Architecture for Humanity Responds to Haiti Quake

Architecture for Humanity members haven’t slept a wink since Monday night. The San Francisco-based non-profit design services firm founded by Cameron Sinclair and Kate Stohr, is busy mobilizing an architecture army for reconstruction efforts in Haiti following Tuesday’s horrific earthquake.

The firm, which provides design, construction, and development for nations and cultures in need, is currently fundraising for long-term efforts in the crumbled city of Port au Prince. Additionally, Architecture for Humanity has issued a call to architects, interior designers, engineers, environmental scientists, agronomists, and landscape architects across the globe to donate their time and talent to aid in the long road ahead.

“While Haiti is currently in desperate need of relief and recovery services, very soon we will move to long-term reconstruction,” said Cameron Sinclair. “When the world’s attention turns away from this disaster, that is when the design and building community is needed most. Give now to build back better.”

Currently, Architecture for Humanity is fleshing out a comprehensive, two- to four-year plan (including transitional, temporary shelter, as well as permanent construction) for the devastated nation that begins with a site visit in approximately three week’s time. Ideally, the firm will have professionals in the field by month two. Sinclair and his team are urging dedicated, passionate members of the industry, especially those who are French-speaking, to sign up to volunteer at architectureforhumanity.org/getinvolved/offerdesign. Monetary donations can also be submitted via PayPal sans service fee at architectureforhumanity.org/donate.

MoMA gives Modern a Makeover

The modern design section of the Museum of Modern Art (MoMA) recently received a facelift. Running from December 23, 2009 to July of 2010, the museum’s third floor Philip Johnson Architecture and Design Galleries showcases “Shaping Modernity: Design 1880–1980.” The exhibit houses a selection of visionary objects, graphics, architectural fragments, and textiles from the Museum’s collection that reveal the attempts of successive generations to shape their experience of living in the modern world. Curator Juliet Kinchin and curatorial assistant Aidan O’Connor organized some 300 works into the following five sections:


The International New Art 1890–1914

The International New Art flourished in urban centers around the world taking on many localized forms and names (among them Art Nouveau, Jugendstil, Arte Modernista, Sezession, and Glasgow Style). The pieces in this installation were used in the office of the MoMA’s founding director, Alfred H. Barr, Jr. Other examples in the exhibition include a side chair by Charles Rennie Mackintosh, a side table by Mackay Hugh Baillie Scott, and a plaster cast of Antoni Gaudí’s original finial sculpture for the Church of the Sagrada Familia in Barcelona.

New Typography 1927–37

In the 1920s and 1930s, the movement known as the New Typography brought graphics and information design to the forefront of artistic avant-gardes in Europe. Rejecting traditional arrangement of type in symmetrical columns, modernist designers organized the printed page or poster as a blank field in which blocks of type and illustration (frequently photomontage) could be arranged in harmonious, strikingly asymmetrical compositions. Included in the exhibition are 14 works by Jan Tschichold, Ladislav Sutnar, Johannes Molzahn, Theo H. Ballmer, Herbert Bayer, Frantisek Kalivoda, Zdenek Rossmann, Joost Schmidt, and Aleksandr Rodchenko.

Mind, Body, Machine 1925–40
The tone of this section is set by a giant railroad-car spring and a boat propeller first shown in MoMA’s landmark Machine Art exhibition in 1934, which celebrated such items of anonymous industrial design as symbols of social improvement and technological progress. The theme is further explored in utilitarian objects such as a streamlined meat-slicer (given in memory of the Yippie leader Abbie Hoffman), and the Vipp trash can, designed for a Danish hair salon.

What Was Good Design? MoMA’s Message 1944–56

This section,which opened in May of 2009, presents over 100 selections from the museum’s collection—ranging from domestic furnishings and appliances to textiles, sporting goods, and graphics—to illuminate the primary values of Good Design as promoted by MoMA within an international debate conducted by museums, design councils, and department stores.

Continuity and Critique 1960–80
The clean and elegant forms of classic modernism continued to appear in the domestic appliances of Dieter Rams for Braun, and the Vignelli Associates’ stacking plastic dinnerware. For many however, the emphasis on pop music, youth, and counterculture opened up new possibilities in materials, colors, and forms, as well as more humorous, expendable design.

