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Monday, November 2, 2009

A Bad Thing Going

Posted by Charles Mudede on Mon, Nov 2, 2009 at 10:51 AM

Some buildings are improved by time, while others, like the Beacon Hill Branch of The Seattle Public Library (completed in 2005), have an unfavorable relationship with time:

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Designed by Carlson Architects, the building is much closer to "rubble engineering" than actual architecture. As for that flying boat thingy, we see in it the essence of a very limited (if not underdeveloped) imagination. That essence is frivolity. We need to put less frivolity into our public art. The class function of frivolity is to neutralizes the politics of a situation or site. Frivolity is to the art world what the expression "excellence" is to the university system. Both do not add meaning to a situation/site/process but empty it of meaning.

Friday, October 30, 2009

The Sign of Four

Posted by Charles Mudede on Fri, Oct 30, 2009 at 3:47 PM

The week of Lawrence Halprin's timely death is also the week that his famous park, Freeway Park, appears in Police Beat.

What I wrote:

Despite the many dangers of Freeway Park, despite its eerie maziness, I still rate it as the most important and stimulating park in this city. No amount of crime will stop me from loving this strange and often dark place.

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The four things that make this city something: Columbia Tower; the movement on the light rail between the ID and Sea-Tac (this will always be the best part of light rail); Downtown Library; and Freeway Park. The first is about urban power; the second, urban motion (even emotion); the third, urban thought; the fourth, urban nature.


The image is from rutlo's photostream.

Tuesday, October 27, 2009

Lawrence Halprin, R.I.P.

Posted by Jen Graves on Tue, Oct 27, 2009 at 5:43 PM

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He died Sunday at 93. I love Halprin's Freeway Park, especially its dark heart:

Lawrence Halprin, Freeway Park Viewing Base, 1976

Freeway Park is like a craggy mountain on its head; the summit is at the bottom. You climb down elaborate descending stairs to stand on a narrow plane with a bracing view. But this isn't a vista. You face an ugly metal screen. A thin slice of waterfall rushes in front of it, falling from the top of the park. Through the water and the metal, you can see the subject you came all this way to look at: cars flying by under an orangey electric light, inside the concrete tunnel of Interstate 5. It's as if the park were here first, and then the city sprung up around it, interrupted it, completed it.

This fellow's photographs of Freeway Park and Halprin's other works are terrific. Mr. Mudede loves Freeway park, too.

The Arrivals

Posted by Charles Mudede on Tue, Oct 27, 2009 at 2:59 PM

This photo, which is by jhenryrose and from the pool of Stranger images, returns me to my growing love for light rail:

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...It is the most important addition to Seattle since the Central Library. Indeed, for this city, this decade finds much of its value in the arrival of the library and light rail. I worship both.

Wednesday, October 21, 2009

Let There Be Light!

Posted by Brendan Kiley on Wed, Oct 21, 2009 at 5:23 PM

The sign-lighting party for the Paramount's new illuminated phallus is happening now. They'll flip the switch, I'm told, at 6 pm.

Sorry I forgot to tell you earlier.

Wednesday, October 14, 2009

Inside the Crumbling Washington Hall

Posted by Brendan Kiley on Wed, Oct 14, 2009 at 3:06 PM

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Washington Hall—where W. E. B. Du Bois, Marcus Garvey, and Martin Luther King Jr. spoke and Count Basie, Ella Fitzgerald, Duke Ellington, Ray Charles, and Jimi Hendrix played—has been bought and is being renovated by Historic Seattle.

I slipped inside this afternoon and saw hallways of bare lath, leaky ceilings, piles of garbage, a squatter in a cramped room watching a soap opera, a black and soundproofed room that looked like a sex dungeon, and a desk full of computer-porn printouts.

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Workers are busy inside, but didn't seem into having their photos taken.

More photos—of pigeon shit, the sex room, and the porn (NSFW/Not Safe for Life)—below the jump.

Continue reading »

Wednesday, October 7, 2009

Can You Spot the Difference?

Posted by Brendan Kiley on Wed, Oct 7, 2009 at 11:29 AM

Old sign:

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New sign:

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Old sign:

old_sign.jpg

New sign:

new_sign.jpg

Tuesday, October 6, 2009

Just In Case You Were Wondering...

