Shenzhen International Airport Terminal 3 by Massimiliano and Doriana Fuksas
	April 12th, 2008. Italian architects Massimiliano and Doriana Fuksas have won the competition to design a new terminal at Shenzen Bao’an International Airport in China. The 400,000 square metre terminal will be built in three phases, with the final elements completed in 2035. Model Makers: Nicola Cabiati Vincenzo Del Monaco Flor Olivares Marco Roma Frauke Stenz Lorena Tiziana Vacirca

BOLD PLANS FOR THE TRANSBAY TERMINAL
	The West Coast's tallest building: 3 competing ideas show audacity that adds to the city's rising skyline John King and Jonathan Curiel, Chronicle Staff Writers Tuesday, August 7, 2007 Three competing proposals for what would be the tallest building on the West Coast were unveiled Monday in San Francisco amid architectural hyperbole and political buzz. There's no guarantee that any of the towers will be built, or that the design to be selected next month by public officials will reach the heights envisioned by the development teams. But the audacity of the designs -- and the favorable response from elected officials -- showed that the recent startling changes to the city's skyline are only a prelude to what could lie ahead. "There they are," San Francisco Mayor Gavin Newsom said with a wave of his right hand as black mesh was pulled from three lavish large models. The event was held in a crowded event room at City Hall filled with dozens of people and several television crews. "Today is an historic day." The three proposals range in height from 1,200 feet to 1,375 feet -- each extending well past the 853-foot Transamerica Pyramid, the tallest tower in San Francisco. And each is accompanied by a transit terminal that is intended to function as a major civic gateway. The competition is being held by the Transbay Joint Powers Authority, a regional government body created in 2001 to bring about the construction of a new transit terminal in San Francisco that backers say could become the regional equivalent of Grand Central Station. The authority would sell or lease the tower site to a developer, with the proceeds going toward the estimated $983 million cost of the terminal and related infrastructure projects, such as new bus-only ramps from the Bay Bridge. While the public attention is likely to be on the towers, public officials stress the transportation payoff of the new terminal located one block from Market Street and BART. "Through this facility we can create a statement to the rest of the world while creating a seamless transportation network connecting the Bay Area to the rest of the region and state," said San Mateo County Supervisor Jerry Hill, who chairs the Transbay authority's board of directors. "It will make daily commutes and longer trips easier." Long-term plans for the transit complex include an extension of commuter rail lines from where they now stop at Fourth and King streets. The design would also allow for high-speed rail service from Southern California, although there is lukewarm support from Gov. Arnold Schwarzenegger for putting a bond for such a system on the ballot. In the early years of planning for the new terminal, it was assumed that any tower alongside it would climb no higher than 55o feet, the zoning cap now in the neighborhood. Now, though, public officials say the extra height is merited -- not just to boost the land sales, but to reflect the importance of mass transit and to show that San Francisco continues to measure itself against other cities of global status that also are seeing super tall towers proposed or built. "It's certainly a banner day for San Francisco," said Dean Macris, the city's planning director. "One hundred years ago, no one could have imagined the city it is today." Each of the bidders seized the opportunity to push the design envelope. The most visually dramatic proposal is from a team that includes Skidmore Owings Merrill and Rockefeller Group Development Corp. The team proposes a tower that would fold and twist as it rises and is topped by a publicly accessible rooftop space wrapped in glass. The first floor would be lifted 100 feet above the street. By comparison, the design by Pelli Clarke Pelli Architects for Houston-based developer Hines is relatively tame: a tapering, obelisk-shaped tower with a sleek skin. At the base there would be a glass-covered public square, while the transit station would be topped by an open-air rooftop garden extending more than two city blocks. The third proposal is from a team that includes the Rogers Stirk Harbour + Partners, working for developers Forest City Enterprises and McFarlane Partners. Like many designs by English architect Richard Rogers, this one has a muscular look. It rises straight up from a plaza on Mission Street and is topped by an enormous wind turbine framed by portions of the tower's metal structure that extends past the roof. With an eye toward environmental issues, each of the three designs also emphasizes sustainable design elements such as the turbine. For all the hoopla connected to the idea of a skyline-topping tower, there's no guarantee that any of the visions unveiled on Monday will be built -- or even that they'll be the deciding factor in determining which team wins the right to conduct exclusive negotiations with the authority. Each proposal was evaluated in private last week at Fort Mason by an appointed jury that includes architects and engineers as well as a transportation expert and a real estate analyst. The jury will present its recommendation to the authority board on Aug. 30. In evaluating the three proposals, jury members are directed to base 60 percent of their evaluation on the design for the transit station and on "functionality and technical issues," according to the evaluation sheet. As for the tower evaluation, economics are every bit as important as aesthetics, indicated by such directives as "The jury will focus on the timing and amount of revenue to the TJPA and the overall financial feasibility of the Tower proposal." Another unresolved issue: how tall the tower will be allowed to be. City planning officials aren't shy about wanting an extremely tall tower, and they encouraged the types of height in the proposals unveiled on Monday. But a full environmental study is needed before zoning can be changed -- and the formal planning work to test such heights only now is getting underway. Whatever proposals do emerge will be scrutinized by potential foes in a city traditionally wary of high-rises. Indeed, a voter-approved proposition from 1984 makes it difficult to erect any tower that will cast shade on a public park. Tower foes also have allies at the city's Building Inspection Commission, where several members in the past year have voiced skepticism about the seismic safety of the narrow towers preferred by the city's Planning Department. Still, support for the tower is considerable. Besides public officials, it includes a number of environmental groups who in the past have lobbied for height limits but now see mass transit as a critical issue for the region. There's also support from civic groups that want to concentrate development in the core of the city -- the same impulse that prompted the residential towers now rising between Mission Street and the Bay Bridge. But the tallest such tower -- One Rincon, which was recently topped off at Harrison and Fremont streets -- is 550 feet tall. Others near it are allowed to be no more than 450 feet. That's half the height of what the three development teams are proposing. The Transbay authority is scheduled to vote on September 20 to select the development team. The goal is to have the new transit station in operation by 2014.

