Variety, as they say, is the spice of life, and that certainly applies to readily available entertainment—movies, documentaries, television shows, and more—to watch while social distancing/self-quarantining/expanding one’s cinematic horizons during a global pandemic.
Below, the AN editorial team has compiled a pointedly eclectic list of screen-based diversions to settle down with. The overarching emphasis here is obviously on architecture, design, and urbanism. However, we’ve applied that focus broadly and opted to include everything from French New Wave classics to sordid 1980s thrillers to dystopian neo-noir epics to trashy (but oh-so-enjoyable) reality TV and more. And for good measure, we’ve thrown in a few serious architecture documentaries, too. All are currently available to stream on various platforms.
Sit back, relax, stay safe, and enjoy.
“Alphaville is easily my favorite Jean-Luc Godard film. Filmed on the streets of Paris in 1964, the story begins when a secret agent Lemmy Caution traverses the distant corners of the galaxy on a secret mission to a futuristic dystopian city, Alphaville. There, he seeks out an omnipresent scientist named Von Braun, the maker of Alpha 60, a mind-controlling computer that rules over citizens.”–Gabrielle Golenda, products editor.Available on Google Play, Amazon Prime and others.
Blade Runner 2049 (2017)
“If you can stomach languishing in a futuristic dystopia somehow worse than our own, Denis Villeneuve's 2017 sequel to the cult classic Blade Runner is certainly worth escaping into for three hours. The libertarian future of 2049 is populated by towering brutalist forms, mega-monoliths to greed, space-age pyramids, and a main villain's lair inspired by Spanish architects Barozzi / Veiga looks so good you'll forget that the world is dying outside of it. Consider it the anti-Wakanda.”–Jonathan Hilburg, web editor. Available on Google Play, Amazon Prime, and others.
Body Double (1984)
“There's nothing like a sleazy, ultra-stylish erotic thriller from Brian De Palma to take one's mind off the troubles of the world. Highly controversial on its release, Body Double, now a cult favorite, serves as both an homage to Alfred Hitchcock and a tribute to the architectural weirdness of Los Angeles. While numerous L.A. landmarks serve as backdrops including Tail O' the Pup, the Farmers Market, and the Hollywood Tower Apartments, the real star of the film is John Lautner's Chemosphere House (1960), a space-ship-y octagonal lair mounted on a concrete pedestal high in the Hollywood Hills. Reached only by funicular, the home, declared a Los Angeles Cultural-Historic Monument in 2004, is currently owned by publisher Benedikt Taschen.”–Matt Hickman, associate editor. Available on Google Play, Amazon Prime, and more.
“Korean-born, Nashville-based supercut maestro Kogonada's feature directorial debut is a melancholy, but never despairing, romantic drama about love, loss, obligation, and modernist architecture. Filmed on location in the small Indiana city known as "the Athens of the Prairie," this tender, haunting film stars John Cho and Haley Lu Richardson alongside works by Eliel and Eero Saarinen, I.M. Pei, Robert A.M. Stern, Deborah Berke, and others. (Sorry Venturi fans but Fire Station Number 4 doesn't make a cameo appearance.) Added non-architectural bonus: Parker Posey in a small but memorable supporting role.”–Matt Hickman, associate editor. ”Available on Google Play, Amazon Prime, and more.
“Grand Designs is a long-running British TV series. Each episode tracks the progress of some of the U.K.’s most ambitious and experimental self-built home projects. Host Kevin McCloud, a noted architectural journalist and architect in his own right, offers a succinct narration as he checks into each project at different stages. His advice and helping hand is often followed by bitting albeit constructive criticism.”–Adrian Madlener, interiors editor. Seasons 10 and 15 available on Netflix.
The Great Beauty (La Grande Bellezza) (2013)
“La Grande Bellezza is an Academy Award-winning film by Italian director Paolo Sorrentino. While the movie follows a one hit wonder author and affluent playboy as he goes through the pangs of a late life crisis, its art direction casts Rome in a rhapsodic mise en scene. The capital city’s ancient and contemporary architecture is presented in an almost nostalgic way, devoid of its regular tourist hordes. The protagonist's self-reflection is emulated in this dramatic backdrop.”–Adrian Madlener, interiors editor. Available on Google Play, Amazon Prime, and more.