Posted by Brendan Kiley on Tue, Oct 6, 2009 at 3:10 PM

... whether we took any pictures of the tearing-down of the iconic, 80 year old sign of the Paramount Theater in downtown Seattle (to be replaced with a replica that is 90% more energy efficient and made with lots of recycled aluminum by the Sign Factory of Kirkland for $616,000) the answer is yes.

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They let me up to the vertiginous heights where Joey and Anthony said they were running out of Camel Lights and did I have any. I didn't.

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Dont look down.
  • Don't look down.

During the lunch break Jim talked about seeing the Beastie Boys at the Parmount back in "what was that, '87?" Then he recited most of the lyrics to "Paul Revere."

"Have any good memories of the sign?" I asked. "Kiss anybody pretty under there?"

"Naw my wife'd kill me if I said that," Jim said.

"Hey Jim, I heard you boned a girl under that sign!" one of the other workers joked. "Just tell your wife you were making shit up to sound cool in The Stranger!"

Jim just grinned and kept on reciting: "I did it like this/I did it like that/I did it with a wiffle-ball bat."

More photos after the jump. And the new sign goes up starting 9 am tomorrow morning.

Continue reading »

Monday, October 5, 2009

Just In Case You Were Wondering...

Posted by Brendan Kiley on Mon, Oct 5, 2009 at 10:28 AM

450px-Paramount_Theater_Seattle-1.JPG
  • Ciar

... whether the Paramount Theater in downtown Seattle was ever going to replace its iconic, 80 year old sign with an exact replica that is 90% more energy efficient (1,932 LED bulbs that use .75 watts per bulb), LEED certified (lots of recycled aluminum), and made by the Sign Factory of Kirkland for $616,000—the answer is yes.

From Tuesday through Thursday of this week, construction workers will (very carefully) take down the fragile old sign and install the new one. There may be traffic delays. Full text of the press release, including all kinds of geeky specs, lives below.

And just in case you were wondering whether the floor plan of the Paramount Theater looks like some blocky design for an energy drink—the answer is also yes.

Snapshot_2009-10-05_10-15-47.jpg

Continue reading »

Thursday, October 1, 2009

Bodies and Buildings

Posted by Charles Mudede on Thu, Oct 1, 2009 at 4:52 PM

The city of Detroit can't afford to demolish its dead duildings....

Some four dozen big buildings in the heart of Detroit are languishing, vacant, because demand for commercial and office space has dropped and money to demolish or renovate them has dried up.

These are among the most visible ghosts in a city of ghostly buildings — the harsh, physical evidence of a community that has lost 1 million people from its peak population of 1.8 million in the 1950s.

Some are in shocking condition: sidewalks cordoned off to protect pedestrians from falling chunks of facade; trees growing from roofs.

The city of Detroit can't afford to bury its dead people....

DETROIT (CNNMoney.com) — At 1300 E. Warren St., you can smell the plight of Detroit.

Inside the Wayne County morgue in midtown Detroit, 67 bodies are piled up, unclaimed, in the freezing temperatures. Neither the families nor the county can afford to bury the corpses. So they stack up inside the freezer.

Albert Samuels, chief investigator for the morgue, said he has never seen anything like it during his 13 years on the job. "Some people don't come forward even though they know the people are here," said the former Detroit cop. "They don't have the money."

Wednesday, September 30, 2009

Continuation of an Era

Posted by Jen Graves on Wed, Sep 30, 2009 at 9:27 AM

In the 1980s, Paul Schell, before he was mayor of Seattle, ran a development company that tore down the eye teeth of downtown Tacoma—a row of 19th-century brick buildings along Pacific Avenue. The buildings were protected as a landmark, and the landmarks commission refused to give permission for the demolition, but it didn't matter. With the backing of the mayor, who had future-stars in his eyes, Schell got his way and razed the past.

Then, he built nothing.

The development fell apart. And central downtown Tacoma fell into even uglier disrepair than it had already been in. The space was, and is, a parking lot. (And this is reason #5,899 why Tacomans hate Seattle.)

luzon.jpg
One building escaped the Schelling: the Luzon. It dated from 1891, was designed by Chicago skyscraper pioneers Daniel Burnham and John Root (one of only two of their buildings on the West Coast), and was a slender and extraordinary-looking thing, even in its neglected state. It had been empty since the mid-'80s.