Nathan Phillips Square Design Finalists Unveiled
	February 21, 2007 Everyone knows that Nathan Phillips Square needs a facelift, but it wasn't until we walked out into the dismal civic space following last night's design presentations that it became woefully evident. Armed with new knowledge of what might someday exist around City Hall, the dark, sloppy square now looks more dated and decrepit. Luckily, we've got a new redesign on the slate for next year. Read full story at: www.torontoist.com/archives/2007/02/nathan_phillips_1.php

In Their Own Words: Abu Dhabi Cultural District
	How Gehry, Hadid, Nouvel, and Ando envision their cultural venues on Saadiyat Island. By ArchNewsNow February 2, 2007 Architecture and art pundits are already chiming in (see below) with optimistic/pessimistic takes on the recently introduced plans for a multi-billion-dollar, 670-acre (271-hectare) cultural district in Abu Dhabi, capital city of the United Arab Emirates (UAE). Read full story at: http://www.archnewsnow.com/features/Feature218.htm

Jean Nouvel Classical Museum 2

Jean Nouvel Classical Museum

Frank Ghery 2

Frank Ghery 3

Field Notes from the 10th Venice Architecture Biennale
	by Margaret Helfand, FAIA September 12, 2006 On its 10th anniversary, the Venice Architecture Biennale, which opened September 10 and runs through November 19, has finally grown up. Following its birth in 1975, the Biennale spent most of its youth frolicking in the verdant pasture of design for design’s sake. But this year’s offering, “Città, Architettura e Società (Cities, Architecture and Society),” acknowledges the power and influence accorded this bi-annual media extravaganza and, for the first time, the Biennale has committed – with gusto and élan – to addressing the changing global context of rampant urbanization which challenges the very survival of our civilization. This sprawling exhibition is a full-frontal exposure of the messy problems bedeviling cities around the globe and an implicit call-to-arms for architecture’s support in this life-or-death struggle. The message is illustrated by plenty of data and a handful of typical urban intervention projects in each city pointing to this as a watershed moment in the evolution of life on our planet. To survive – and thrive – in this urban future, we need to ensure the continuation of our species by lusting after the good (strength of the public realm, education, health care, security, mobility, culture, and democracy), and eschewing the bad (crime, depletion of resources, short-sighted thinking, and denigration of the environment that nurtures us). Just as sex has traditionally been our instinctive response for self-preservation on the individual level, intelligent planning and design of the urban global web that now connects us all is the visceral and intuitive drive that will be just as critical to our survival as a species in this new world. And, just as architects were beginning to despair at our lack of influence on the evolution of our planet in a positive direction when the world is in such a mess, we have been invested with a new and powerful libido. Read full story at: http://www.archnewsnow.com/features/Feature204.htm

Hombroich spaceplacelab
	Hombroich spaceplacelab is a laboratory for alternative modes of living. The exhibition will feature 14 projects integrating art, architecture and landscape by renowned architects and artists from around the world. The projects will form a new settlement next to the existing Museum Island Hombroich and a former NATO missile base near Cologne, Germany. www.inselhombroich.de

On View "Santiago Calatrava The Architect's Studio" at the University Art Museum, Santa Barbara, California
	Buildings take wing and bulls stampede in an exhibit exploring the architect's design process *ArchNewsNow January 14, 2006* It seems Santa Barbara, California, may have landed the exhibition New York’s Metropolitan Museum of Art should have considered. “Santiago Calatrava: The Architect's Studio” opened January 11 at the University of California Santa Barbara Art Museum to superlatives like “stunning” and “exciting.” Perhaps this is because the Santa Barbara exhibition, curated by Kirsten Kiser (who is also editor-in-chief of ArcSpace.com), traces and ties Calatrava’s drawings and sculptures to his architecture rather than treating them as completed objects d’art. The exhibition presents the architect’s creative working process through drawings, sculptures, and models (displayed atop their shipping crates). The models and sketchbooks selected for the exhibition include: Lyon TGV Station; Milwaukee Art Museum; Tenerife Concert Hall; “Turning Torso” in Malmö, Sweden; Olympic Sports Complex in Athens; two of his extraordinary bridges, and his continuing work on the City of Arts and Sciences in Valencia. Walk-through videos add an experiential perspective and sense of scale to his built projects. “Visiting his buildings and walking across his bridges, both familiar and new, has been a joyful and inspiring experience,” Kiser says. Calatrava's skeletal structures, inspired by the forms and movements of humans, animals, trees, and flowers, combine natural forms with high technology. Walls open and close, shutters lift, and roofs spread open like the wings of a bird. A constant in his many sketchbooks, among buildings, bridges and engineering details, are figures in motion, birds in flight and, true to his Spanish roots, charging bulls. The catalogue, “Santiago Calatrava: The Architect's Studio,” is presented as a sketchbook with more than 50 color sketches, and a CD-Rom that documents 30 projects, including sculptures and furniture, with color photos, complete texts, and five QuickTime videos. The exhibit, on view through March 5, 2006, is one in a series of three exhibitions Kiser organized for the Henry Art Gallery in Seattle.