Sears Tower to Be Revamped to Produce Most of Its Own Power

By SUSAN SAULNY
Published: June 24, 2009
CHICAGO — The Sears Tower, that bronze-black monument that forms the 110-story peak of the skyline here and stands as the tallest office building in the Western Hemisphere, will soon have another unique feature: wind turbines sprouting from its recessed rooftops high in the sky.
The building’s owners, leasing agents and architects said Wednesday that they are literally taking environmental sustainability to new heights with a $350 million retrofit of the 1970s-era modernist building — and the turbines are only the tip of the transformation. The plan, to begin immediately, aims to reduce electricity use in the tower by 80 percent over five years through upgrades in the glass exterior, internal lighting, heating, cooling and elevator systems — and its own green power generation.
In such a huge tower, with 4.5 million square feet of office and retail space, 16,000 windows and 104 elevators, the project is bound to be one of the most substantial green renovations ever tried on one site, planners said. The Sears Tower is significantly larger than the 102-story, 2.6-million-square-foot Empire State Building, for instance, which is also undergoing renovation to reduce energy consumption.
“If we can take care of one building that size, it has a huge impact on society,” said Adrian Smith, an architect whose firm designed the Sears Tower renovation. “It is a village in and of itself.”
Buildings are among the world’s largest contributors of greenhouse gas emissions. After the retrofit, energy savings at the Sears Tower, which is to be renamed the Willis Tower this summer, would be equal to 150,000 barrels of oil a year, officials said. The savings are expected to help redeem some of the project’s cost, which is to be financed through private equity investment, grants, debt financing and government funds.
The Sears Tower plans to open a first-floor center to educate the public about the redesign, and hopes to serve as a model for other aging skyscrapers around the world, officials said.

MOMA Exhibition

Home Delivery: Fabricating the Modern Dwelling

July 20–October 20, 2008

Home Delivery: Fabricating the Modern Dwelling is both a survey of the past, present and future of the prefabricated home and a building project on the Museum's vacant west lot. Not since the mid-century House in the Garden series has MoMA built occupiable model buildings to demonstrate contemporary issues to the public. The fives homes erected on the vacant west lot are designed by Kieran Timberlake Associates (Philadelphia); Jeremy Edmiston and Douglas Gauthier (New York); Horden Cherry Lee Architects / Haack + Höpfner Architects (London/Munich); Massachusetts Institute of Technology School of Architecture and Planning / Associate Professor Lawrence Sass (Cambridge); and Oskar Leo Kaufmann (Dornbirn, Austria).

The exhibition, and its accompanying Web site (www.momahomedelivery.org), display the process of architectural design and production in equal measure with the actual end result. Within the gallery, eighty-four architectural projects spanning 180 years are presented by means of film, architectural models, original drawings and blueprints, fragments, photographs, patents, games, sales materials and propaganda, toys, and partial reconstructions. This diverse collection of material illustrates how the prefabricated house has been, and continues to be, not only a reflection on the house as a replicable object of design but also a critical agent in the discourse of sustainability, architectural invention, and new material and formal research.

Doggie Dens and Cat Condos

The Washington Animal Rescue League's newly renovated facility incorporates the best design concepts from shelters around the world and takes them a step further to set a new global standard for the humane care of homeless and abused animals. In a recent $4 million renovation, designers created a more nurturing place to better prepare abused and abandoned animals for adoption. Architecture firm Stoiber and Associates created the design that swapps out steel-cage holding tanks for glass-walled play and living areas and adding space for increased human contact and interaction.

In addition to creating a more comfortable and healthy setting for the animals, the new design can now house close to 400 animals, which is a 66% increase.

Interior Design has greatly affected the healthcare business in recent years. The concept is that the right design can help in the healing process of the patients. That same concept is now obviously moving over to the animal world...and I say it's about time!

Charles & Ray Eames Postage Stamps

In recognition of their groundbreaking contributions to architecture, furniture design, manufacturing and photographic arts, designers Charles and Ray Eames will be honored next summer with a pane of 16 stamps designed by Derry Noyes of Washington, DC. If you’ve ever sat in a stackable molded chair, you’ve experienced their creativity. Perhaps best known for their furniture, the Eameses were husband and wife as well as design partners. Their extraordinary body of creative work — which reflected the nation’s youthful and inventive outlook after World War II — also included architecture, films and exhibits. Without abandoning tradition, Charles and Ray Eames used new materials and technology to create high-quality products that addressed everyday problems and made modern design available to the American public. Visit the USPS website for more information.