The Architect's Newspaper: The Latest Architecture and News

Following a lengthy search, the California city of Riverside and its Parks, Recreation, and Community Services Department have selected Studio-MLA as the lead designer of the River-Side Gateway Project Suite, a string of nine sites along a seven-mile stretch of the Santa Ana River. Funded by the California Coastal Conservancy, the search committee sought a design team that could best revitalize the open spaces and trails along the northern edge of Riverside, the largest city in the Inland Empire region of California with a population of over 300,000.

Earlier this month, the city of Miami released a draft version of its comprehensive plan to combat the effects of climate change. The so-called Stormwater Master Plan (SWMP) will be implemented to alleviate the threat of flooding throughout the city, improve the quality of water in Biscayne Bay, and fortify its coastline against stronger and more frequent storm surges over the next 40 years, at an overall cost estimate of $3.8 billion.

"Deck parks are increasingly in vogue in the Southwest’s downtown cores but aren’t a good fit for El Paso," writes Sito Negron. Recently a lot of cities around the world have been rethinking urban spaces dedicated to transportation, introducing public areas over highways while expanding the vehicular realm. In this week's reprint from the Architect's Newspaper, the author explores the limits of this trend and questions its implementation in some cases.

Perla on Broadway is the first new high-rise to be constructed in Los Angeles’s Broadway Theater District. Designed by CallisonRTKL, the tower will be the first addition within the district in over a century. Matt Hickman explores the latest addition to Downtown L.A.'s skyline in a piece originally published in The Architect's Newspaper.

Three years after OMA was selected by the Jersey City Redevelopment Agency (JCRA) to design a new museum in Journal Square, the city’s downtown hub, it was revealed this morning that the building would be home to none other than the Pompidou Center’s first North American satellite: The Centre Pompidou × Jersey City.

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Matt Hickman reports on San Francisco's latest inclusive memorial, for the Architect's Newspaper, designed by SWA, a firm that operates two Bay Area studios (San Francisco and Sausalito) as well as offices in Texas, Southern California, New York City, and Shanghai. Selected by FHMP from a shortlist of four firms that submitted proposals, out of 17 invited offices, SWA shared their winning conceptual design for the memorial at Harvey Milk Plaza.

"Is a museum defined by its collection? Or by its architecture? In The Art Museum in Modern Times, Charles Saumarez Smith suggests it is both and still something more". Lauren McQuistion, an architectural designer and Ph.D. Candidate in the Constructed Environment at the University of Virginia School of Architecture discusses in her Architect's Newspaper piece, Saumarez's book, exploring the notion of a modern museum.

America’s central business districts suffered greatly during the COVID-19 pandemic through job losses and business closings, but they also have a good chance to recover if stakeholders can capitalize on trends that will shape the way people live and work in a post-pandemic economy. That’s the view of the author and urbanist Richard Florida, a professor at the University of Toronto and author of The Rise of the Creative Class and The New Urban Crisis.

It would seem that the ongoing saga of the James R. Thompson Center, Chicago’s beloved but neglected governmental office building-slash-postmodernist mecca, might be reaching its final act.

Yesterday, Brendan Reilly, alderman of the city’s 42nd ward, announced a proposed rezoning ordinance that could kick the sale of the prized 3-acre site (12,140 m2) at 100 West Randolph Street into high-gear. The cash-strapped State of Illinois has been considering/trying to offload the property as early as 2003.

The following text is excerpted from John S. Chase — The Chase Residence (Tower Books, 2020) by architect and University of Texas professor David Heymann and historian and Rice University lecturer Stephen Fox. Richly illustrated with archival materials and new drawings, the book is the first devoted to Chase, who was the first Black licensed architect in Texas. The study is divided into two parts, with Heymann examining the personal, social, and architectural significance of Chase’s own Houston house and Fox describing Chase’s architectural career.

This excerpt draws on Heymann’s analysis and highlights the first incarnation of the Chase Residence (Chase substantially altered its architecture in 1968). It places great emphasis on the house’s remarkable courtyard, a modernist innovation, and a singular statement about domestic living at the time. New section, elevation, and perspective drawings prepared for the book help illustrate the ingenuity of the house’s configuration. Finally, the excerpt was selected in part to honor Drucie (Rucker) Chase, who passed away in January of 2021.

