Posts tagged with "Post-Industrial":

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University of Kentucky and Somewhere Appalachia want to transform coal mining sites into arts spaces

How can the sites of former coal mines, those strange landscapes scarred by decades of digging and desecration, serve the public in a post-industrial America? That was the question posed to the students of The Somewhere Project, a design studio at the University of Kentucky, College of Design, as they considered how to transform a prototypical mine site in the Appalachian Basin in Kentucky into a contemporary arts institution. Led by Brent Sturlaugson, Jeffrey Johnson, and cofounders of Only If Adam Frampton and Karolina Czeczek, The Somewhere Studio brief was formed through a partnership with Somewhere Appalachia, an initiative established by Brook Smith that is currently seeking to transform a former Kentucky coal mine with an arts destination. The goals of the ambitious project include providing new jobs, educational opportunities, and new local business to the Appalachian community while advocating for the region’s natural beauty and protecting its natural habitats. “I have a long history with the region and a deep respect for its great people,” said Smith in a statement. “I see transformative initiatives like Somewhere Appalachia as a responsibility—a must—from dialogue and planning to reality.” Students were also asked to design a space for Cripplewood (Kreupelhout) (2012-2013), a 59-foot sculpture of a fallen tree created by the artist Berlinde de Bruyckere that the artist first exhibited at the 2013 Venice Biennale and has since agreed to permanent display within a coal mining site through Somewhere Appalachia. Like the injured mining landscape that would surround it, Cripplewood bears the scars of an apparently troubled past. “For it to find its final and permanent resting place in the Appalachian Mountains, a landscape that was wounded by intensive mining, healing slowly over time, and now injected by this act of kindness, of hope, renewal and restoration is just perfect,” the artist wrote in a statement. “Through research and case studies of relevant cultural projects and institutions, private art collections in rural communities, industrial heritage tourism, and mining remediations,” the studio prompt reads, “the studio will establish a program for the contemporary arts institution which may include a visitor center, exhibition space, pavilions and/or galleries, performance spaces, production spaces, a restaurant or cafe, community, educational and seminar rooms, spaces for artists in residence, a hotel, and other programs yet to be identified.” The final projects for the studio will be presented on May 1, after which they will be exhibited during the 2020 Venice Architecture Biennale. The charette on March 22 and 23 of this year, which was supposed to bring students from the University of Kentucky to New York City, was instead held digitally after the spread of novel coronavirus caused a number of similar event cancelations.
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This year's University of Wisconsin-Milwaukee Urban Edge Award will focus on post-industrial urban sites

As part of the University of Wisconsin-Milwaukee School of Architecture and Urban Planning’s biennial Urban Edge Award, students are engaging with visiting designers, architects, and artists through a series of design workshops. Working with the students over the semester in three charrettes will be artist and designer Olalekan Jeyifous, Catie Newell of Alibi Studio, Fionn Bryan of the Harvard GSD, Joyce Hwang of Ants of the Prairie, Sergio Lopez-Pineiro of the Harvard GSD, and Aleksandr Mergold of Austin + Mergold. The award program will culminate in a public symposium with a keynote address by Walter Hood of Hood Design. Of the 15 projects produced by students with the workshop leaders, one exemplary work will be chosen and highlighted by Hood at the conclusion of the public symposium. In years past, the Urban Edge Award has been given to a single individual. The award was founded to recognize excellence in urban design through creating positive change in the public realm. By inviting six design professionals, the award could allow for a semester-long investigation into three sites across the City of Milwaukee. The theme of this year’s Urban Edge Award is "FROM WASTE TO WONDER: Working with What Remains." The main focus of the program will be three research and design workshops lead by two guest leaders each. The first workshop will be led by Jeyifous and Newell and will focus urban vacancy in the four-mile-long 30th Street Industrial Corridor. The 880-acre industrial landscape suffered like many Midwest industrial centers and now has over 100 acres of vacant land. The second workshop will be led by Fionn Byrne and Joyce Hwange and will focus on adaptive reuse along the Kinnickinnic River Corridor on the south side of the city. The third will tackle the idea of productive landscapes area around the confluence of the Milwaukee and Menomonee River in the once thriving industrial Menomonee River Valley. Each of the sites throughout the city is typical of the post-industrial struggles Milwaukee has been dealing with for the past 40 years. The public symposium will take place on Saturday, April 15th, at the School of Architecture and Urban Planning. Along with the keynote address by Walter Hood, students and workshop leaders will present their work.
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To the Ramparts

With all the notice being paid to the new U.S. embassy this week, an even bigger (physically if not psychically) project just next door was overshadowed as it won a key approval yesterday. Rafael Viñoly's massive Battersea development, which will turn the iconic Battersea Power Station and 40 surrounding acres (once on the cover of a Pink Floyd album) into a huge mixed-use community, won approval from the Commission for Architecture and the Built Environment. According to our colleagues at BD, the CABE found the 5.5 billion pound project to be "intelligent and well-resolved." It includes more than 3,700 apartment units, 1.5 million feet of office space, 500,000 of retail, and community facilities, though an ecodome and other expensive features have been ditched on account of the bad economy. It wasn't all good news for Viñoly this week, though, as his similarly post-industrial New Domino project in Williamsburg, Brooklyn, took a lashing from the local community board. We'll have a full report on that when there's a final vote next month.