Steven Holl winner of the architectural competition to design Herning Center of the Arts/Kunstens Hus Herning, Denmark
	November 22nd 2005-The Herning Center of the Arts unites, for the first time, three distinct cultural institutions: the Herning Art Museum, the MidWest ensemble and the Socle du Monde. The new Center is intended to be an innovative forum combining visual art and music. The Center includes permanent and temporary exhibition galleries, a 300 seat auditorium, music rehearsal rooms, a restaurant, a media library and administrative offices. Steven Holl Architects winning competition design proposal arises from a fusion of landscape and architecture and aims at “building the site”. In transforming a flat field, a new inspiring bermed landscape of grass mounds and pools conceals the parking and service areas, while drawing focus onto reflecting pools positioned in south sun. Full story at; http://www.herningcenterofthearts.dk/uk/asp/kunstenshus.asp

Scotland's answer to Rome's Colosseum
	28th October 2005.PLANS for Scotland's spectacular £62 million national arena were unveiled yesterday. Ian Grant, the SECC chairman, with a model of the proposed Colosseum national arena in Glasgow. Picture: Donald MacLeod Read the full story at: http://news.scotsman.com/scotland.cfm?id=2155512005

OMA goes neo-postmodern?
	24th October 2005. The new headquarter building of the dutch publisher PCM in Amsterdam will get an OMA design, according to an article in the newspaper volkskrant.

Chasing Ground
	Published: October 16, 2005 By JON GERTNER The weekly meeting, top, at Toll Brothers headquarters in Horsham, Pa., when executives report on how much land is being acquired (the answer is "never enough"). Read the full story at: http://www.nytimes.com/2005/10/16/magazine/16brothers.html?pagewanted=all

Porsche presents winning concept for its new museum
	2005-02-23-2 Stuttgart. Dr. Ing. h.c. F. Porsche AG, Stuttgart, is presenting to the public the entries of the ten architectural practices that participated in the competition for the planned new Porsche museum building. From today until March 6, the models will be on view daily between 11 am and 6 pm in the Meidinger-Saal in "Haus der Wirtschaft" in Stuttgart. Interested visitors will thus be able to visualize the plans relating to the construction project at Por-scheplatz in Stuttgart-Zuffenhausen in detail. The new Porsche museum, which is one of the most spectacular architectural projects in the history of the sports automobile manufacturer, is to be completed in 2007 and attract over 200,000 visitors each year. The centerpiece of the exhibition in Stuttgart is the model by the Vienna architect's office Delugan Meissl, which emerged as the winner of Porsche's architectural competition and will undertake the realization of the construc-tion project. A total of 170 European architectural offices had applied for the project, ten of which were selected for participation in the competition by a specialist jury. At a press conference on the evening before the opening of the exhibition the chairman of the jury and architect Professor (ret.) Fritz Auer (Stuttgart/Munich) highlighted the distinctive features of the winning concept: "With its bold perspectives, the tectonic tension between supports and loads and the intelligently organized interior the winning entry identifies with the Porsche philosophy and product in its own way. The new museum shows that even as David, one does not need to hide from the Goliaths of the industry." Roman Delugan, co-founder of Delugan Meissl Associated Architects, added: "With our concept we wanted to translate the dynamism of Porsche into architecture. Our objective is to create a place in which sensory experi-ences can be felt by everybody - those qualities typical of Porsche such as power and passion." The Delugan Meissl concept is a construction for Porsche's parent plant that will attract attention due to its un-conventional form alone. A dynamically shaped monolithic body appears to float above the ground and the first floor level. At first sight, it is a provocative and unusual spectacle, but it is precisely this that appeals to the be-holder. Stuttgart's Urban Planning Mayor Matthias Hahn on the new museum: "It is a building with a highly indi-vidual architectural accent in Stuttgart's museum landscape which lends Porscheplatz a powerful appearance and frame". Anton Hunger, Head of Press and Public Relations at Porsche AG, also underlined the special attraction of the new museum at the press conference in Stuttgart: "The architecture of the new museum alone will arouse the curiosity of those who see it to come in - and it will definitely be worth a visit. On approximately 5,000 square meters of exhibition space not only will 80 valuable vehicles and other exhibits from the history of the company be displayed, but also interesting insights provided into the workshop for historic sports cars." The focus of the exhibition is the period from 1948, when Porsche began producing sports automobiles. A chronological overview enables visitors to follow the history of Porsche's products. In addition, more in-depth information is provided in special topic-based arrangements - on Porsche's motor sport activities for example, or on individual vehicles. The achievements and experiences prior to the production of the first Porsche vehicles in 1948 will also be reflected in the new museum - for example, exhibits such as the wheel hub drive of the Lohner electric car are to be displayed. http://www2.porsche.com/english/usa/news/pressreleases/pag/http://www2.porsche.com/english/usa/news/pressreleases/pag/2005-02-23-2.htm-2.htm

Expanded Museum Will Share Alaska with the World
	Posted on 01/04/2005 On June 14, 2002, the University of Alaska Museum broke ground on a new addition. Inspired by Alaska's extraordinary landscape, environment and cultures, the University of Alaska Museum's expansion will embody the spirit of the Great Land. Light-filled spaces will welcome and inspire scholars, visitors and staff with expansive windows that highlight the spectacular views of the Alaska Range, Denali and the Tanana River Valley. Inside, Alaska's treasures will be protected and conserved - hundreds of thousands of biological, geological and cultural history specimens that tell our state's rich history and help us protect its health and well-being. Visitors to the expanded University of Alaska Museum will enjoy an entirely new experience - one not replicated elsewhere. Read the full story at: http://www.uaf.edu/museum/expand/index.html

Luxembourg's New Concert Hall by Christian de Portzamparc
	A new home for the Orchestre Philharmonique du Luxembourg is one of a number of cultural projects underway as the city prepares itself for its second stint as European Capital of Culture. Full story at: www.ArchNewsNow.com November 11, 2004