It’s a rather unfortunate platitude that good design and government programs don’t mix. More than unfortunate, it’s also untrue, as a new initiative from the City of Los Angeles demonstrates.

The newly launched Accessory Dwelling Unit (ADU) Standard Plan Program offers homeowners 20 eye-catching, pre-approved designs for the increasingly popular typology, which many see as a viable alternative to costlier mid-rise apartment buildings. Administered by the Los Angeles Department of Building and Safety (LADBS) in United States and featuring designs from firms including SO – IL and LA-Más, the program is a bid to fast-track permits for these humble, backyard homes—better known as ADUs—as well as making them “more accessible, more affordable, and more beautiful,” said L.A. Mayor Eric Garcetti in a press statement.

Last year, as the pandemic kept many housebound, artist and architectural historian Esther Choi found herself fielding a lot of requests from BIPOC students and young professionals looking for advice. She noticed several of the same concerns cropping up, specifically those having to do with the stresses of studying or working in environments that were overwhelmingly white. So, as one will do these days, Choi took to social media, where she announced virtual information sessions in which she would talk about her professional experience in an attempt to help others. The success of these initial, informal get-togethers led Choi to plan a series of events where BIPOC design students and young professionals could pick the brains of established BIPOC architects, designers, and writers about their careers and ways to navigate often unsupportive fields. The conversations would be casual, frank, and encouraging. Choi named the initiative Office Hours.

It didn’t take long for the coronavirus pandemic to inspire both cutting-edge architectural design solutions and broad speculation about future developments in the field. Many of the realized innovations have been contracted by or marketed to the real estate sector. But as firms compete to provide pandemic comforts to rich tenants, the COVID-19 technology that directly affects working-class communities is mostly limited to restrictive measures that fail to address already-urgent residential health hazards or administrative conveniences for developers that allow them to circumvent public scrutiny. These changes had been long-planned, but they have found a new license under the pretext of coronavirus precaution. In terms of “corona grifting,” this sort of thing takes the cake.

Chicago architecture is empty without Chicago architectural journalism. From the 1880s launch of the black-and-white publication Inland Architect, which covered the rebuilding after the Great Chicago Fire, to a 1985 critique of the James R. Thompson Center by Paul Gapp in the Chicago Tribune titled “Masterpiece or Ego Trip?” which set the course for the public reception of the building, coverage, and criticism of architecture in local newspapers and architecture publications has provided a critical link to how Chicago maintains its reputation as a city of extraordinary architecture. Architectural criticism and journalism have and continue to help Chicago understand how we arrived at this built environment and what the future holds.

Most of the practicing architecture is drudgery, and this is rather unfair. As students, architects are given thoughtful prompts about the built environment and its big questions, as well as sole creative reign to answer those questions. That is the only time in the architect’s life when this is the case, and in many ways, this does not adequately prepare the architecture student for the world of architecture, which is a world of drudgery. In reality, architects are not heroes.

I know what you are wondering and the answer is medium and circumcised. These are just a couple of characteristics that play a part in determining the outcome of Cyberpunk 2077, the most anticipated video game release of 2020 (and possibly ever) by CD Projekt RED. As a player, you experience the main storyline through a genderfluid avatar named V. The game’s namesake stems from a science fiction genre that at its core presents a dystopian hyper-capitalist society intended as a reflective critique of contemporary life—think Philip K. Dick’s work or Ernest Cline’s Ready Player One novel. There are plenty of well-documented issues pertaining to the game, from its perpetuation of techno-orientalism in science fiction to a buggy release resulting in too much attention on the phallic options described above. The game’s criticism of contemporary culture mostly falls flat but inadvertently it has some scathing things to say about architecture.

Architecture for Change (ARCH), a newly launched nonprofit initiative dedicated to addressing systemic racism in the architecture and design industry, is kicking off with an online auction featuring donated works—sketches, models, plans, photographic prints, and more—from a host of notable architects including Sir David Adjaye, Daniel Libeskind, Michel Rojkind, David Rockwell, Jennifer Bonner, Trey Trahan, and others.

The Harvard Graduate School of Design (Harvard GSD) will no longer refer to a private residence at 9 Ash Street in Cambridge as the “Philip Johnson Thesis House.” Moving forward, the home, designed by and inhabited by Johnson while enrolled at the Harvard GSD in the 1940s, will now be known solely by its physical street address.