I woke up Saturday morning to the news that the Luzon building was being demolished that minute. Despite protests and even an appeal to a judge for a last-minute stay of execution that ran into the early morning Saturday, the Luzon building ultimately was a victim of the market. Developers couldn't make it pencil out—just like they couldn't make it pencil out when all the structures the Luzon leaned on came down—and city government idiotically only saw a future in tearing down the past. This in a city where historic buildings—Union Station, the University of Washington Tacoma—have, more than any other single force, heroically revived what was once not a dying but a dead metropolis.

LUZON.standalone.prod_affiliate.5-1.jpg
  • Peter Haley/The News Tribune
And: the demolition cost more than it would have cost to make the building safe, to gird it in order to keep it simply from falling down (the soft, neglected brick-and-mortar of its north and west sides were leaning, so lanes on the streets below had been closed for months). But why do that when you still can't make the money pan out? Um, maybe because this economy is not the forever economy?? Surely, Tacoma has learned about the business of rediscovery, and learned what is needed to make it happen??

nws0927_luzon_p1.standalone.prod_affiliate.5.jpg
  • Peter Haley/The News Tribune
But at least this way, when the new, much-touted "green" parking garage/office building opens across the street soon, nobody will have to look at an historic jeweleyesore.

Fuck you, Tacoma city government. It's something I never could have said when I worked at The News Tribune (1999-2005), even when it needed saying. If you didn't learn this lesson in the '80s, then apparently you never will: If you make your historic buildings dependent on the market, then you will lose them. Seattle has a public authority that protects buildings. Tacoma has nothing like it. The city manager and council, in this case, blessed the authority of the developer, like the 1980s mayor before him, and voila! Rubble.

This makes me particularly sad because I love Tacoma. It is a complicated city with what is often a heartbreaking narrative, but it is never dull. I feel guilty for not having known this was going on. The Trib covered the story in detail but I'd checked out of Tacoma this summer, or I'd have read the words of always-awesome columnist Peter Callaghan, which are worth revisiting here and here. (The latter is written as a session between Tacoma and its psychoanalyst—an overworked character if ever there was one.) Here is the story on the day of the demolition; you can hear the pain and resignation in architectural historian Michael Sullivan's voice when the longtime Tacoma champion tells the reporter, "I thought we were just a lot more sophisticated on historic preservation stuff."

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At the turn of the millennium, the Luzon was the lone building involved in an art installation that stretched the entire length of what Tacoma had lost in those downtown blocks; it was a memorial and a prayer for the future. White panels with changing light projected on them and a giant reflecting pool spanned the huge, several-block-long parking lot that met the Luzon on one end, in a temporary work by Seattle artist/architect Iole Alessandrini. You could still see the remains of the earlier buildings, where the demolition crews had left up chunks of wall. The installation was only activated at night—when this area of downtown was most haunted by crime and bad juju. People had avoided the area for years; now they were turning out to see it at midnight, at 3 am, at sunrise.

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The side of the Luzon building, with its scars from having been separated from its neighbors (see the photograph at right), was a physical memory of what had happened. You'd never have thought that anyone would have forgotten.

Tuesday, September 1, 2009

Out of Time

Posted by Charles Mudede on Tue, Sep 1, 2009 at 3:44 PM

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At 12:50 p.m. today, the defeated mayor of Seattle climbed up to the 11th floor of the clock tower at King Street Station (a structure that should have been demolished instead of endlessly being renovated) and officially restarted the station’s long-dead clock. These are the words he offered for the sad occasion, sad because at the very moment life was returning to the clock was also the moment that life was leaving his mayorship: “For the first time in more than a decade, Seattleites can once again set their watches by the King Street Station clock.” (Yes, Nickels, we will now be able to see if the Global Positioning Systems's time synchronization for cellular phone networks is correct or not.) As the mayor descended the tower, step by step, the sound of time's ticking diminished.

Thursday, August 20, 2009

Currently Hanging

Posted by Jen Graves on Thu, Aug 20, 2009 at 2:34 PM

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I screamed at last night's SIMPARCH opening. (No, no, not embarrassing at all.) I screamed because a woman crawled out the mouth of the humongous Godzilla lying at my feet. (She was unharmed. She was chipper, in fact, which I think made the shock worse.)

