Industrial IoT processes increasingly base IoT implementations on the ISA-95 standard, which means organizations must understand what the standard does and doesn't define.

Anyone involved in developing industrial IoT (IIoT) products should be familiar with ISA-95, the standard from the 74-year-old International Society of Automation (ISA), but what is ISA-95 and how does it work?

As the name implies, work on ISA-95 started in 1995 and it continues to this day. ISA-95 defines the software interface between enterprise and control systems. Specifically, it defines semantics and operational models for how industrial control systems -- also called manufacturing execution systems -- exchange information with enterprise resource planning applications. ISA-95 comprises six key components, each of which builds on the other:

The six parts of ISA-95 create three key takeaways. First, ISA-95 is exclusively a software and information model. It describes how the underlying software applications and infrastructure -- such as databases -- should interconnect. Second, most manufacturing applications, software and services in the past 25 years have implemented ISA-95. Finally, experts continue to work on ISA-95. Parts two and five have been updated in 2017 and 2018 respectively to include capabilities required by IoT. These three takeaways lead to three tips that IoT architects and technologists must understand.

No need to reinvent the wheel. ISA-95 is already widespread in manufacturing and industrial organizations. Even though IIoT is in some respects new, it doesn't require rethinking the software, database and information structure from the ground up. That work has already been done and organizations considering IIoT adoption have likely already implemented the structure. IIoT architects should think in terms of integrating into ISA-95, not supplanting it.

Even though IIoT is in some respects new, it doesn't require rethinking the software, database and information structure from the ground up.

ISA-95 is silent on hardware and lower-level infrastructure, including network, security, compute and storage. A fundamental divide splits IT between software and infrastructure people. Even though organizations can implement infrastructure through software, the logistics of getting data from point A to point B, then processing and storing it effectively still comprises infrastructure. Similarly, virtual machines and containerized applications have replaced servers, and software-defined networks and software-defined WANs replace traditional appliance-based networking.

For most software developers, infrastructure stops at the database; they assume the mundane functions of data transport, storage and compute are handled elsewhere. In the world of IoT, there is no "elsewhere" yet. Developers must consider factors such as whether the factory-floor network should be 4G, 5G, Bluetooth or wireless, if IoT analytics should happen in the cloud or on-premises, or where edge computing fits in.

IoT architects and engineers should focus on infrastructure and cybersecurity requirements. Given the established framework of ISA-95, architects can best spend their efforts on network, compute, storage and cybersecurity for IoT and IIoT. The ISA has developed cybersecurity framework IEC 62443 that aligns with ISA-95, but it focuses more on the information and modeling or conceptual level and requires enhancement and extension to cover the entire IIOT. There's not yet an accepted cybersecurity framework governing how these underlying components work together securely and effectively. Standardization efforts are still nascent and chaotic. Organizations should aim to develop a consistent working infrastructure to slide in underneath and around ISA-95, rather than to replace it.

ISA-95 forms an excellent starting point for IIoT architects. However necessary, it's not complete per se, and architects should think in terms of supplementing ISA-95 with the appropriate infrastructure and cybersecurity.

See the article here:
ISA-95 for IIoT gives architects a standard for integration - TechTarget

Fabrix Capital and Berliner Union Film Ateliers (BUFA) have appointed Dutch architects MVRDV and the German Institute for Participatory Design (IPG) to revitalise the film and office campus in Berlin where the Oscar-winning film Cabaret was filmed.