Love Island UK, Season 6:
“The sixth season of British dating reality television show Love Island UK wrapped filming just as coronavirus was roaring onto the global stage, but watching it will transport you to a simpler world where a bevy of single twenty-somethings loll their days away while looking for love without leaving the confines of a South African villa. The house the contestants are kept in is a typical reality TV monstrosity (vapid slogans scrawled on the walls, 360-degree lighting, a riot of wall colors), but maybe this is where design is heading now that so many peoples’ houses have become backdrops for screen-mediated interactions. Or maybe the show is just a nice escape from the relentless news cycle. Either way, it’s worth a watch.”–Jack Morley Balderrama, managing editor. Available on Hulu.
“This French comedy follows director Jacques Tati’s character as he bumbles his way through the modern spaces of 1960’s Paris. It’s almost more of a dance than drama performance, with the spaces playing a significant role in each scene.”–Ian Thomas, art director. Available on Amazon Prime and iTunes.
Poltergeist III (1988)
“The third and final installment of the Poltergeist franchise moves the action from an evil spirit-infested tract house in the Southern California ’burbs—“The house looks just like the one next to it … and the one next to that … and the one next to that”—to an ultra-modern Chicago high-rise. (Skidmore, Owings & Merrill’s John Hancock Center plays the role of sinister supertall well). Taking place almost entirely within the confines of said high-rise, this distinctly urban horror film, despite being critically lambasted, managed to render subterranean parking garages, mirrored hallways, elevators, window-cleaning platforms, and skyscrapers in general completely terrifying to an entire generation of children.”–Matt Hickman, associate editor. Available on Google Play, Amazon Prime, and more
Other selections include:
Citizen Architect: Samuel Mockbee and the Spirit of the Rural Studio (Sam Wainwright Douglas, 2010). Available on Amazon Prime.
Eames: The Architect and the Painter (2011, Jason Cohn, Bill Jersey). Available on Google Play, iTunes, and more.
Eero Saarinen: The Architect Who Saw the Future (Peter Rosen, 2016). Available on YouTube.
Helevetica (Gary Hustwit, 2007). Available on Amazon Prime and iTunes. Director Hustwit is streaming all of his documentary films, which also include Urbanized, Objectified, and Rams, for free during the COVID-19 crisis.
Hollywood’s Architect: The Paul R. Williams Story (Royal Kennedy Rodgers and Kathy McCampbell Vance, 2020). Available streaming on PBS.
How Much Does Your Building Weigh, Mr. Foster? (Carlos Carcas, Norberto López Amado, 2010). Available on Amazon Prime, iTunes, and more.
I Am Love (Luca Guadagnino, 2009). Available on Google Play, Amazon Prime, and more
Metropolis (Fritz Lang, 1927). Available on Google Play, Amazon Prime, and more.
The Pruit-Igoe Myth (Chad Freidrichs, 2011). Available on iTunes.
A Single Man (Tom Ford, 2009). Available on Netflix.
Sketches of Frank Gehry (Sydney, Pollack, 2005). Available on Google Play, Amazon Prime, and more.
Unfinished Spaces (Alysa Nahmias and Benjamin Murray, 2011). Available on Google Play, Amazon Prime, and more.
The dramatic rise and fall of WeWork will soon be transformed into a TV series, and Nicholas Braun (aka Cousin Greg) of HBO’s hit show Succession will be playing the company’s cofounder, Adam Neumann. Chernin Entertainment and Endeavor Content have acquired the TV rights to the saga detailed in a forthcoming book from Wall Street Journal reporters Eliot Brown and Maureen Farrell which will be published by Penguin Random House imprint Crown. Having extensively reported on the nearly $50 billion startup for years, Chernin and Endeavor are also working on a WeWork documentary, according to The Hollywood Reporter.
