The Biennale Architettura 2010 in Venice will open a month earlier than usual this year, with the media vernissage set for August 26–28. The Architect’s Newspaper will be there blogging daily on Kazuyo Sejima’s curated exhibition People Meet in Architecture, bringing you reports from all the national pavilions, collateral exhibits, and of course the parties. Invitations to events have been coming in to our office every day this month, and on August 20 we’ll publish a complete itinerary for those of you attending the biennale. This year, the United States pavilion is being organized by Atlanta’s High Museum and the publication 306090, under the direction of curators Michael Rooks of the High Museum and 306090’s Jonathan D. Solomon. The pavilion theme is Workshopping, and it presents projects that “involve the architect as the initiator of a transdisciplinary cooperative team focused on research, social engagement, and private initiative for public benefit.” Featured practices include Hood Design, MOS, John Portman & Associates, Guy Nordenson, Catherine Seavitt, ARO, the LSU Coastal Sustainability Studio, Anthony Fontenot, Chicago’s Archeworks, Michael Sorkin’s Terreform, and UCLA’s cityLAB. If you want to know more about the exhibition, check out its new website!
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The U.S. Department of State has announced that Workshopping: An American Model of Architectural Practice will represent the United States at the 2010 Venice Architecture biennale, opening on August 29. The State Department selected the exhibit, organized by the High Museum of Art in Atlanta and co-curated by the museum’s principal curator Michael Rooks with Jonathan D. Solomon, founding editor of the series 306090 Books, in an open competition following the recommendation of the Federal Advisory Committee on International Exhibitions, convened by the National Endowment for the Arts. Exploring the evolving role of designers in relationship to other disciplines, the exhibition will focus not on projects by individual architectural practices, but on collaborative projects like On the Water: Palisade Bay by Guy Nordenson, Adam Yarinsky, and Catherine Seavitt; the urban design plan New York City (Steady) State by New York–based Michael Sorkin Studio; and The Rosa Parks Project by the Los Angeles–based think tank cityLAB. These projects, according to the curators, represent “an evolving constellation of specifically American conditions—the hierarchical model of architectural practice, the mostly regulatory function of government, and the critical role of private corporations and non-profit foundations in driving public projects”—creating a unique new model of design practice. The Biennale, overseen by SANAA's Kazuyo Sejima, runs through November 21.
HAPPY B-DAY, MR. ARCHITECT On October 12, Richard Meier turned 75. His birthday bash for 150 was held that night at the Four Seasons, or rather under a white tent on Park Avenue alongside the Seagram Building fountains. Eavesdrop didn’t find anyone on the B-List who was invited, but all the A’s were there including Peter Eisenman, Michael Graves, David Rockwell, Robert A.M. Stern, City Planning Commission chair Amanda Burden with TV talker Charlie Rose, and President of the American Academy in Rome Adele Chatfield-Taylor with playwright John Guare. A Meier follower tells us that his 50th was held at his duplex on East 72nd Street, where he raised eyebrows by exiling his mother to a far corner of the room, while putting Burden on his right. Interior designer Rose Tarlow hosted his 60th birthday on the tennis court of the house he designed for Norman and Lisette Ackerberg in Malibu. This time, he was sent into his fourth quarter of a century by daughter Ana, who arranged everything in no-surprise white. No roasts among the toasts made by family and friends, with Meier himself going only slightly off-color in his effusive compliments to his lovely offspring. The cake was a layered white slab. ET TU, GUY? Buried but not deep enough for our eagle eyes is this passage in the October issue of literary journal The Believer, from an engaging interview with Guy Nordenson: “Frank Gehry’s relationship to engineering and construction says: the cruder the better. You visit the Disney Concert Hall and, in the office of the musical director, there’s this gigantic gusset plate that’s part of one of the trusses in the system. It’s exposed and fire-protected. One of the architects who worked on the project described it to me as a train crash in a room. It’s monumentally messy.” TURNING THE PAIGE It’s that time of the month again when bets are placed in showrooms across the nation. What is the future of Paige Rense and, for that matter, Architectural Digest? Authoritative rumor has it that AD’s eons-long editrix has been told she’s out at the end of the year. One shelter magazine editor-in-chief reports having been interviewed and insists that Condé Nast is going through the usual suspects one by one. We’re guessing that’s Deborah Needleman, editor-in-chief of defunct Domino; Stephen Drucker of House Beautiful; and Margaret Russell, the editor-in-chief of Elle Décor. But La Rense is not likely to shuffle off quietly. According to a prominent designer, she recently arranged a skit to impress bosses Si Newhouse and Chuck Townsend. Honorees on her coveted AD 100 list gave testimony to a group of advertisers that AD is still the number one shelter magazine in the world and that, hard times notwithstanding, they should continue to buy pages. Take away? Paige is essential to Si’s ongoing health and wealth. Another source says that Si only makes major personnel changes twice a year—right after Labor Day and right after New Year’s. Look for the other Louboutin to drop around January 2, 2010. Send engineering tips and ad pages email@example.com. A version of this article appeared in AN 17_10.21.2009.