The London-based investment manager acquired the BUFA campus on behalf of a European family office in 2016. The studios are located on the border of Berlins Tempelhof and Neuklln districts. Over the past three years Fabrix has focused on understanding the sites context in Berlins history and the role it might play going forward.BUFAs first studios were built in 1912, with world famous films such as Emil and the Detectives, The Golem and Cabaret having been filmed there. The 256,000 sq ft campus, which overlooks Berlins Tempelhof airport, contains office, studio, post-production, craft and warehouse space, and will be occupied by a range of media companies and change makers including social art and activist groups, scientific and educational organisations as well as NGOs and businesses with human rights, social, or ecological objectives.MVRDV was appointed with a brief to create a place that reflects the key principles of Soil, Soul, Society and Celebration in line with Fabrixs vision for the site to become a place that fosters expression, dialogue and action.As part of the redevelopment, MVRDV plans to create a variety of attractive spaces within the site which will house event spaces as well as social, cultural and educational facilities that can be used by the whole community. MVRDV will follow circular economy principles by using natural and reclaimed materials to create a truly sustainable and inclusive campus.The landscape architecture, which IPG is undertaking, will showcase sustainable life in cities by combining local food production, biodiversity enhancement, urban-rural relationships and educational spaces on site. When complete, the new campus will house playgrounds, gardens, secret pathways and rooftop terraces to enhance creativity, knowledge-sharing and community connections on the site.Along with the site, Fabrix also owns Berliner Union-Film GmbH & Co. KG, an operational film company that provides studio space and post production services to the media industry. As part of the upgrade, Fabrix will also refurbish lettable spaces and develop vacant land to create a campus where occupiers can increase their positive impact and work together.

Read this article:
Fabrix appoints architects MVRDV and IPG to revitalise Berlin campus - Property Funds World

Beijing's latest, hotly anticipated skyscraper opened to the public today: the Zaha Hadid Architects-designed Leeza SOHO tower already made a big splash in architectural media long before it was even finished with its 623-foot-tall, full-height atrium (the world's tallest) and spectacular, Piranesiesque construction photos of the, then still rising, structural skeleton.

The 45-story tower development marks the anchor for the new Beijing Fengtai business district, a growing financial and transport hub outside of the city center and closer to the recently opened, and also ZHA-designed, Beijing Daxing International Airport to the south.

"Leeza SOHOs site is diagonally dissected by an underground subway service tunnel," explains project description from ZHA. "Straddling this tunnel, the towers design divides its volume into two halves enclosed by a single facade shell. The emerging space between these two halves extends the full height of the tower, creating the worlds tallest atrium at 194.15m which rotates through the building as the tower rises to realign the upper floors with Lize road to the north."

Leeza SOHO concept video, courtesy of Zaha Hadid Architects

"This rotation of the atrium intertwines Leeza SOHOs two halves in a dynamic pas de deux with connecting skybridges on levels 13, 24, 35 and 45; its glaced facade giving panoramic views across the city.Leeza SOHOs atrium acts as a public square for the new business district, linking all spaces within the tower and providing varying views due to its twisting, sculptural form; creating a fantastic new civic space for Beijing that is directly connected to the citys transport network."

"The atrium brings natural light deep within the building, acting as a thermal chimney with an integrated ventilation system thatmaintains positive pressure at low level to limit air ingress andprovides an effective clean air filtration process within the towers internal environment. Leeza SOHOs double-insulated, unitised glass curtain wall system steps the glazing units on each floor at an angle, providing narrow ventilating registers to draw outside air through operable cavities where required; creating extremely efficient environmental control for each floor."

"The two halves of the tower shade the atriums public spaces, while the double-insulated low-e glazing maintains a comfortable indoor environment in Beijings extreme weather conditions. With a u-value of 2.0 W/mK, the glazing has a shading coefficient of 0.4. The towers overall external envelope u-value is 0.55 W/mK."

"At the forefront of 3D Building Information Modelling (BIM) in design, construction management and building operations, Zaha Hadid Architects and SOHO China have implemented proven technologies to reduce the energy consumption and emissions at each of their four collaborations, totalling 15 million square feet (1.4 million sq. m) of mixed-use urban space in Beijing and Shanghai."

"Designed to achieve LEED Gold certification by the US Green Building Council, Leeza SOHOs advanced 3D BIM energy management system monitors real-time environmental control and energy efficiency. These systems also include heat recovery from exhaust air and high-efficiency pumps, fans, chillers boilers, lighting and controls. The tower incorporates water-collection, low-flow rate fixtures and grey water flushing as well as an insulating green roof with photovoltaic array to harvest solar energy."

"2,680 bicycle parking spaces, with lockers, shower facilities and dedicated charging spaces for electric and hybrid cars are located below ground; while low volatile organic compound materials are installed throughout Leeza SOHO to minimise interior pollutants and high efficiency filters remove particulates via the air-handling system."