The writer of the limited series and the network it will air on have not yet been announced, however, Braun will executive produce the project. While the TV series is the latest in WeWork projects, others also have plans in the works. Blumhouse Productions will produce a feature film based on an upcoming book by Fast Company’s Katrina Brooker, and Campfire announced it would be producing a documentary with Business Insider. Meanwhile, today the actual WeWork is in the process of laying off over 900 New York City employees after announcing last month that they would lay off about 2,400 employees across the company. The filing, required because of the high number of positions to be cut, listed that 911 New York employees would be affected, mostly in Manhattan. Additionally, the company is also trying to spin-off (or shut down) the various office management and co-working startups it had acquired during its rise.According to the filing, of the 911 employees, 262 (largely maintenance workers) will be offered transitional positions to one or more third-party vendors. The locations with the most affected are 85 Broad Street with 250 employees, 1619 Broadway with 71 employees, and 12 49th Street with 23 employees.
Netflix’s Abstract: The Art of Design invites audiences to step into the world of design in the broadest sense. The first season of the original docu-series launched in 2017 and explored design as a truly universal concept, delving into the architectural works of Bjarke Ingels, graphic design by Paula Scher, and other profiles covering automotive design, illustration, and photography.
Design fanatics now have even more to discover since the release of the series’ second season on September 25. Subjects of the new season include Academy Award-nominated costume designer Ruth E. Carter, artist-architect and climate ambassadorOlafur Eliasson, and designer-professor Neri Oxman. The release of Abstract’s new season comes at a time when Oxman, who works in the MIT Media Lab, was found to be involved in a scandal involving institutional funds from Jeffrey Epstein. Earlier this month, The Boston Globe reported that Oxman’s lab at MIT, the Mediated Matter Group, received $125,000 in funding from Epstein in 2015. Joi Ito, the former director of the Media Lab, recently resigned amidst allegations that he attempted to cover up the extent of Epstein’s relationship with the institution.
Oxman, who is currently on maternity leave from MIT, has released a statement expressing regret for accepting the funds, acknowledging the fact that MIT required the donation to be kept under wraps “so as to not enhance [Epstein’s] reputation by association with MIT.” In addition, Oxman was also directed to provide Epstein with a 3D-printed marble sculpture in recognition of his contributions to the lab.
Known for coining the term “material ecology,” Oxman uses a cross-disciplinary focus in her design work, blending elements of computer science, biology, and material arts. A major exhibition of Oxman’s work will open in February at the revamped Museum of Modern Art in New York.
All six episodes of Abstract: The Art of Design’s second season are now streaming on Netflix.
Have you ever watched Daniel Libeskind or Bjarke Ingels speak in hollow truisms about inspiration and “creating the world” and thought it was an elaborate joke, perhaps a Comedy Central sketch?
Listening to Gerhardt Fjuck is literally a joke. On comedian Arturo Castro’s new Comedy Central showAlternatino, he spoofed all the clichés of architecture in the 21st century, from the hollow, pretentious rhetoric to the glasses to the sparse interior spaces to the trash-can inspiration.
In the four-minute clip, "Gerhardt Fjuck," the architect “behind the world’s ugliest buildings,” is played by Castro. He is the architect of LaGuardia Airport, Penn Station, The Port Authority Bus Terminal, Boston City Hall, North Dakota State Building in Bismarck, and “the world’s first above-ground basement.”
“Architecture begins with a thought, a dream, a single line. But then you build it. And all of a sudden, the dream, you can touch her, she is real.” It is the culmination of all the ridiculous fundraising, condo-sales, and vapid inspirational videos out there. We won’t spoil the rest for you.
The angular mid-80s architecture of a derelict shopping center in Duluth, Georgia, has garnered fame in recent weeks after the release of the third season of Netflix’s hit series Stranger Things. Avid fans of the show may recognize that Gwinnett Place Mall—an actual mall located in a suburb of Atlanta, was transformed as the setting for major moments that take place in Hawkins, Indiana’s newest attraction: The Starcourt Mall. Production designer Chris Trujillo spoke with The L.A. Times about the search and intense-build out for Starcourt Mall, as well as why the writing team chose to center the plot on the all-too-familiar, small-town-gets-big-mall storyline. In the interview, he said it made sense to showcase how Hawkins was changing with the introduction of the mega-shopping center, right alongside how the main characters were themselves changing. No longer little kids who saved the world, everyone was growing up facing their own relationship and materialist concerns. Much of teenage life in Midwestern America at that time was spent at the mall.