Godzilla is lying there, taking up the entire Bellevue gallery Open Satellite, because he can't even be bothered to attack cities anymore—they're doing the self-destructive work of making themselves bland and indistinct already, his sleepiness seems to imply. He's just lost interest.

Meanwhile, Godzilla himself—by two members of SIMPARCH (a collective named after "simple" and "architecture"), Steve Badgett and Matt Lynch—is a work of surprisingly interesting architecture.

From the outside he's just a big green eyeless bumpy creature made of shadecloth stapled onto a wood frame.

Eventually, though, as you walk around him, you find an opening in his belly. Once you get into his carpeted innards, all around you are webby tunnels that end in vanishing points (his tail, his mouth, his clawed legs).

P1010605.jpg

The structure is an improvised web of wood slats sort of haphazardly pieced together, as if the artists actually built the thing by sight rather than premeditation—as in, "Here, put one here." "Yeah, let's add one there."

Big-budget works of sculptural architecture like, say, the Bird's Nest stadium in Beijing, computer-model their seeming randomness into fastidious being. But this Godzilla's randomness comes from simply trying to build something that won't fall down, within a small budget, and on a deadline. A sort of joy is the result.

See for yourself through October 3. Also be sure to check out the installation from the outside; the gallery window looks in on his innards. More views on the jump.

Continue reading »

Friday, August 14, 2009

The Dream of Glass

Posted by Charles Mudede on Fri, Aug 14, 2009 at 4:07 PM

I absolutely love this image of the Prada store in Tokyo—it was designed by Herzog and de Meuron.

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The building was made for this image, which was taken by Wili Hybrid. But the actual home for this work is not Tokyo but our very own Freeway Park.

Thursday, August 13, 2009

The Very Best

Posted by Charles Mudede on Thu, Aug 13, 2009 at 10:51 AM

This image from our photo pool...

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The image says this, which is the truth: It is still the greatest work of architecture in our city. There is no comparison, no doubt, no contest.

Monday, August 10, 2009

Crossing the Roots

Posted by Charles Mudede on Mon, Aug 10, 2009 at 10:25 AM

As for me, I prefer my bridges to be dead.

To the tipper Christin: The reason why I refuse to ride a horse is not far from the reason why I would find it hard to cross that bridge. Life as a means of transportation is as troubling to me as life as a form of architecture. There should be no being in being a bridge.

Tuesday, July 28, 2009

Some People

Posted by Charles Mudede on Tue, Jul 28, 2009 at 5:04 PM

Best thing about the new Olympic Javelin trains is exactly what some people do not like about them:
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These trains are coolly stylish. Too cool, perhaps, for some. A number of those who have ridden on the Javelins say that their interiors are too stark: seats do not line up with windows, lighting is antiseptic. There is no provision for catering. The standard-class interiors have been designed to resemble efficient inter-city jet airliner cabins, making maximum use of space and with no concessions to design conceits. This is no-frills railway travel.
We must not make living rooms out of public space. To do so is to follow a path that leads directly to Starbuck's "third space" (the relocation of the living room from the home to the cafe). The Victorians understood that private space was not the same as public space, and so their rooms were padded with all sorts of plush things: pretty paintings, purple pillows, the heavy curtains, thick love seats. Public space cannot be anything but the opposite of this type of cocooning of the self. It must be smooth and stark. It must not be cultural but efficient. Particularities meet a space that is unresponsive. You take your seat not as an individual but as a piece of information—a ticket number, a point of departure, a destination.


This picture is by Nick Taylor.

Design Crime

Posted by Charles Mudede on Tue, Jul 28, 2009 at 8:31 AM

Aljazeera reports:

Iran's industry minister has been found guilty of fraud, dealing a fresh blow to his close ally Mahmoud Ahmadinejad, the president.

Ali Akbar Mehrabian was convicted by an Iranian court over claims by a researcher that he had stolen his idea for an "earthquake saferoom'' - a design for a fortified room in homes in case of disaster, local media reported on Monday.

An appeals court upheld that the design belonged to researcher Farzan Salimi and convicted Mehrabian of fraud but did not prescribe any punishment, according to Iranian newspapers.