Project Data:Architect:Zaha Hadid Architects (ZHA)Design: Zaha Hadid, Patrik SchumacherZHA Project Director: Satoshi Ohashi

Top of facade: 199.99 mTop of atrium: 194.15 mStandard floor to floor height: 4.1 mNumber of floors: 45 floors above ground,4 floors below groundSite area: 14,365mGross floor area: 172,800mProject Start Date:October 2013Site Works Start Date:April 2015Completion Date:19 November 2019

Be sure to take a deep dive into project drawings and various diagrams in the image gallery below.

View post:
First photos of Zaha Hadid Architects' newly opened Leeza SOHO tower (and the world's tallest atrium) - Archinect

On November 11, 2019, Elizabeth Diller, a cofounding partner of Diller, Scofidio + Renfro and the recipient of the first MacArthur Foundation fellowship awarded in the field of architecture, spoke to a standing-room-only crowd on campus about the completion of two of New Yorks most recent high-profile building projects, the latest expansion of the Museum of Modern Art and the opening of the Shed, the multi-arts center in Hudson Yards.

Amale Andraos, dean of the Graduate School of Architecture, Planning and Preservation, which hosted the event, introduced Diller and noted theastonishing impact of her firms work.

DS+R, an interdisciplinary design studio that integrates architecture, visual arts and performing arts, has shaped what it means to be a cultural institution today and for the future, as well as reimagined how we interact with these institutions and how we understand their role in urban public space," Andraos said, adding that the firm'swork is more than buildings. "The practice has creatively probed the boundaries of architecture as a discipline" and "has a remarkable capacity to visibly render material, the constant question we pose ourselves as architects, which is where to draw or build the line.

In her talk, Diller compared the Museum of Modern Art withthe Shed, both of which are in midtown Manhattan, six avenues apart and 27 streets north-south from one another, yet they couldnt be more different, she said.

After Dillers presentation, Andraos asked her if designing projects in her own city, New York, is different fromworking in other places. Diller answered that there are a lot of architects whoparachute into other cultures,and they need to be sensitive to the fact that culture isn't global. However, she said,"it would be bad if we just worked in our own backyard, we need to import and export talent, but theres a huge learning curve.

Andraos then asked Diller if she thought architecture schools should teach students about entrepreneurship and how to create business plans.

The key, Diller said, was to keep everything in balance. She suggested that students should be willing to do something youre unqualified to do because it could be your best work."

But Diller conceded that being an expert in everything is impossible. "We used to think architects weregeneralists, but were specialists who find the right collaborators. Architecture is not independent and autonomous; its part of everything else. So, figure out how to make the right alliances to have your voice heard.

Excerpt from:
Recap: Architect Elizabeth Diller on MoMA and the Shed - Columbia University

No. 13 on the Top 100 ranking is a course for which Colt gets all the credit: Royal Portrush (Dunluce) in Northern Ireland. That epic layout played host to the 2019 Open Championship, won by Irishman Shane Lowry.

Heres the full list of the Colt-designed golf courses that made our new Top 100 ranking:

1. Pine Valley (PINE VALLEY, NJ; GEORGE CRUMP/HARRY S. COLT, 1918)12. Muirfield (GULLANE, SCOTLAND; OLD TOM MORRIS, 1891/H.S. COLT, 1925)13. Royal Portursuh [Dunluce] (PORTRUSH, N. IRELAND; H.S. COLT, 1929)29. Sunningdale [Old] (SUNNINGDALE, ENGLAND; WILLIE PARK JR., 1901/H.S. COLT, 1922)33. Royal St. Georges (SANDWICH, ENGLAND; W. LAIDLAW PURVES, 1887/H.S. COLT, 1922)54. Woodhall Spa [Hotchkin] (WOODHALL SPA, ENGLAND; HARRY VARDON, 1905/H.S. COLT, 1912/S.V. HOTCHKIN, 1926)55. Swinley Forest (SOUTH ASCOT, ENGLAND; H.S. COLT, 1910)67. Rye [Old] (CAMBER, ENGLAND H.S. COLT, 1895/TOM SIMPSON/HERBERT TIPPET/GUY CAMPBELL, 1907)73. Sunningdale [New] (SUNNINGDALE, ENGLAND H.S. COLT, 1922)86. St. Georges Hill (A & B) (WEYBRIDGE, ENGLAND H.S. COLT, 1913)88. De Pan [Utrechtse] (UTRECHT, THE NETHERLANDS H.S. COLT, 1929)

Most of the architects who come closest to Colts Top 100 haul, like Colt, died long ago. But there are two modern outfits who could give him a run for his money some day. Celebrated modern designer Tom Doak has an impressive six courses already on the Top 100 list, while the famed duo of Bill Coore and Ben Crenshaw have five.

