Like many architects, Sean Lally is concerned about climate change and how his profession can help address the immense environmental pressures bearing down on the globe—he just has a very singular vision for the solution. With a background in landscape architecture, Lally, 41, is pursuing a field of design in which steel, wood, and concrete are replaced by energy: electromagnetic, thermodynamic, acoustic, chemical.
After the success of its 2009 book, the firm will publish a new and expanded third edition. Every drawing in the third edition of 49 Cities will be tweaked for improved legibility. In 2007, Amale Andraos and Dan Wood, principals of the New York-based architecture firm WORKac, were teaching an “eco-urbanism” seminar at Princeton University. To grasp this relatively new term, Andraos, Wood, and their students had to first learn the history of the two fields from which it evolved. So the architects had their students dissect a number of city plans, from the fully realized (Levittown, New York, 1947)
Saving Place: 50 Years of New York City Landmarks, edited by Donald Albrecht and Andrew S. Dolkart. Photographic portfolios by Iwan Baan. The Monacelli Press, 2015, 208 pages, $50. Filled with Iwan Baan's people-centric photographs of New York City's five boroughs and his famous helicopter aerials, Saving Place celebrates the 50th anniversary of the New York City Landmarks Law. “Much of what we love about New York today we owe to the law and its administering body,” writes Robert A.M. Stern in the introduction. With archival photographs, too, the book narrates the preservation movement, from its origins to its later
Boston is full of co-working centers, incubators, and labs, but most are housed within one of the city's 50 institutions of higher education, cloaked with exclusivity or even anonymity simply by association. Others are part of a particular company, perhaps relegated to the corner of a lobby or makeshift space. District Hall, the result of a public-private partnership, belongs to everyone, and it's a smash hit, not just an idealistic showpiece for the city. The bright, airy 12,000-square-foot building on the South Boston waterfront, across from Diller, Scofidio + Renfro's Institute of Contemporary Art, is an innovation center unaffiliated with