Confusion and despair as modernists 'moved in' to faculty positions
	9/30/2004 There have been conflicting reports this week from Portugal where an apparently modernist professor and faculty have been installed in the acclaimed Viseu New School of Architecture and Urbanism. There is now widespread concern that the work of the tradition-oriented faculty under José Cornélio da Silva will be lost. Reports from a wide range of sources suggest that the President of the Catholic University of Portugal at Viseu, Professor Passos Morgado and his colleague Antonio Carvalho had "orchestrate[d] a take over", without consulting existing teaching staff and in the face of the excellent work that has been done in the last 3 years. The highly regarded Viseu school appears to have been experiencing difficulty for some time and last year there were complaints that it was unable to obtain basic necessities from the University authorities. The dispute came to a head at the end of the last academic year with the shock resignation of da Silva. This followed shortly after a successful international conference on architectural education in the 21st century that produced the Council for European Urbanism's acclaimed Declaration of Viseu of May 2004. At the first meeting of the new academic year, faculty report that they were "surprised" to find that they had a new Director of the Architecture school in the person of well-known Portuguese modernist Antonio Reis Cabrita, and a group of 13 new professors all reportedly drawn from Portugal's modernist architectural establishment. Former Viseu lecturer Lucien Steil describes the take-over as "a real cultural colonisation" by architects from Porto, though he notes that "the people from the Beiras [region] are reputated for their strength and tenacity". Local figures opposing the move reportedly include President of the local Order of Architects José Esteves, the Mayor and Director of Planning of the City of Viseu, and many other city notables. The group reportedly arrived with a new curriculum, schedules, and all the bureaucratic work in place. When the new curriculum was rejected by indignant members of the existing faculty, a faculty member reported that the group became "confrontational and argumentative". A faculty member reports that, "They told us that they had instructions to change the school in every aspects, from the practical to the philosophical". The apparent 'coup' is difficult to comprehend as the Portuguese Catholic University is well known for its humanist and free-thinking principles and values. "We could expect this everywhere but at this institution", a faculty member said. Traditionalist teaching staff at Viseu have not yet thrown in the towel, but they have appealed for the support of lovers of traditional architecture in what is certain to be a very difficult battle to fight. "We don't have any problems with the share of ideas inside the School - that's healthy - but a radical change like this is a great mistake, as we loose a lot of work already done (and with so [much] success) and the possibility of a new perspective of the way of teaching and doing architecture and urbanism, giving the students and people the possibility of choice - that's democracy, that's the civic and cultivated attitude", says José Baganha, a distinguished architect and member of the INTBAU College of Traditional Practitioners (ICTP). Further information The website of the original New School of Viseu has details of the courses run in the first three years. Supporters of the New School of Architecture & Urbanism in Viseu have asked that you send a fax with your protest to the Dean of the Catholic University of Portugal, Prof. Dr. Manuel Braga da Cruz, at the following address: Reitor Braga da Cruz Universidade Catolica Portuguesa Fax: +351-21-726-05-46

The judgement of Daniel
	(Filed: 18/08/2004) For the architect Daniel Libeskind, rebuilding Ground Zero not only marked a professional homecoming but also a chance to confound his critics on the most public stage. Interview by Giles Worsley. Read the full story at: http://www.telegraph.co.uk/arts/main.jhtml?view=DETAILS&grid=P8&targetRule=10&xml=/arts/2004/08/18/badaniel18.xml

Anchorage museum expansion scaled back to save money
	By DAWNELL SMITH Anchorage Daily News (Published: July 11, 2004)www.adn.com Designers of the latest concept for the Anchorage Museum of History and Art's new space have downsized the building to save money. London architect David Chipperfield unveiled a four-level, 72,000-square-foot model at a public forum last week. Its price tag is $75 million, down from $86 million a year ago, according to museum director Patricia Wolf. After an endowment of $35 million was added to cover the cost of increased operations, the total estimated budget is $110 million, she said, down from the original $120 million. Earlier plans had called for a bigger space -- 110,000 square feet -- but after a November attitude poll showed voters weren't ready to step up to a $20 million bond and after a financial specialist counseled building something affordable to operate, the museum chose to revisit its options. Planners wisely backed off the April 2004 bond proposal, Wolf said, and the museum asked Chipperfield to reduce the building's size. He cut the square footage by more than a third to help drop the price by $11 million. The design remains in flux; the last of eight concept meetings is Sept. 21. Current goals call for construction to launch in 2006 or 2007 and for the building to open in 2009 or 2010. Firming up cost and size issues now lets the museum make its case for public support. After delaying the project by a year, the museum hopes to go for a bond measure in April 2005, Wolf said. Budgetary constraints always put limits on architecture, Chipperfield told the public forum Wednesday. When a participant asked whether the current design now fits the budget, he said: "All of the designs have always fitted into the budget. It's just that the budget keeps moving." Wolf said the museum opted to lower the budget after the fifth workshop, in March. "We're being cautious," she said. "We still don't know how much state or city money we can get." The design presented at the May workshop exceeded that $75 million goal, but the latest design fell into place, Wolf said. She called it "a vision with a price tag." She emphasized the building is still in the conceptual phase: "We're experimenting with ideas, proposing ideas, and then costing them out." To save more, Chipperfield suggested all permanent exhibits stay where they are. Moving displays like the Alaska Gallery to the new building would be costly. Other savings would come through reducing renovations of the existing building and cutting some of the landscaping and interpretive elements presented at earlier workshops, Wolf said. Chipperfield's latest design includes features like large windows and terraced areas designed to give visitors open spaces and sunlight without endangering fragile artwork and artifacts. He said museums have to balance the interests of visitors who want to see the work with conservationists who want to protect it. "We can't design the building like a closed box," he said. According to Wolf, Chipperfield has a strong sense that the building needs to let visitors know where they are. They need a way to look in and a way to look out. "A brick building is a closed building," she said. So the outer walls will be constructed of a white glasslike material, suggesting ice, Chipperfield said. In some areas, the exterior "skin" will be translucent, and in other areas it will be transparent. As the design moves along, Wolf said, Chipperfield will be bringing skin samples to test in Alaska's environment. This exterior would complement a water feature, envisioned by landscape architect Charles Anderson. In summer, the pond would move in sync with Cook Inlet tides; in winter, it would flood an adjoining commons and freeze into a skating area. The adjoining grounds, framed by C Street and Sixth and Seventh avenues, would be dominated by white birch interspersed with walkways, open areas and shrubs. The newest design addresses previous public concerns about boxy architecture by incorporating cut-out sections on every floor, including the entrance. "Before it was just a single cube," Wolf said. "Now it's a cube with facets in it." The public also has asked many questions about parking, and Wolf said the building committee has been talking with the mayor about building a parking garage at C Street and Seventh Avenue. The museum has grown considerably since its construction in 1968. The first expansion, in 1975, more than doubled the space to 25,000 square feet. The second boost came in 1986, when oil money paid for a 130,000-square-foot growth spurt, adding the parking garage, two high-ceiling galleries, the Alaska Gallery, the atrium and other, smaller galleries. The newest expansion will provide space for the Arctic Studies Center and its collection of Alaska Native artifacts from the Smithsonian Institution's National Museum of Natural History, along with areas for the Imaginarium, a science center and additional art, history and science exhibits. Much of the money for the latest expansion is already in place. Elmer Rasmuson gave $50 million, and Wolf already has another $20 million from the federal government and $5 million from a state education bond approved in 2002. The museum is raising $15 million from a private capital campaign now under way. Some of the remaining $20 million could come from private donations, but the museum expects to turn to the city for most of it. Mayor Mark Begich said some of the city's options include a capital budget bond issue or capital requests to the state and federal governments. He also wants to secure a sustainable operating budget for the expanded facility. What the city ends up doing "all depends on the final project design and final plan," he said. Begich views the expansion as an opportunity for the city to join forces with private supporters, but he wants to see it move forward faster. To that end, he appointed a task force in May to advise him on how to set up a single governing body for the museum. Until now, multiple museum and historical groups have played a part in the planning process, but the museum needs a single decision-making group, Wolf said. Begich intends to contract management of the museum to a nonprofit group with a board of trustees, much like the arrangement at the Alaska Center for the Performing Arts. Before he can do that, the task force needs to hash out how many people should be on the board and what kind of people should fill those spots, Begich said. He hopes to hear their suggestions by the end of the month. "It doesn't matter if we expand the museum or not," he said. "We're going to change the governing structure."