To receive GOLFs all-new newsletters, subscribe for free here.

Link:
Which architect has the most Top 100 course designs? You might be surprised - Golf.com

Buy Photo

Author Paul Wellington has a master's degree in architecture, but is not practicing. He wrote a book about the low number of black architects.(Photo: Rick Wood / Milwaukee Journal Sentinel)

When Paul Wellington wrote his book,he did it to showcase the role African American architects have played in the past and encourage young people to pick up that mantle for the future.

He and architect Nicholas Robinsonemphasized that message at adiscussion at the Milwaukee Public Library's Tippecanoe Branch Wednesday night.

Wellington read several entries from his new book,"Black Built: History and Architecture in the Black Community," which featuresAfrican American architects' from the 1800s to the presentincluding:

It also featured the Sixteenth Street Baptist Church of Birmingham, Alabama, which was built by Wallace Rayfield in 1911. It was also the site of the church bombing thatkilled four African American girls at the height of the Civil Rights movement.

Wellington said the book is meant to show students of color that they could have a future in architecture.

"I want to encourage other African American youth to take this career path and see what they can accomplish," he said.

Nicholas Robinson(Photo: Talis Shelbourne / Milwaukee Journal Sentinel)

Robinson took that career path.

At31,he is the co-founder of DREAM Builders and one of very fewlicensed African American architects in Wisconsin.

As a youngster, he said he was partially drawn to architecture because he loved the idea of getting paid to draw, a passion of his since third grade.

He said he was also drawn to the profession because of how it impactspeople's physical and by extension, mental environments.

So when he had the chance to learn the formal skill in college, he took it.

"Architecture was more about solving problems and allowing the environment to show you what you are supposed to do," he said.

In a city like Milwaukee, architecture can be a challenge because of resource shortages and banks' reluctance to invest in the central city. However, he also noted that working in the central city helps him connect toother organizations that areinvested in the central city.

Robinson and Wellington bothspent six years in school, earning their master's degrees.

During his undergraduate career, Wellington said he didn't study any African American architects and only learned about them duringpersonal research; during his graduate program, he began thinking aboutwriting a book that would highlightAfrican American architectural contributions around the country.

Black Built: History and Architecture in the Black Community.by Paul A Wellington(Photo: handout)

After 16 months of writing and researching at night and taking one-third of the photos himself thatthought became a reality.

Wellington chose to study architecture because, he said,representation matters.

"In the African American community, I feel like if we grow up there, we can help design there. We have an understanding of what is best for those communities," he explained.

Wellington also co-founded MKE Black, an organization that celebrates and promotes African American business and culture.

Marion Clendenen-Acosta, one of fewlicensed African American female architects in the stateand the chair of the Historical Preservation Committee, said she is glad to see architects of color striving for more diversity in the profession.

"It's great to see the energy," she said.

Wellington said this project is just the beginning.He wants to expand MKE Black to an electronic app and explorethe role of African American women in architecture.

The only way to solve the field's current lack of diversity, he said,is showing whats possible.

"Black Built" will be available at Boswell BookCompanyand onAmazon.

Editor's Note: A previous version of this story saidthat Marion Clendenen-Acosta is the only licensed African American female architect in Wisconsin. Anina Mbilinyi is also a licensed femaleAfrican American architect.

Contact Talis Shelbourne at (414) 223-5261 or tshelbourn@jrn.com. Follow her on Twitter at @talisseerand Facebook at @talisseer.

How are we doing? Fill out this survey and let us know.

Read or Share this story: https://www.jsonline.com/story/news/local/milwaukee/2019/11/21/black-built-author-tells-story-african-american-architects/4248903002/

See the original post:
'Black Built' celebrates the works of African American architects from around the country - Milwaukee Journal Sentinel

Its like asking O.J. Simpson for advice on how to be a good member of society or Bernie Madoff for counsel on financial ethics. Why on Earth does the liberal media still expect anyone to listen to what the architects of the Iraq War have to say about the Middle East?

