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The city's official blueprint for redevelopment after Hurricane Katrina, to be released on Wednesday, will recommend that residents be allowed to return and rebuild anywhere they like, no matter how damaged or vulnerable the neighborhood, according to several members of the mayor's rebuilding commission.
The proposal appears to put the city's rebuilding panel on a collision course with its state counterpart, which will control at least some of the flow of federal rebuilding money to the city.
The primary author of the plan, Joseph C. Canizaro, said teams of outside experts would try to help residents of each neighborhood decide whether to rebuild or relocate. Those teams would help increase the odds of success for those residents who decided to return, Mr. Canizaro said.
The commission will propose that the city should discourage homeowners from rebuilding in the hardest hit areas until a plan can be hammered out, but will not forbid them from doing so.
But ultimately, the areas that fail to attract a critical mass of residents in 12 months will probably not survive as residential neighborhoods, Mr. Canizaro said, and are likely to end up as marshland as the city's population declines and its footprint shrinks.
Building on coastal land below sea level, no matter where, is fundamentally a bad idea. Soil subsidence, coupled with rising ocean levels and increased storm activity caused by global climate change, will make existing lowlands even lower and ever more vulnerable to storm-induced flooding in the future.understood, but this guy fails to really address historic preservation and huge social issues in this essay. it makes you wonder if hes ever been down there. also sceptical of how houses on poles would withstand cat 4-5 hurricanes.
Building on coastal land subject to hurricanes and severe storm surges, at the mouth of the mighty Mississippi, is a bad idea made worse. Constructing miles of levees at great expense to make low-lying coastal land habitable is yet more absurd. It only compounds our collective foolishness, as does providing flood insurance for properties in chronically flooded areas.
An Ithaca College dean is encouraging students to instead think small -- and she's offering a $5,000 prize to do it. The school has invited high school and college students across America to submit a 30-second movie shot entirely with a cell phone.
It may come off like a gimmick, but Dean Dianne Lynch has no doubts about the contest's academic value.
In today's media marketplace -- where cell phones can take pictures, play music and games and connect to Web sites -- it's all about thinking small and mobile.
There are times when Norman Foster looks like two entirely different kinds of architect. Which one you get depends on which side of the Atlantic you happen to be. In London he has become a ubiquitous, monochrome presence, dressing everything from Wembley stadium to the Asprey jewellery store in the uniform of self-confident corporate modernism, like a reliable machine. But in New York, where he still has something to prove, and is operating at the top of his game, he is unbeatable as a brilliant architectural innovator.
In the city that perfected the skyscraper then repeated the formula endlessly, he is the European who has taken on the apparently impossible task of rescuing the high-rise from creative exhaustion. His just-completed new headquarters for the Hearst magazine empire, on Eighth Avenue, close to Central Park, succeeds in doing that, and deservedly is getting astonishingly enthusiastic coverage.
The New Yorker's architecture critic, Paul Goldberger, not normally overawed by Foster, calls him 'the Mozart of Modernism', and describes the tower as the most beautiful high-rise to be built in Manhattan since 1967. Goldberger is putting him in almost the same category as Mies van der Rohe and the Seagram tower, and he is right to do so. He is even more enthusiastic about the interior. He calls the lobby as much of a surprise as the spiral at the heart of Frank Lloyd Wright's Guggenheim Museum.
two columbus circle "recherché" - HM
Shelter Documenting a personal quest for non-toxic housing
everybody's an art critic...
A 76-year-old performance artist was arrested after attacking Marcel Duchamp's "Fountain" _ a porcelain urinal _ with a hammer, police said.from here where they refer to more here
Duchamp's 1917 piece _ an ordinary white, porcelain urinal that's been called one of the most influential works of modern art _ was slightly chipped in the attack at the Pompidou Center in Paris, the museum said Thursday. It was removed from the exhibit for repair.
The suspect, a Provence resident whose identity was not released, already vandalized the work in 1993 _ urinating into the piece when it was on display in Nimes, in southern France, police said.
