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By Brian Lutz. Pointed Leaf Press, November 2012, 224 pages, $85. This is a book on the model of Marilyn and John Neuhart’s The Story of Eames Furniture (Gestalten, 2010). It shares with that two-volume set an agenda—an emphasis on process and manufacturing—and a large size (14.2 by 11.8 inches) that does neither the reader nor the illustrations great service. Eero Saarinen: Furniture for Everyman, by Brian Lutz. Pointed Leaf Press, November 2012, 224 pages, $85. First, the agenda. Lutz, a former Knoll associate, argues in his introduction that Saarinen’s furniture has never attracted the same scholarly interest as his
EcoArchitecture: The Work of Ken Yeang, by Sara Hart. John Wiley & Sons, 2011, 272 pages, $75. WOHA: Selected Projects, Volume 1, by Patrick Bingham-Hall. Pesaro Publishing, 2011, 280 pages, $65. In the present environment of instant communications and global architectural practices, the swirl of influences between East and West is as dynamic and complex as the trade winds that blow between continents. This pair of publications, EcoArchitecture, The Work of Ken Yeang, by Sara Hart, and WOHA: Selected Projects Volume 1, by Patrick Bingham-Hall, captures the complexity and promise of this moment. WOHA: Selected Projects, Volume 1, by Patrick
This Trey Trahan-designed 28,000-square-foot building, set in the oldest settlement in the Louisiana Purchase, aims to resolve a number of conflicting demands—bringing contemporary design to a historic context and finding a common language for a program that involves both a history museum and a sports hall of fame. In deference to its neighbors on Natchitoches’ main public square, the $12.6-million museum maintains the area’s two-story scale and wraps itself in a louvered copper rainscreen that alludes to the shaded porches of Creole architecture. The architects pinched the copper louvers at various locations to create a pleated effect that animates the
When the Pearl Brewery in San Antonio shut down in 2001 after 120 years of operation, it left behind a 22-acre, asphalt-covered site in a crime-ridden part of town.
On a recent hard-hat tour of the Whitney Museum of American Art’s new building in Downtown Manhattan’s Meatpacking District, the project’s architect Renzo Piano emphasized the way it will connect to its surroundings.
An innovative pinwheel plan brings daylight into a rugged cubic building that strengthens the public realm's imprint in a historic part of the Texas capital.