I found myself asking this question after former Deputy Defense Secretary Paul Wolfowitz took to the op-ed pages of the New York Times on Nov. 21 to lecture Americans about how terrible President Trumps Syria policy is, and what the administration could do to turn things around. Why the Times would provide Wolfowitz a driving force behind the Iraq War, the worst U.S. foreign policy blunder since the Vietnam War with such a high-profile platform is a mystery. One possible explanation is that theyre so anti-Trump theyll platform anyone willing to blast the president.

If you care to read the full piece, have at it. But the basic argument Wolfowitz makes is that the United States would be dangerously naive to walk away from Syria and create a vacuum that would inevitably be filled by nefarious actors who hate us. In his words, Walking away from that region has a way of sucking America back in. American strategy needs to protect our critical interests but at sustainable costs.

Wolfowitz, of course, would know plenty about sucking the U.S. into the region. He did it quite well during his time in government.

To the long-time national security bureaucrat, a solid Syria strategy apparently means sitting in place next to Syrias oil fields and providing the Kurds with the muscle they need to strike a permanent political arrangement. That Syrian dictator Bashar Assad has largely won the war and has no incentive whatsoever to compromise his position either eludes Wolfowitz completely or is conveniently ignored for the sake of his argument.

Frankly, we should just we roll our eyes at Wolfowitzs argument because his judgment has proved absolutely awful. He may continue to have admirers in certain corners of the Beltway, but our misadventures in Iraq and Wolfowitzs central role in the tragic failure should have shut the door on whatever credibility he might have once had.

Sure, everybody deserves a second chance, and people make mistakes every day. But Wolfowitzs series of mistakes couldnt have been any bigger or more detrimental to our position in the Middle East. The public record is quite clear: On issue after issue during the lead up to the U.S. invasion of Iraq and its aftermath, Wolfowitzs judgment was terrible. He's the last person we should take our lead from now.

Before 9/11, Wolfowitz advocated for a plan that would have not only placed northern and southern Iraq under U.S. military protection but would have also created a new governing entity called a Free Iraq out of whole cloth. The plan was derided by then-Secretary of State Colin Powell as ludicrous, and the idea went nowhere.

Wolfowitz was fixated on removing Saddam Hussein long before he was confirmed as the Bush administrations number-two official in the Pentagon. The 9/11 attacks provided him with additional room to make his case.

In his recently-released memoir, The Back Channel, former Deputy Secretary of State William Burns recalls hearing about Wolfowitzs lobbying for a pro-regime change strategy in Baghdad during a National Security Council meeting held at Camp David less than a week after the 9/11 attacks. The idea was brushed aside and viewed by even President George W. Bush at the time as a step too far.

Until it wasnt. A year later, the Bush administration was set on pushing Saddam aside. Wolfowitz was a key Bush administration official who made the intellectual case to the American public for why the war was necessary and why it wouldnt be as difficult as (much wiser) detractors in the State Department were saying.

On March 27, 2003, Wolfowitz testified to the House Appropriations Committee that the operation wouldnt cost the American taxpayer very much.

"There is a lot of money to pay for this that doesnt have to be U.S. taxpayer money, and it starts with the assets of the Iraqi people, he told lawmakers. "We are talking about a country that can really finance its own reconstruction and relatively soon.

That, too, turned out to be a ridiculous assessment. Operation Iraqi Freedom winded up costing the American people over $800 billion and perhaps as much as $2 trillion when taking into account veterans benefits and healthcare costs.

So, a question for the liberal media: Why would Paul Wolfowitzs counsel on Syria be any better than his advice on Iraq a decade prior? Dont expect the New York Times to come up with a good answer anytime soon.

Daniel DePetris (@DanDePetris) is a contributor to the Washington Examiner's Beltway Confidential blog. His opinions are his own.