After investigating a dozen structures built from 1984-85, the production team settled on Gwinnett Place Mall, a 1.3 million-square-foot space that, during its first 16 years of operation, attracted people from all over Georgia as well as neighboring South Carolina. By 2001, with the opening of both the Mall of Georgia and Sugarloaf Mills, the space began its slow descent into obscurity. Now, thanks to the production team’s massive retrofit—gutting and rebuilding nearly 40 stores and restaurants—as well as a slew of tweets from curious fans that tried to sneak a peak of the set last year, the mall has experienced a meteoric rise in popularity.
According to Trujillo, most of the filming inside the 34-year-old mall took place around its food court, a gem of 1984-era interior architecture with a soaring atrium and vaulted geometric ceilings. It was the showpiece of the mall, he told the L.A. Times. But more than that, the large, two-story interior gave way to the “dynamic camerawork” that the Duffer brothers are famous for.
This is amazing—Stranger Things 3's Starcourt Mall wasn't a sound stage. It was all built inside an actual dying mall in Georgia. And the set designers made more than simple storefronts—they made FULL INTERIORS, even for stores that were never seen on-screen… pic.twitter.com/v5RahFLPeR
In an effort to make the Gwinnett Place Mall truly feel like a time warp set specifically for the horror sci-fi series, the production team not only recreated the facades of iconic retail spaces with all period-appropriate signage and window displays, but in some cases, the entire stores themselves were redone. From Orange Julius to the Gap, Radio Shack, and JC Penny, the brief moments these places popped up on screen helped paint an authentic picture of 1980s consumerism. One of the most-filmed spots within Starcourt Mall was Scoops Ahoy, the made-up ice cream shop where Steven Harrington works. Trujillo called that project, which was built entirely from scratch, “our special little baby.” Spoilers ahead: In that ice cream shop is where Steve, Dustin, and newcomer Robin decode secrete Russian messages that lead them to discover there’s a world-ending operation taking place beneath their feet—the portal to the Upside Down is being reopened. That importance to the overarching plot helps explain why so much attention was paid to the layout of the mall.
Apart from a scrapbook found on location with old images of the Gwinnett Place Mall from its heyday, the inspiration for the build-out came from the memories of staffers on the production and decoration teams. Most people on the team's leadership grew up in the 80s and 90s and made decisions for Starcourt based on what they remember it felt like to be in those spaces as a kid.
“There is a homogeneity to the architecture of malls,” Trujillo told the L.A. Times. “They’re all calibrated to be similar spaces. We had to be somewhat specific about the regionality, but I definitely brought a lot of my childhood and teenage memories of hanging out and working in malls.”
Though the set is closed to the public and is already being dismantled, according to one reporter who chronicled his visit for the Atlanta Journal-Constitution(AJC), that hasn’t stopped fans from trying to take photos of the interior through fences. As a focal point of “Stranger Things 3,” Gwinnett Place Mall will forever live on in memories of fans forever, despite its soon-to-be demolition. The AJC reported in February that a sports stadium developer plans to build a mixed-use complex with a 20,000-seat cricket arena on the site.
Hulu is adapting The Devil in the White City: Murder, Magic and Madness at the Fair That Changed America, the historical nonfiction book written by Erik Larson, into a television series, according to Variety. The series will be produced by Martin Scorsese and Leonardo DiCaprio, though it is unclear if the actor will also star in the series.
