Academy in Colorado Springs and its striking geometric chapel.

To honor what would have been Netsch's 95th birthday, SOM recently republished an interview between Netsch and architecture theorist and writer Detlef Mertins, which had originally been published in 2001 in SOM Journal 1. In the following extract from this interview, Netsch discusses the story of how he developed the design, and what it was like to participate in one of America's most influential practices among a host of strong characters.

© William Lukes Workers prepare the glass strips for installation in the chapel. Image © SOM © William Lukes © SOM

SteelHouse 1 and 2 / Zack | de Vito Architecture

© Bruce Damonte © Bruce Damonte © Bruce Damonte © Paul Dyer

HWKN Unveils Design for "Pennovation Center" in Pennsylvania

New York-based firm HWKN have revealed the design for what is to become the University of Pennsylvania's latest hub for entrepreneurs, researchers, and innovators. Dubbed "The Pennovation Centre," the project is the first major development within the Pennovation Works, and will occupy a 58,000-square-foot footprint on the campus' south.

A rejuvenation of the former DuPont laboratory, it is hoped that The Pennovation Centre will become an "iconic landmark" for pen, providing a "dynamic environment" for innovation in varied fields.

Courtesy of HWKN Architects Courtesy of HWKN Architects Courtesy of HWKN Architects Courtesy of HWKN Architects

North America's Radiant City: Le Corbusier's Impact on New York

Despite his status, Le Corbusier never had the opportunity to build in New York - in fact he only had one chance to build in the United States at all, completing Harvard's Carpenter Center for the Visual Arts in Cambridge in 1963. But this doesn't mean his influence isn't visible all over the Big Apple. Originally published on 6sqft as "Towers in the Park: Le Corbusier's Influence in NYC," this article takes a look at three examples where Le Corbusier's "Radiant City" ideals were transplanted to New York.

Even before taking his first trip to New York in 1935, Le Corbusier described the city as “utterly devoid of harmony.” After seeing it in person, his feelings didn’t soften. He wasn’t impressed by the tall towers, rather stating that they were the product of an inferiority complex, and he thought the city’s leaders were too timid to hire him. He wrote an opinion piece in the New York Times saying that “American skyscrapers have not attained the rank of architecture; rather, they are merely small objects such as statuettes or knick-knacks, magnified to titanic proportions.” He thought the city would benefit from buildings that “don’t try to outdo each other but are all identical.”

See BIG & Heatherwick's Design for Google's California Headquarters

Images have been unveiled of BIG and Heatherwick Studio’s design for Google’s Mountain View headquarters. The plan, submitted to city council today, proposes to redevelop and expand the company’s home office with a series of lightweight canopy-like structures organized within a flexible landscape of bicycle paths and commercial opportunities for local companies. 

"It's the first time we'll design and build offices from scratch and we hope these plans by Bjarke Ingels at BIG and Thomas Heatherwick at Heatherwick Studio will lead to a better way of working,” says Google. “The idea is simple. Instead of constructing immoveable concrete buildings, we’ll create lightweight block-like structures which can be moved around easily as we invest in new product areas… Large translucent canopies will cover each site, controlling the climate inside yet letting in light and air. With trees, landscaping, cafes, and bike paths weaving through these structures, we aim to blur the distinction between our buildings and nature.”

A video about the design and a statement from Bjarke Ingels and Thomas Heatherwick, after the break. 

© Google / BIG / Heatherwick Studio © Google / BIG / Heatherwick Studio © Google / BIG / Heatherwick Studio © Google / BIG / Heatherwick Studio