Go here to read the rest:
Why should anyone listen to Iraq War architects' criticisms of Trump's foreign policy? - Washington Examiner

MoMA and PS1 have disclosed to AN that the Young Architects Program (YAP) will be going on hiatus next year, following its 20-year anniversary this past summer. AN had heard from sources close to MoMA PS1 that the program might be shutting down, and upon following up with the Queens institution, Martino Stierli, the Philip Johnson Chief Curator of Architecture and Design at the MoMA, provided the following statement:

Following the 20th anniversary of the Young Architects Program (YAP), MoMA and MoMA PS1 have decided to place the program on a one-year hiatus. We remain deeply committed to supporting and recognizing emerging architectural talent.

Weve already started to use the hiatus to bring together a diverse group of influential scholars and professionals, experimental architects and designers, and previous YAP winners to assess the programs impact for the past two decades, explore its potential, and strategically chart its future. We look forward to sharing more news as we move along in this process.

MoMA could be moving toward a more durable, longer-term commission in its courtyard to serve its outdoor summer Warm Up music series, performance events, and art book fair, but thats only speculation.

Percutaneous Delights by Gelatin in 1998 (courtesy of MoMA PS1)

The Young Architects Programs origins go back to 1998, a year after the Frederick Fisher-designed renovation enclosed the PS1 entrance courtyard in concrete walls. That year, Vienna-based artist group Gelatin installed a scrappy environment in conjunction with PS1s first series of Warm Up summer concerts. Percutaneous Delights was composed of rough compositions of stacked refrigerators, discarded furniture, Po-mo inflatables, a graffitied shipping container, and an array of sprinklers to activate the space with what the P.R. at the time described as a welcoming hang-out for hot summer days.

SHoPs Dunescape in 2000 (Courtesy MoMA PS1)

The following year, PS1 inaugurated its gradual absorption into the MoMA collective with a project by Philip Johnson, ever a follower of fashions (even if it led him, at times, in the direction of Nazism), who designed a Dance Pavilion DJ booth for the 1999 summer concerts as the first collaboration between the two institutions. It wasnt until 2000 that MoMA architecture curator Terence Riley formally established the Young Architects Program as an annual invited competition to promote innovative practices. The program was simple: provide shade, seating, and water for Warm Up. The first winnerif anyone can still remember the now 190-plus person office as a young startupwas SHoP Architects, which demonstrated the kind of digitally designed, people-friendly, carefully crafted form-making that would make them the go-to firm for urban development projects that need a warmer public face.

William Massie, Playa Urbana/ Urban Beach in 2002. (Courtesy MoMA PS1)

The program frequently created opportunities for younger architects to demonstrate conceptual ideas percolating in academia on a small but meaningful scale. Early winners of the competition included Lindy Roy (2001), William Massie (2002), Tom Wiscombe (2003), nARCHITECTS (2004), Hernan Diaz Alonso (2005), and OBRA Architects (2006). Sometimes the projects leaned in the direction of conceptual follies that had less of a service component, and early projects at times demonstrated the limits of digital design as often as its potential. The initial budget was $25,000, later increased to $75,000, though it became common knowledge that most firms would spend more out of their own pockets and lean heavily on interns to build out the ideas.

nARCHITECTS 2004 Canopy installation. (Frank Oudeman)

It was not an open competition: MoMA curators and advisors pre-selected a handful of designers and frequently favored well-connected circles from Ivy League schools and well-connected academics. The arc of the program traces a mini-curatorial history of MoMA, from Riley to Tina di Carlo and Peter Christensen, Barry Bergdoll, Andres Lepik, Pedro Gadanho, Sean Anderson, and Stierli, whose influences are reflected in the selections, along with changes in the profession. Little by little, P.S.1 Contemporary Art Center became PS1 MoMA, then MoMA PS1.

Pole Dance by SO-IL in 2010 (Courtesy MoMA PS1)

Some of the better-regarded highlights over the years included WORKacs 2008 P.F.1 (Public Farm One), which installed a demonstration urban farm that could survive the barren courtyard environment and created an ascending staircase of planter boxes on top of the gravel-covered space. SO-ILs Pole Dance (2010) engaged the playful possibilities of the program with colorful beach balls, overhead netting, hammocks, misters, and flexible PVC pipes, programmed with dance performances.

Holding Pattern by Interboro Partners in 2011 (Courtesy MoMA PS1)

On the most service-oriented end, Interboro Partners (2011) used their project as a demonstration of how PS1 could engage the surrounding neighborhood, building out the courtyard with a kit-of-parts based on the expressed needs of nonprofit organizations, businesses, and others in the community who they interviewed and donated components to at the end of the summer.