The conviction is the latest embarrassment to Ahmadinejad, who has already been pressed to drop his choice of vice-president, had his intelligence minister fired on Sunday and had his culture minister quit on him on the same day.

Is this Iranian earthquake saferoom related to the American panic room? 124151__panic_l.jpg Related or not, it's hard to understand how the industry minister stole an idea that seems so natural, so obvious. What am I missing?

Friday, July 10, 2009

The Future Was Once Here

Posted by Charles Mudede on Fri, Jul 10, 2009 at 9:22 AM

This is the Capsule Tower in Tokyo:
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Here are my fav passages from an NYT about the Capsule Tower, a building that is fast running out of time:

Inside, each apartment is as compact as a space capsule. A wall of appliances and cabinets is built into one side, including a kitchen stove, a refrigerator, a television and a tape deck. A bathroom unit, about the size of an airplane lavatory, is set into an opposite corner. A big porthole window dominates the far end of the room, with a bed tucked underneath.

Part of the design’s appeal is voyeuristic. The portholes evoke gigantic peepholes. Their enormous size, coupled with the small scale of the rooms, exposes the entire apartment to the city outside. Many of the midlevel units look directly onto an elevated freeway, so you are almost face to face with people in passing cars. (On my first visit there, a tenant told me that during rush hour, drivers stuck in traffic often point or wave at residents.)

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But the project’s lasting importance has more to do with its structural innovations, and how they reflect the Metabolists’ views on the evolution of cities. Each of the concrete capsules was assembled in a factory, including details like carpeting and bathroom fixtures. They were then shipped to the site and bolted, one by one, onto the concrete and steel cores that housed the building’s elevators, stairs and mechanical systems.

In theory, more capsules could be plugged in or removed whenever needed. The idea was to create a completely flexible system, one that could be adapted to the needs of a fast-paced, constantly changing society. The building became a symbol of Japan’s technological ambitions, as well as of the increasingly nomadic existence of the white-collar worker.

The current residents of this building want it to be no more. They want something new. They want a building that has a future and not one that had a future. But how is it possible that a building with the most perfect idea of the future ("the idea was to create a completely flexible system, one that could be adapted to the needs of a fast-paced, constantly changing society") could become outdated and hated? Our current thinking about architecture does not surpass the thinking that went into the Capsule Tower. And yet it's a building that's rejected by the very people it was designed to accommodate. The people of a tomorrow that is now.

The pics are by pict_u_re.

Thursday, July 9, 2009

My Point

Posted by Charles Mudede on Thu, Jul 9, 2009 at 10:59 AM

Writes Matt Briggs on the new blog Reading Local Seattle:

[The German architect and urban planner] Thomas Sieverts had been brought to Seattle as part of Suddenly.org’s translation and publication of Sieverts book, Zwischenstadt, translated as “in-between city” and published as “Where We Live Now.”

The assumption of “Where We Live Now,” and one that seemed lost on Charles Mudede when he reviewed the book in The Stranger, is that the city as an organizing idea, as the vehicle of culture, as a center no longer functions. In fact, the city hardly reflects the reality, as they say, on the ground. One section of Sieverts’s book is titled, “The Distorting Myth of the City.” Stadler begins the annotated reader, “The French historian Fernand Braudel makes the astonishing claim that any city “has to dominate an empire, however, tiny, in order to exist at all,”and astonished, Stadler makes quick work that this concept comes with a number of assumptions that no longer hold.

Granted, there are a few things I would like to change in that review, but it must be made clear that I do not disagree with the very agreeable German city planner. He is not only a splendid human being, his ideas make a lot of sense. Indeed, in 2004, long before I knew of his work and Stadler's growing interest in his work, I wrote this in Here Comes Everybody:
To this day, when publications like Seattle Magazine talk about Seattle, what they really have in mind are neighborhoods like Fremont, which are white. Out of habit, out of laziness, it is standard for whites in the north (who usually speak for our city) to describe Seattle as a white city; but go to South King County (population 120,000), to Southcenter Mall (20 million visitors per year), or to Southeast Seattle (population 120,000), and this is not the case. These places are racially integrated—a social environment that year after year is becoming less and less exceptional in Seattle. (In 1960, Seattle was 92 percent white; now it is 67 percent, a figure that according to indicators will continue to fall as we go deeper into the 21st century.)