During questioning, the man claimed his hammer attack on Wednesday was a work of performance art that might have pleased Dada artists. The early 20th-century avant-garde movement was the focus of the exhibit that ends Monday, police said.
metro shed
Earlier this year John Gusto, a retiree, gave his 1939 house by Richard Neutra in Los Altos, Calif., to that city after nobody else would take it. In Florida, a house by Paul Rudolph was offered with a $50,000 bonus to anyone who would move it. In Quantico, Va., the Marine Corps, as part of a redevelopment of its base, is offering a group of metal Lustron houses from the 1940's for the cost of transporting them.
At a time when furniture by prominent 20th-century designers is selling for hundreds of thousands of dollars, these houses appear to be bargains. But even not-so-old houses come with problems. Moving a house can be costly, because any structure wider than a flatbed truck has to be cut into pieces before it can be transported. And midcentury houses are often tiny by today's standards. Dr. Ho, who is married with two children, said the house was not big enough for his family.
weve been getting traffic from the initials HM form here. they miss him. we are happy with NO.
NEW YORK -- One of the most famous delis in New York City may have served its last corned beef on rye.
The owner of the 2nd Avenue Deli said he closed the restaurant Sunday after a lease dispute with the building's new owners.
"My current rent is $24,000 a month for 2,800 square feet," Jack Lebewohl told The New York Times. "They want $33,000. I can't afford that."
Kisho Kurokawa
Nakagin Capsule Tower
Tokyo, Japan
The Nakagin Capsule Tower was the first capsule architecture design, the capsule as a room inserted into a mega-structure, built for actual use.
The Capsule Tower realizes the ideas of metabolism, exchangeability, recycleablity as the prototype of sustainable architecture.
Even before Hurricane Katrina, Dr. Dawdy had found ways to return to New Orleans. In 2004, she made an intriguing discovery while researching a possible archaeological site under an old French Quarter parking garage slated for demolition. Property records and advertisements from the 1820's said that the site had been the location of a hotel with an enticing name: the Rising Sun Hotel.
This month, workers are dismantling a rare steel house built in Charlestown Township, Pa., in 1946, saving it from being demolished for a subdivision.
The pieces of the three-bedroom, 900-square-foot house will be stored until the Preservation Alliance for Greater Philadelphia, which raised the $20,000 to dismantle the structure, can find a new owner. The house is free to anyone who promises to rebuild it.
The Acropolis in Athens made it, as did Angkor Wat temple in Cambodia, China's Great Wall, the Colosseum in Rome, the Inca temple of Machu Picchu in Peru, Stonehenge and the Moai - the Easter Island statues.
Less immediately obvious choices in a final shortlist of 21 contenders for the New Seven Wonders of the World, announced in Switzerland yesterday, included the Kremlin in Moscow, the Eiffel Tower and the Statue of Liberty.
When the Ouroussoff article came out I had just made my second visit to the revamped MoMA. My first visit involved one of the many opening galas when, sometime late in the evening after several vodka and sodas, two self-proclaimed "bloggers" asked me how I liked the new building. I told them I loathed it. "What do you mean?" one sputtered. I couldn't articulate an answer, but what I meant is I hated the grandeur of the place, how much it seemed to celebrate not the art or the objects but the exalted cultural role of the institution.
On my second visit I made peace with the building. I still don't care for the bombast of the communal spaces, but I'm happy with the contents of many of the galleries, especially the smaller ones housing prints and drawings, architecture and design. Granted the design gallery is no longer a sparsely populated hideaway on the top floor of the museum. And I'm nostalgic about the days when I would have the collection all to myself, but the bigger, brighter space surely reflects the new status of design in American popular culture.
About that same time I was also thinking about how hard it is to mount a really innovative contemporary industrial-design show these days. The problem--and it's not specific to MoMA--is that the products one can find on the shelves of almost any store are likely to be as varied, sophisticated, and inventive as the objects a museum can pull together. Stores can change inventory faster and with much less planning than a curator burdened with two-year lead times. When I visit the Cooper-Hewitt now I spend more time in the shop than in the galleries. Director of retail Gregory Krum was once the product manager at Moss, a Soho design shop that appropriated the aesthetic of a museum design gallery. Because he is a merchant, Krum can put his ideas into action without sitting through countless committee meetings. As a result the store is generally a better place to view fresh design.