Devil in the White City chronicles the lives of Daniel H. Burnham, the powerful and influential architect who directed the 1893 World’s Columbian Exposition in Chicago, and Dr. H. H. Holmes, a physician and serial killer who murdered his victims—mostly young women—in a building he owned on the fairgrounds, known as the “Murder Castle.” The enigmatic building was reportedly fitted with mazes of hallways, trap doors, and staircases leading to nowhere in order to confuse and frighten visitors before their deaths. Holmes confessed to nearly 30 murders and was rumored to have killed as many as 200 people.
The book was intended to be converted into a film nearly a decade ago, where DiCaprio would star as the handsome yet murderous Holmes. By 2015, Scorsese was to direct with DiCaprio, and Paramount Television was to produce the series. Few details about the Hulu production have been revealed, and it is unclear as to where and when the filming will take place.
Kaufman Astoria Studios, a film and TV studio that’s been a fixture in Astoria, Queens since its opening in 1921, is expanding in a big way. Local firm GLUCK+ has shared renderings of the forthcoming four-story film and production building, which comes on the heels of Kaufman Astoria opening the city’s first backlot (used to stage outdoor scenes) in 2014. Besides adding several floors of office space, the new building will hold production offices, dressing rooms, prop storage areas, and two stages, increasing the campus's stage space by 25 percent.
Once completed, the new building will represent a sizable increase for the studio’s overall campus, which currently stands at 500,000 feet, and includes nine stages and a restaurant. The project, sited at 35-71 34th Avenue, is down the street from the Museum of the Moving Image. From the renderings, it seems that the studio will also be returning a perforated gate at the northern edge of 34th Avenue that was removed in 2014; the same year a new entrance gate and spiral staircase were added to the campus’s south edge.
The exterior of the 100,000-square-foot addition will be clad in vertical panels, and the overall scheme fits comfortably into GLUCK+’s design canon. The 84-foot-tall film and production building will hold 68,000 square feet of open office space across the top half, which should be well-lit due to the numerous, narrow vertical punch windows that break up the facade. According to YIMBY, Kaufman Astoria employees can expect 14-foot-tall ceilings and seven balconies. Kaufman Astoria will also be gaining two stages inside of the building’s heftier bottom half, directly below the offices, as well as 134 parking spaces.
Kaufman Astoria Studios has been hugely influential in New York's film and television history, and everything from silent movies to TV shows like Sesame Street and Orange is the New Black in more recent years has been filmed there. Construction on the office project began in February 2017, and no completion date has been announced as of yet.
As a belated gift to the architecture community, PBS will be airing a new documentary about Finnish-American modernist architect Eero Saarinen. American Masters — Eero Saarinen: The Architect Who Saw the Future will air Tuesday, December 27th on PBS and will be available on DVD January 3rd, 2017. Peter Rosen is the film’s director and producer, and Eric Saarinen, ASC, Eero Saarinen's son, is the film’s director of photography and co-producer.
Eric Saarinen grew up surrounded by design and architecture at Cranbrook Academy, a campus designed by his grandfather Eliel Saarinen, who taught there alongside Eric's godparents, Charles and Ray Eames. Throughout the documentary Eric visits Eero's projects across the country, filming in 6k video and using drones to document his father’s work as never before.
The show looks at the National Historic Landmarked North Christian Church and the Miller House in Columbus, Indiana, the Deere & Company World Headquarters in Moline, Illinois, and MIT’s Kresge Auditorium. The soon-to-be-renovated TWA terminal at JFK airport is also highlighted, along with his design for Dulles Airport.
Along with archival interviews with Eero and his his second wife, The New York Times art critic Aline Saarinen, new interviews with architects and critics discuss his legacy. Architects Kevin Roche, César Pelli, Rafael Viñoly, Robert A. M. Stern, and industrial designer Niels Diffrient all speak about the influence Saarinen had on their own work, while architecture critic Paul Goldberger, curator Donald Albrecht, author Jayne Merkel, and Cathleen McGuigan, editor-in-chief of Architectural Record, discuss his lasting impact on the field as a whole.
“Closure was something I didn’t have with my dad. But I forgive him for his genius,” said Eric Saarinen. “He figured out a way to be important across time, so even though he died young, he is still alive.”