Let Freedom Tower!
	Pataki's premature groundbreaking is par for the site. By Christopher Hawthorne Posted Friday, July 2, 2004, at 4:43 AM PT The rumor began showing up in the press more than a year ago: New York's Republican governor, George Pataki, was thinking about holding the groundbreaking ceremony for the Freedom Tower at Ground Zero during the GOP's National Convention at the end of this summer. Even for a career politician, it seemed a nakedly opportunistic idea. It also seemed a little premature, given that so few key elements of the skyscraper were in place. It was unclear at that point what the tower was going to look like, how it was going to be paid for, and how tenants would be found to fill its 60-plus floors of office space. So Pataki, of course, did what any cautious, self-respecting politician would do under the circumstances: Together with the Port Authority and the Lower Manhattan Development Corporation, he decided to hold the groundbreaking eight weeks earlier. Read the full story at: http://slate.msn.com/id/2103291/

Steven Holl Architects Beijing Looped Hybrid
	04/26/2004 An ultra-modern expression of 21st. Century ecological urban living. Filmic urban space; around, over and through multifaceted spatial layers, is one of the central aims of this 160,000 square meter Hybrid Building complex with over 700 apartments sited adjacent to the old city wall of Beijing. See full story at; http://www.arcspace.com/architects/Steven_Holl/beijing/index.htm

Habitat 825 by Lorcan O'Herlihy Architects
	West Hollywood, California: An apartment building draws inspiration from its neighbor - Schindler's Kings Road House. by ArchNewsNow.com Editor’s note: Different factions have been up-in-arms about Habitat 825 (originally called Kings Road Gardens), a multi-unit residential project designed by Lorcan O’Herlihy Architects planned for North Kings Road in West Hollywood. Some feel that the existing 1936 Hollywood Regency house (and several others around it) should be preserved and reused. Others are afraid it will infringe on R.M. Schindler’s 1922 residence, Kings Road House. Then there are those who find O’Herlihy’s contemporary design quite respectful of its noted neighbor. Chances are that in another 82 years, there would be howls of protest should new plans for the neighborhood include demolishing and replacing Habitat 825 – which by that time, might itself be considered a treasured example of 21st century Modernism.

Changing Skyline
	Posted on Fri, Nov. 14, 2003 Model of the proposed Waterfront Square, five apartment houses on the Delaware near Fairmount Avenue. It's the kind of self-sustaining project the riverfront needs - except it's gated. See full story at: http://www.philly.com/mld/inquirer/7257395.htm

Professor's reputation as architect building
	By Terry Rombeck, Journal-World Monday, September 29, 2003 Peter Pran, a KU architecture professor, has been getting a lot of attention for his designs, including the Telenor world headquarters in Oslo, Norway, pictured behind Pran. The model at left is a tower Pran is working on to be located in Singapore. See the full story at: http://www.ljworld.com/section/kunews/story/147000

Standing Ovation
	Arena Stage Expansion Would Add Drama to Historic Theater Arena Stage, the 53-year-old godmother of Washington's lively theater scene, is getting ready to change its architectural personality from introvert to extrovert in one huge, but perhaps not-so-easy, step. That's the radical essence of a new design for the Southwest Washington theater by Canadian architect Bing Thom. It's a sweet, brilliantly outgoing design that ought to get built because it'll do wonders for both the theater and its rather isolated urban neighborhood. By Benjamin Forgey Washington Post Staff Writer Saturday, September 27, 2003 See full story at: http://www.washingtonpost.com/wp-dyn/articles/A8002-2003Sep26.html

