BIG has revealed plans for a 2.6 million square foot (242,000 square meter) mixed-use complex in LA’s burgeoning Arts District. Called 670 Mesquit, the project will take the form of a series of stepped boxes containing 800,000 square feet of office space, 250 residential units and two hotels. The development will mark BIG’s first project in Los Angeles.
With the onset of the Great Depression in the 1930s, the great World’s Fairs that had been held around the globe since the Crystal Palace Exhibition of 1851 lost much of their momentum. With the specter of another global conflict looming like a stormcloud on the horizon in the latter half of the decade, prospects for the future only grew darker. It was in this air of uncertainty and fear that the gleaming white Trylon and Perisphere of the 1939 New York World’s Fair made their debuts, the centerpiece of an exhibition that presented a vision of hope for things to come.
The end of the War of 1812 left the young United States of America awash with nationalist fervor. In the following years, the world’s first modern republic experienced unprecedented growth and prosperity; it was not without reason that the period came to be known as the “Era of Good Feelings.”[1] It was into this epoch of unbridled national pride that Thomas Jefferson, one of the country’s founding fathers and its third President, introduced his master plan for the University of Virginia: an architectural manifestation of the Enlightenment and republican ideals he had helped cultivate.
The opening of the Century 21 Exposition on April 21, 1962 transformed the image of Seattle and the American Northwest in the eyes of the world. The region, which had been known until that point more for its natural resources than as a cultural capital, established a new reputation as a center of emergent technologies and aerospace design. This new identity was embodied by the centerpiece of the exposition: the Space Needle, a slender assemblage of steel and reinforced concrete which became—and remains—Seattle’s most iconic landmark.[1]
Their theoretical, critical and historical approach attempts to rediscover a thoughtful dimension behind the architectural subject. Each firm will present a residential project for the Roman countryside, a design exercise meant as a typological investigation, or, more generally, as a meditation on the autonomy of the architectural discipline. The thirteen projects for thirteen houses showcased in the exhibit are intended as a homage to the city of Rome and its countryside.
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Storefront for Art and Architecture, in collaboration with the New York Comedy Festival (NYCF), has commissioned Jonah Freeman and Justin Lowe to create Paranoia Man in a Rat Fink Room at Storefront's gallery space. The exhibit opened on November 8, 2016, with special preview performances from November 2 - 6, 2016 during the NYCF. Paranoia Man in a Rat Fink Room continues after the festival with events and discussions curated by Storefront through February 18, 2017.
Attracting a wide array of speakers from a multitude of structural and architectural fields from across the globe, this cutting edge industry event provides a unique opportunity for delegates to shape the future of the Australian skyline in years to come.
The A+D Architecture and Design Museum is pleased to announce a show of drawings by architects, exploratory in nature, and in no way typical of drawings by architects. See form, color, shadow and line unlike any other, under the museum lights. Featuring works by Thom Mayne, Sergei Tchoban, David Freeland & Brennan Buck, Carrie Norman & Thomas Kelley, Zeina Koreitem & John May, Volkan Alkanoglu, Michael Young, Sophie Lauriault, Kyle Miller, Mike Nesbit, Clark Thenhaus, Kelly Bair, Alex Maymind, David Eskenazi, Anthony Morey & Bryan Cantley.
On November 30th Miami’s design elite descend on the YoungArts Jewel Box for From Memphis to Miami – an evocative, 180-minute flash exhibition unveiling the work and message of Italian design legend Massimo Iosa Ghini.
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