It may be true that talents like Ms. Hadid and Mr. Koolhaas have sucked some of the oxygen from members of a younger generation struggling to find their footing in a celebrity-driven profession. The jury is still out on that one. But either way, these buildings prove that architecture is in the midst of a renaissance. Whatever one imagines about the egos of their architects, these projects exude a social dynamism and freedom - a thriving democratic ideal.
What's more, such buildings force us to re-examine corners of Modernist history that once seemed relegated to the scrapheap. Their architects are clearly influenced by talents as far ranging as Kevin Roche, Hans Scharoun and Oswald Mathias Ungers, whose tough, sometimes brutal forms were once excluded from the Modernist canon.
The problem is how few people seem capable of such a generous view of history. Recent landmark preservation battles in New York suggest that the civic powers-that-be insist on defending a narrow view of the past and of Modernism in particular. That became apparent during the crusade to preserve Edward Durell Stone's so-called lollipop building at 2 Columbus Circle, a landmark of late Modernism, when the New York City Landmarks Preservation Commission refused to schedule a public hearing to consider its designation. As a result, the facade is being utterly revamped.
no top ten this year in memory of the town of my birth, new orleans louisiana
Can a mass-produced object become like an artwork? Die Welt's Uta Baier considers the question by looking at the recent legal battle over Marcel Breuer's B9 table, first made in 1925-26. As Baier reports, two German firms—Tecta and Knoll International—asked a Dusseldorf court to decide which company has the right to reproduce the table for the contemporary market. B9 has become a cult object because it is the first piece of furniture that Breuer made with steel tubes. (After experimenting with Duralumin pipes, a material used in the ‘20s in Dessau for aircraft construction, the Bauhaus architect decided upon steel tubing because it was cheaper.)
"The table's cult status means that a mass product became an expensive piece of design, a work of art that has stories to tell, justifying its high price," writes Baier. For the courts, the only story that counts is the contract that gives a firm the right to reproduce a design. While Breuer himself signed the contract with Knoll International in 1968, Tecta earned the right to reproduce B9 from Berlin's Bauhaus archive, which cooperated with Breuer's widow. As Baier notes, a lower court has decided in favor of Knoll because the company's contract is older. A higher court will decide the case on January 24.
“Entertainment is part of our culture, and as consumers of music we need to continue to support artists. Go out to a concert; on payday, go to your favourite music store and if you like that song that you burned off the Net, buy the album. As a creative city, let’s demonstrate our cultural values.”
What Galera’s letter to the editor underscores is a new reality for music lovers and the music industry: Buying an album is now a political act.
As with many contemporary thinkers, Eisenman rejects the redemptive notion of collective memory and its unexamined links to the sacred, which unite its celebrants in a reassuring cult of remembrance. Memorials, Eisenman has noted, are not about memory but about nostalgia. In this case, architecture becomes a hermeneutic, probing, questioning, withholding solace and thus closure. However challenged or troubled by the work, visitors are never overwhelmed nor reduced to anxious impotence. Nothing affects them without their active, willed participation. By avoiding an iconic design, Eisenman has ensured that the whole cannot be apprehended from any single vantage point. There is no center, no resting spot for the eye or the body, no therapeutic catharsis. The tight weave of the project never loosens its grip on visitors, or allows them to yield attention to apperception. They have to negotiate the narrow fissures between the somber stelae virtually in single file. Anamnesis becomes a personal rather than a collective endeavor, and the injunction to remember is left the responsibility of each individual spectator.
The Hurricane Katrina crisis began for Bruneau on Monday, August 29th, shortly after the storm had passed through. A young woman lay dead in the middle of the 1900 block of Jackson Avenue. Her skull was crushed, and a fallen street light, blown down by the ninety-five-mile-an-hour winds, lay beside her. Along Jackson Avenue, people were emerging from shotgun shacks into a world of smashed oak trees and downed power lines. Some of them knew the woman. She had gone out during the storm to buy drugs.
plastic fantastic