New kid on the block
	The striking design of the 10-story federal courthouse planned for Niagara Square is meant to complement the classic architecture around it - and throw the city a few curves as well. Architect William Pendersen with a model of the $100 million project."The way the windows are going to pick up light is going to be extraordinary," he said. "One of the things I am extremely excited about is the curving wall, obviously set in opposition to City Hall." Architect William Penderson By MARK SOMMER News Staff Reporter 9/26/2003 See full story at http://www.buffalonews.com/editorial/20030926/1015708.asp

Frank Gehry & Partners School of Fine Arts
	29th of August 2003 I’m really very happy that we’ve been selected to work with David Woods, and with the faculty, staff, and students of the University of Connecticut on the design of the new Fine Arts Center. It’s a wonderful opportunity for us, we’re looking forward to creating something special, something that will enhance the campus and contribute to the growth of the school and the region. Frank Gehry Model photo courtesy Frank Gehry & Partners See the full story and more pictures of this model at arcspace http://www.arcspace.com/architects/gehry/fine_arts/index.htm

Denver museum's provocative addition follows trend of turning showcases into statements
	Article Published: Wednesday, August 20, 2003 By Michael Booth, Denver Post. Boosters of the Denver Art Museum's avant-garde expansion wing hope the glass shards and titanium design will be the Eiffel Tower of the Rockies, becoming the instant postcard icon of the city and signaling urban sophisticates that Denver belongs on their itinerary next to Bilbao, New York or London. See the full story at: http://www.denverpost.com/Stories/0,1413,36~78~1577978,00.html#

Architecture's wild side revealed
	Wednesday, August 13, 2003 "Rent-A-Wall Project," by Michael Webb, 1965, is based on the idea of moveable home additions. The work is part of a show at 34 Main St. in Millerton. A selection of Webb's designs, beginning with his pioneering work from the '60s and '70s, will be on display in ''Archigram & After: The Conceptual Architecture of Michael Webb,'' at 34 Main St., in Millerton, where Webb has lived for the past five years. The exhibit opens with a reception on Saturday benefiting the Harlem Valley Rail Trail Association, which owns and maintains the 11-mile paved trail terminating in Millerton, and continues through Sept. 14. Full story at: http://www.poughkeepsiejournal.com/today/lifeentertainment/stories/li081303s1.shtml

Harbor plan to limit traffic
	By Meredith Cohn Sun Staff Originally published August 10, 2003 Approaching four decades after the city devised a roadmap to transform the rat-infested, industrial Inner Harbor into Baltimore's rec room, the famed waterfront is at another turning point. The extraordinary success of the original plan, which draws millions to the harbor each year, has produced a new set of traffic and green space problems that Baltimore planners and developers are hoping to fix with a new $200,000 master plan. The original model called for a big shoreline park surrounded by housing and offices. But it became outdated as development boomed and the unforeseen number of visitors flooded the harborside promenade. See full story at; http://www.sunspot.net/business/bal-bz.master10aug10,0,3690682.story?coll=bal-business-headlines

Design unveiled for African-American Cultural Center
	Wednesday, July 30, 2003 The African American Cultural Center will set sail at Liberty Avenue and 10th Street, animating the Penn-Liberty historic district with a transparent, modern building that takes inspiration from the Swahili trading ships that carried the culture of East Africa to distant shores. Its architect, Allison G. Williams, just won the largest and most important commission ever in Western Pennsylvania for a black female architect. She is managing principal of the San Francisco office of Ai, an architecture and interior design firm founded in Washington, D.C., in 1984. See the full story at: http://www.post-gazette.com/localnews/20030730african0730p3.asp

Guggenheim may open in Taiwan
	July 18th 3003. The Guggenheim Foundation, one of the world's biggest cultural brands, is proposing a possible gallery complex for Taiwan to join its string of international sites. See full story at: http://news.bbc.co.uk/2/hi/entertainment/3072383.stm

Libeskind's glass house openly invites stone throwers to the Royal Ontario Museum
	July 18th 2003. Hoardings went up in early June for architect Daniel Libeskind's massive addition to the Royal Ontario Museum - a soaring deconstructivist phantasia that promises to be the most eye-stopping building in Toronto since Viljo Revell's New City Hall opened in 1965. The venerable ROM, today the fifth largest museum in North America, wasn't built in a day. Since opening in 1914, the H-shaped cultural giant has undergone a series of renovations and additions - the latest of which was completed in 1982. The current plan is to demolish the north wing to make room for an ambitious new main entrance facing Bloor Street West - a landmark jagged crystalline structure which together with renovations of existing galleries is being touted as the $200-million Renaissance ROM. See full story at: http://www.tandemnews.com/viewstory.php?storyid=2953

Casting light on design of Temple
	16th of July 2003 HAIFA, Israel, (BWNS) -- The architect of the new Baha'i Temple to be built in Chile, Siamak Hariri, sat down recently for a wide ranging interview about everything from the creative process to details of the design. See full story at: http://www.bahaiworldnews.org/story.cfm?storyid=229

Stepping Toward World Number One
	9th of July 2003: TAIPEI 101 is striving to become a brand new metropolitan attraction by way of incorporating stylish fashion boutiques, fine restaurants and a top-class office tower all under one roof. While construction and tenant recruitment are on schedule for TAIPEI 101 Mall's grand opening in October 2003, tenant recruitment for the office tower will begin in April this year and its operation is set to commence in October 2004. Read the whole story at: http://www.tfc101.com.tw/english/news/news4/Introduction.htm