Southcenter Mall is exactly in this area that Sieverts calls zwischenstadt (the “in-between city”), and, like Sieverts, I think this kind of area is unappreciated and often misunderstood.

My point of view is this: I think of a center not as a real thing but as a necessary illusion—or, in other words, a form of cognitive mapping. In the way that we see other galaxies in the universe flying away from us, and therefore giving us the impression of being at the center of all things, when in fact any point in the universe would give you this impression—of being at the center of the universe and galaxies flying away from you—the center of the city has the appearance (not the reality) of being the center. The reality? Not one center but multiple centers; not one universe but Deutsch's multiverse.

Friday, July 3, 2009

Suddenly in Seattle

Posted by Charles Mudede on Fri, Jul 3, 2009 at 10:57 AM

policebeat2_feature.jpg If you are free in a couple of hours, my film Police Beat will make an appearance on a screen in the Northwest Film Forum. Afterward, I'll talk about cities and stuff with the novelist Matthew Stadler and the German urban planner Thomas Sieverts.

One Pot also has a Sievert's event this evening at the opening of the Suddenly Exhibition in Pioneer Square. These are things you might like to do.

Thursday, July 2, 2009

Today in Vertigo-by-Proxy

Posted by David Schmader on Thu, Jul 2, 2009 at 12:20 PM

Yesterday in Chicago, the Sears Tower unveiled four retractable glass-bottom skydecks that jut out from the building's 103rd floor, and just looking at the photo posted on Towleroad almost made me pass out.

More photos here.

Friday, June 19, 2009

Life Inside the Box

Posted by Dominic Holden on Fri, Jun 19, 2009 at 12:12 PM

Joel Egan, principal of HyBrid Architecture, thinks construction as we know it is waning—soon buildings large and small will be built off-site and delivered. “Construction techniques have been the same for over 100 years,” he says. “Everyone is building the exact same way: Thousands of little pieces, thousands of little sticks and parts are brought to a site. That is not sustainable,” says Egan. “That is like ordering a car and getting a box of parts dropped off in your driveway. It’s clearly time for construction to evolve.”

Cranes are hoisting 12 steel cargo containers onto a site in Georgetown today to create two three-story buildings designs by HyBrid, which only designs prefab buildings. They will contain about the 7,200 square feet of space, partly for an interior-design showroom. Here's what it will look like once complete:

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This design is an adaptation of a 2004 project, which never got built. An illustration of that building is below.

862b/1245438364-hybrid_2004.jpgThis modular construction alternative, Egan says, means buildings can be constructed more quickly, less expensively (20 to 40 percent less), and can be easily fitted to contain green roofs and other features to conserve energy. And they last longer, even if it’s not at the same location. “No one will ever take wrecking ball to a modular building because it makes more sense to cut the connections and disassemble it and relocate it,” he says.

HyBrid has also been partnering with Mithun Architects for the past several years to construct a massive modular 62-unit apartment building on Dexter Avenue North made of wood. The plans have changed slightly since we reported it in last year. “It’s got a new site … and it appears to be moving forward to essentially a bigger project,” says Egan.

Tuesday, June 9, 2009

From the Bottom to the Top

Posted by Charles Mudede on Tue, Jun 9, 2009 at 10:51 AM

According to AFP, Vancouver is the softest city in the world
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...and Harare is the hardest city in the world.
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The rating system ranged from "zero (intolerable) to 100 percent (ideal)." Vancouver got 98 percent (the best), and Harare got 37.5 (the worst). However, the Harare in my memory (I have not been there since 1993) was not bad at all. It had its magic and moments. The Harare of today (the Harare that got such low marks) must be the zombie of the Harare in my memory. That Harare was much closer to Salisbury.


The photo of Vancouver is by photo Po Yang; the photo of Harare is by ctsnow.

Thursday, June 4, 2009

BK on SBC

Posted by Jen Graves on Thu, Jun 4, 2009 at 10:32 AM

ce88/1244136935-stevenmiller_sbc.jpgBrendan Kiley's got a great piece on SuttonBeresCuller's Mini Mart City Park project in the new edition of ARCADE.

photo by Steven Miller

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