American Masters — Eero Saarinen: The Architect Who Saw the Future airs Tuesday, December 27 at 8 p.m. on PBS as the series’s Season 30 finale.
Are there any architects out there who long to be media personalities? Here is your chance and all you need to do is respond to a casting call for young designers who may be interested in applying to be co-hosts. The subject will be “mobile architecture” and you can reach out to them at firstname.lastname@example.org to learn more!
Nostalgia (nóstos), meaning "homecoming", a Homeric word, and (álgos), meaning "pain, ache", and was coined by a 17th-century medical student to describe the anxieties displayed by Swiss mercenaries fighting away from home. Ruth Ammon, set designer for the AMC television series, Low Winter Sun, used this word to describe the series in its most honorable sense. This tale of morality uses the architecture of Detroit’s heyday, to embody the pride of the city which elevated middle working class life.
It is poignant that the city’s decline is also apparent in every frame, rather than pimping these noble structures like urban porn. Whether featuring Albert Kahn’s Packard Automotive Plant, 1903-11 (the production offices were next door to this location, one of the largest parcels of unoccupied real estate in the Western hemisphere); Kahn’s Detroit Police Headquarters at 1300 Beaubien St., 1923 (given the same role in the series, but now under threat since the PDP moved out); the art deco David Stott Building of 1929 by Donaldson and Meier; St. Hyacinth Roman Catholic Church, 1924 by Donaldson and Meier; or the Venetian Gothic Ransom Gillis House, 1876-78 (documented extensively by photographer Camilo Jose Vergara), these were deliberate choices.
The tale centers on the murder investigation of a deeply corrupt cop. We know from the opening scene who did it—two of his fellow officers. One is an honest cop, Frank Agnew (Mark Strong), who agrees to participate after being fed misleading information by another cop, whose motives are more ambiguous. When Frank is assigned to solve the case, he must find a way to investigate without revealing his own guilt.
The visual language reflects these moral ambiguities: the lone figure in a landscape usually backlit, which could almost be in a Western, but the vast expanses are downtown, a hallmark of contemporary Detroit. Buildings are often sited next to these open fields dotted with wildflowers among the debris, like the remaining few teeth in a withered mouth, but we always see a child on a bicycle, a man walking (who has money for gas?) or a dog (one has a rat in its mouth). These silhouetted figures are in wide shots, a rare luxury in an urban context; when you shoot in New York or Los Angeles, the picture has to be carefully cropped to eliminate unwanted surroundings. The visual vocabulary has pronounced darks and lights, and is often shot with available light, or motivated with a single light source indoors. In addition, mirrored surfaces and shots looking through glass partitions all contribute to the dark mood.
The most modern location is the Coleman A. Young Municipal Center, originally called the City-County Building, 1954, an international style building designed by Harley, Ellington and Day featuring white marble facing with black marble spandrels. It is here that the series will come to a head, with a faceoff among the protagonists as they enter this courthouse. Unusually for Cold Winter Sun, the building is wedged into a cityscape with the 3-mile long Detroit People Mover elevated train snaking its way across the screen. We’ve seen this public transit system before in other scenes where the Ren Cen and other downtown sites can be seen in the backdrop.
On a up-note, Campus Martius Park (from the Latin for Field of Mars, where Roman heroes walked), which is the point of origin in the Detroit coordinate system—8 Mile Road is 8 miles from this point—is a revitalized green space with new stages, sculptures, an ice-skating rink, mini sand beach, and restaurants. It is filled with lunch-time workers, and is the site of a meeting of two warring gangsters, chosen as neutral territory in the midst of a vibrant public space.
Many films have been shot in Detroit from 8 Mile, Beverly Hills Cop, Gran Torino, Robocop and the recent documentaries Searching for Sugarman and Detropia (one of its characters is Tommy Stephens, proprietor of the Raven Lounge, a location used in Low Winter Sun). But Low Winter Sun uses the city differently. We frequent Brush Park, Greektown, Boston-Edison, Indian Village, Klenk Island, Cass Corridor, MorningSide as well as downtown. It’s almost a cliche to say that the city plays a character in the series, but (not having seen the British original) it feels that this story could only have been set in this American city at this point in its history. That’s nostalgia.