Spatial Experiments Zaha Hadid Laboratories at the National Building Museum
	7 of July 2003 This past Saturday, the National Building Museum in Washington, DC, opened “Zaha Hadid Laboratory,” an exhibition of 11 of the architect’s most recent projects, many of them in various stages of construction. The exhibition is on view through November 17, and Hadid is scheduled to lecture at the museum on November 6. If there’s a proper name to put to the word “irony” in architecture, it just might be Zaha Hadid. The London-based architect has projects in almost every corner of the world – except the UK (other than her 1999 Mind Zone exhibit at the Millennium Dome, and earlier this year she made the shortlist of star architects to master plan the Bishopsgate Goodsyard site in London). The irony? In June, Hadid was awarded the title CBE (Commander of the British Empire) for her contribution to architecture. In a profile called “Zaha Hadid: Everywhere Else But Here,” Jay Merrick, architecture critic for the UK’s Independent newspaper described her as “one of the world's most intriguing architectural talents.” The New York Times architecture critic Herbert Muschamp recently said of Hadid, “As a pure virtuoso of design, she has no living rival." see full article at:http://www.archnewsnow.com/features/Feature60.htm

Guggenheim plan banned in Brazil
	1st of July 2003 A Brazilian court has blocked the construction of an art museum to be operated by the New York-based Guggenheim Foundation in Rio de Janeiro. The ban follows public outcry that the $US250 million project is a luxury the city cannot afford. Many of Rio's citizens said the money should be spent on fighting crime or improving education and health care in the city's teeming shantytowns. Billboards have appeared showing a photograph of a homeless girl drinking from a puddle on the sidewalk with the caption, "Does Rio need such a museum?", and the Guggenheim name encircled in red. Court officials said the deal signed between Rio Mayor Cesar Maia and the Guggenheim Foundation in April could not go forward as it was based on US rather than Brazilian laws, and was valued in dollars and not the national currency. They also said no first payment could be made to French architect Jean Nouvel, who was to receive $US12 million. If the mayor chooses to appeal the decision, the case will be reviewed by Brazil's second-highest court, the Superior Federal Court, in the capital, Brasilia. The planned Rio museum would be the sixth operated by the Guggenheim Foundation. The others are in New York, Venice, Bilbao, Berlin and Las Vegas. News from: http://www.abc.net.au/arts/news/artsnews_888805.htm

Mariinsky Design Winner Raises Eyebrows, Doubts
	1st of July 2003 The St.Petersburg Times. The future of the Mariinsky Theater is black marble and translucent golden glass to a design by a French architect - but jury members were not entirely happy with the choice. Dominique Perrault, best known for designing the French National Library in Paris, and his team beat 10 other entries to design the new building for the Mariinsky Theater in the most important architectural event in Russia in 70 years. "A great opera should be an emblematic building that is visible in the city. The golden envelope is the symbol of all the great monuments of St Petersburg," Perrault told a news conference on Saturday at the Academy of Arts. See full story at: http://www.sptimesrussia.com/archive/times/880/top/t_9767.htm

GEM Competition Results
	First Prize Shih-Fu Peng, Heneghan.Peng.Architects from Ireland In a widely publicized press conference and Ceremony, the Minister of Culture HE Farouk Hosny will make the public announcement of the competition results on Monday, June 9th, 2003 at 8:00 pm. The announcement Ceremony will take place in the existing Egyptian Museum in Cairo. Also, the competition exhibition with all entries from the first and second phases will be displayed inside the competition building at Al Remayah Square, Giza, and will be open to the public. You are cordially invited to visit the exhibition and the final gallery of this competition. The exhibition will be open Sundays to Thursdays from 10:00 am to 6:00 pm in the period between June 10th and July 2nd, 2003. The unprecedented recognition and praise that the International Architectural Competition of the Grand Egyptian Museum had received, necessitated the publication of a book to include all 20 projects submitted in the Second Phase, as well as some of the most distinctive projects that were submitted in the First Phase. The book will be ready by the date of the announcement. Information on purchasing the book will be posted shortly. Dr. Yasser Mansour Coordinator, Technical Committee See more information as well as other projects at: http://www.gem.gov.eg/index/competition/Competition%20Results.htm

The Parliament's permanent home - Holyrood
	21st of May 2003 In July 1998 a Spanish architectural practice led by Enric Miralles, with his wife Benedetta Tagliabue, in partnership with Edinburgh based RMJM, was chosen to design the new Parliament building. Enric Miralles was one of the world's premier architects, internationally renowned for his work throughout the world, including acclaimed buildings in Barcelona, Alicante and Utrecht. RMJM are one of the largest and most successful architectural practices in the UK and have an international reputation for their recent work in Edinburgh, Glasgow and St Petersburg. Other appointed members of the design team include Ove Arup as Structural Engineers and RMJM (Scotland) Ltd as Service Engineers. Davis Langdon & Everest were appointed as the Quantity Surveyor and Cost Consultant for the project and in January 1999, Bovis Construction Ltd (now Bovis Lend Lease) were appointed to provide Construction Management services. Other non-design team appointments include Turner & Townsend as Planning Supervisor, Cairn Property Services as Building Standards Regulations Consultant and Buro Happold as Access Audit Consultant. See full article at http://www.scottish.parliament.uk/holyrood/hdesign.html

The Clark Art Institute Today and Tomorrow
	20th of May 2003www.clarkart.edu The Sterling and Francine Clark Art Institute is distinguished among the museums of the world by the quality of its collections, the depth of its research and academic programs, and the natural beauty of its pastoral setting. Since opening to the public in 1955, the Clark has remained committed to its dual mission as a public art museum and a center for research and higher education. As it approaches its fiftieth anniversary, the Clark has worked with Pritzker Prize-winning architect Tadao Ando and landscape architects Reed Hilderbrand Associates to design a campus plan that enhances the Institute's setting, expands the facilities for its academic and public programs, and reconfigures its galleries to broaden the ways in which visitors experience works of art. *Project Highlights* A one and a half-acre reflecting pool that brings unity to the campus, fully integrating the Clark’s buildings with its Stone Hill setting Expanded visitor amenities, including a full-service restaurant, cafe, museum shop, and family activity room Seminar rooms for research and academic programs, including the Williams/Clark Graduate Program in the History of Art, and a new conference center Galleries for the Clark’s expanded special exhibition program Restoration of the prominence of the original marble "temple of art," with a new west entrance and galleries for American art, decorative arts, prints, drawings, and photographs Renovation of the red granite building, providing more space for administrative offices and the Institute’s renowned art history library Improved accessibility to the Clark’s 140-acre campus, including new walking paths connected to a network of trails on Stone Hill Project Credits Design Architect Tadao Ando Architect & Associates Osaka, Japan Landscape Architect Reed Hilderbrand Associates Watertown, Massachusetts Architect of Record Gensler New York, New York

Building a new repository of knowledge construction of the Grande bibliothèque complex begins
	Building a new repository of knowledge construction of the Grande bibliothèque complex begins Montreal, Monday December 3, 2001 This morning Quebec Prime Minister, Bernard Landry, launched the construction of the GBQ, Quebec's new library complex. In attendance were Minister responsible for Culture and Communication, Diane Lemieux, the CEO of the GBQ, Lise Bisonnette and several guests including the Secretary of State for Immigration and MNA for St. Marie - St. Jacques, André Boulerice. In the words of the Prime Minister, «the construction work started today symbolizes the democratization of knowledge and culture. This is the mission of those at the helm of the Grande Bibliothèque : to make reading a vital means of self-development for each and every Quebecer.» Minister responsible for Culture and Communications, Diane Lemieux added that «with this new institution, Quebec and its metropolis would be home to an avant-garde repository of knowledge, an establishment of international calibre providing a wide and varied clientele with increased access to various works, including our documentary heritage.» Paying tribute to the actual builders of the library, CEO, Lise Bissonnette reaffirmed the importance of the library as a physical entity, a meeting place, a custodian of collections and cultural assets, but also an anchor for the community. The GBQ is «a building we'll acquire together. It will belong to Montreal but also to Quebec and through its net-worked and web-based environment will build bridges that bring the resources to the entire community.» The glass and copper structure will provide different types of environments bathed in natural light. Spaces are designed to cater to a variety of needs such as quiet reading areas, rooms for group work, training rooms, an auditorium, an exhibition hall and a vast children's collection located on the lower level. Serving both as a national library and a public lending library, the GBQ will occupy an area 33,000 sq. metres on 6 levels with a seating capacity of 2,900. It will comprise an exterior art garden on the Ontario Street side and underground parking for 400 cars. The GBQ will house the collection of the Bibliotheque nationale du Québec and that of the Bibliothèque centrale of Montreal. To this will be added a new universal lending collection to be acquired some time before the opening of the new library whose holdings will total 4 million, including 1 million books. On November 9th of this year, the GBQ announced the five finalists short-listed by the jury for the Furniture Design Competition aimed at providing the library complex with emblematic furniture. The winner will be declared in February 2002. Architects Patkau and Croft-Pelletier, winner of the international architecture competition, have been selected to design the new library. Engineering firm Bouthillette Parizeau et associés Inc. and HBA experts-conseils Inc. will be responsible for electrical and mechanical systems and engineers Nicolet Chartrand Knoll ltéé and Geniplus for structural work. Construction firm Hervé Pomerleau has recently begun excavation and foundation work. The cost of the project is $90.6 million of which $58.3 million have been earmarked for construction. Expected completion date is end of 2003.

13 Designers Awarded for Olympic Venue Design Competition
	March 6, 2003 http://www.aecasia.com/NEWS/2003March/Fbeijing.htm The prizes for designing Beijing's major Olympic venues, the Olympic Green and the Wukesong Culture and Sports Center, have been handed out. The first prize for the design of Olympic Green goes to a joint venture, US Sasaki Associates and Tianjin Huahui Engineering and Architect Design Company. The first prize for the design of Wukesong sports center is vacant. Another seven designs for the Olympic Green and five for the Wukesong Sports Center were also awarded. All the winners including five from China and seven from Japan, Australia, Germany, Switzerland, Canada and France were selected from 87 entries by a 13-member judging panel. The final design of the two venues will probably be a combination of the essence of all the winners.

Clark unveils plan for new building - Tadao Ando
	March 06, 2003 www.BerkshireEagle.com A glass-walled visitor and conference center pavilion, designed by Tadao Ando for the Clark Art Institute, would stand on a terrace beside a 1 1/2 acre pond. Visitors would walk across the terrace or go through underground galleries to reach a new glass-walled foyer, just visible at lower right, leading into the original 1955 building. The pavilion is only 25 percent of the new building, the rest of which is underground and lighted by sunken, open-air courtyards.

NATO New Headquarters
	February 27 www.nato.int The new Headquarters represents the physical manifestation of the new NATO: a state of the art, flexible facility reflecting an Organisation in the process of widespread and continuous modernisation to ensure it remains a dynamic relevant, effective body able to face new risks, threats and challenges to Euro-Atlantic peace and stability.

2 Teams of Architects to Compete for Ground Zero Design
	The New York Times February 4, 2003 Two teams of architects, one that sees the foundations of democracy in the concrete walls surrounding ground zero and another that imagines New York's rebirth in soaring towers of culture, have been selected as finalists in the competition to create the design for the World Trade Center site, rebuilding officials said yesterday. Each of the designs includes what would be the tallest building in the world, though in both plans, the towers' upper reaches are not occupied by offices. Rather, there is a memorial observation deck in one case, and a hanging garden in the other. The two teams, Studio Daniel Libeskind, the firm headed by the Berlin-based architect Daniel Libeskind, and the Think team, headed by the architects Frederic Schwartz, Rafael Viñoly and Ken Smith of New York, and Shigeru Ban of Tokyo, will now work with rebuilding officials on refinements to their designs. One team is to be selected as the winner by the end of the month. The winning design will include the layout and conceptual vision for the trade center site's buildings, transportation terminals and a memorial to the victims of Sept. 11, 2001 — an architectural project like no other and one that is already among the most watched in the world.

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