Low Winter Sun, AMC, Sundays 10/9 PM and on demand. 10 episodes (season started 8.11.13).
These days it seems increasingly rare that we take a moment out of our busy schedules to pause and appreciate our surroundings: downtown skyscrapers, grand civic buildings, or the mundane background buildings along our streets. To many, those soaring steel towers are old news, but have you ever stopped to picture a Manhattan without skyscrapers, or a courthouse in Washington, DC that didn’t resemble a Greek or Roman temple, or how about an America without shopping malls? (Unimaginable. Right?)
Dan Protress, writer and producer of the new PBS television series 10 Buildings that Changed America, certainly has. The series, hosted by Emmy-award winning producer Geoffrey Baer, proves that architecture is the cultural back-bone of any society. The show was created to celebrate and explore ten of the most influential American buildings—and the architect’s that designed them—that dramatically altered the architectural landscape of this country.
Featuring buildings like Frank Lloyd Wright’s Robie House in Chicago, which transformed the idea of the American home, the Southdale Center in Edina, MN, the nation's first enclosed shopping-center, and the Wainright Building in St. Louis, which, according to historian Tim Samuelson, “taught the skyscraper to soar,” the series delves into the history of these once radically perceived buildings and highlights the roles they have played in molding present-day American society.
The Society of Architectural Historians, along with a group of architectural experts, has compiled a list of the ten most iconic and influential structures built by different architects ranging from various eras in American history:
1. Virginia State Capitol, Richmond, CA (1788)
2. Trinity Church, Boston, MA (1877)
3. Wainwright Building, St. Louis, MO (1891)
4. Robie House, Chicago, IL (1910)
5. Highland Park Ford Plant, Highland Park, MI (1910)
6. Southdale Center, Edina, MN (1956)
7. Seagram Building, New York, NY (1958)
8. Dulles International Airport, Chantilly, VA (1962)
9. Vanna Venturi House, Philadelphia, PA (1964)
10. Walt Disney Concert Hall, Los Angeles, CA (2003)
The show is scheduled to air on Sunday, May 12, 2013 at 10:00 p.m. EST. Tune in and discover the pioneering architectural leaders, breakthrough concepts, groundbreaking buildings, and touching stories that make up the architectural history of the United States. Who knows, you might just be tempted to take a moment out of that busy schedule to admire your surroundings.
All images courtesy Wikimedia Commons.
On the popular Fox doctor drama House, actor Hugh Laurie plays an acerbic, yet ingenious infectious disease specialist whose curmudgeonly ways, drug use, unrepentant machinations, and sadistic treatment of patients has earned the show—now in its fifth season—an enormous and dedicated following. The series unfolds at the fictitious Princeton-Plainsboro Teaching Hospital, where, segment after segment, Dr. House and his team bicker, sneer, and get to the bottom of rare medical afflictions, killing off the odd invalid from time to time. Well, the stage for this gripping serial need not remain a figment much longer: the utterly factual Princeton hospital has recently announced that it will soon move its facilities to a brand new home in none other than Plainsboro, New Jersey!
The new $440 million hospital, to be known as the University Medical Center of Princeton at Plainsboro (UMCPP), has been designed as a joint venture between RMJM and HOK and is scheduled for a 2011 completion. It will combine facilities for the University of Medicine and Dentistry of New Jersey and Robert Wood Johnson Medical School, including 238 private patient rooms, areas for families to spend the night, and operating rooms designed to accommodate robotics. The project will feature green-era perks, such as 100-percent fresh air ventilation, sustainable finishes, and energy efficiency controls. Digital technologies will also be employed in the form of self-check-in kiosks and computerized record keeping.
UMCPP will act as the centerpiece of a 160-acre healthcare campus that will also include a medical office building, a nursing unit, a health education center, a fitness and wellness center, a senior residential community, and a 32-acre public park. With all of these amenities, it's hard to imagine what the cantankerous Dr. House would find to gripe about!