Wendy by HollwichKushner in 2012 (Courtesy MoMA PS1)

Later projects by MOS (afterparty, 2009), Hollwich Kushner (Wendy, 2012), The Living (Hy-Fi, 2014), Andrs Jacque/ Office for Political Innovation (COSMO, 2015), and Jenny Sabin Studio (Lumen, 2017) increasingly verged in the direction of critical grotesques, parametric design, and environmental remediation experiments to varying degrees of success. Through it all, the surrounding neighborhood blew up in an astonishing, if predictable manner, in ascending towers of luxury apartments, demolishing the beloved 5 Pointz graffiti space in the process.

If SHoPs origins as a young firm are hard to remember, its even more difficult to retrieve the imperative that once made PS1 so improbable and ingenious a proposition in the first placeand the Young Architects Program an innocent delightwhen its enterprising founder Alanna Heiss somehow convinced the Queens borough president to hand over a closed-down public school to a group of misfits from the SoHo/ Tribeca alternative space scene who proceeded to saw through floors as sculptures.

Notably, one of the names that appears as a funder in the first decade of YAP, along with Bloomberg, Agnes Gund, and Isaac Liberman, is none other than real-estate-reality-show-specter-turned-president Donald J. Trump. How a contemporary art center can meaningfully respond to the current situation, if at all, could be a starting point for the continuation of the program or its eventual cancellation, but the Young Architects Program unquestionably pioneered a model of temporary urban pavilion imitated worldwide, activating public spaces that without major capital improvements or altering their historic character remained inhospitable and inflexible for contemporary needs.

Link:
Exclusive: MoMA and PS1's Young Architects Program is going on hiatus - The Architect's Newspaper

We've selected the most promising architecture and design roles on Dezeen Jobs this week, including positions at international firms Studio Seilern and Trahan Architects.

Architectural assistant at Studio Seilern Architects

Studio Seilern is looking for an architectural assistant with high proficiency in AutoCAD to join its practice in London. The firm converted a half-built conference centre into a 650-seat concert hall in the Swiss Alps.

View more architectural assistant roles

Project designer at Trahan Architects

Trahan Architects completed a Louisiana museum, using over a thousand cast-stone panels to create a series of curving structures inside its interior. The New Orleans practice has an opportunity for a project designer to become part of its team.

Browse all US vacancies

Part 3 architect/Part 2 architectural assistant at Mustard Architects

Mustard Architects is seeking a Part 3 architect/Part 2 architectural assistant to work on bespoke residential projects at its practice in London. The firm added a tapered extension with angular doors to an Edwardian house in west London.

See all architecture opportunities

Architectural assistant at Gort Scott

British firm Gort Scott has transformed a 1960s office block in London's Walthamstow, into a creative hub featuring co-working space, studios and a bakery. The studio is recruiting an architectural assistant to join its London office.

View more positions in London

Part 2/newly qualified Part 3 architect at Theis + Khan

Theis + Khan is searching for a Part 2 or newly qualified Part 3 architect to join its studio in Kent. The practice updated a five-storey Notting Hill home, adding a "cave-like" swimming pool, cinema and gym to its basement.

Browse all roles for architects

See all the latest architecture and design roles on Dezeen Jobs

See the original post here:
Top opportunities on Dezeen Jobs this week include Studio Seilern and Trahan Architects - Dezeen

Mall Studio, Hampstead, London, interior in 1933. The spacious studios were favoured by sculptors, such as Barbara Hepworth and John Skeaping Photograph by Paul Laib. Courtauld Institute

Studio Lives is an unusual and authoritative contribution to the history of British art and architecture between the end of the 19th century and the Second World War. Equal importance is given to the architect and the artist, to the design of the studio and its function as a place of work. The traditional role of the architect dominating the client is challenged through the analysis of 16 case studies; artists are revealed as exceptionally opinionated and demanding clients, and architects as highly receptive to their ideas.

The main narrative is chronological, following shifts in architectural styles from Arts and Crafts to Modernism, and changes in the economic position of British artists, from the golden 1890s to the volatile years between the wars. The case studies are a mixture of the familiar and the unexpected. G.F. Watts, William Orpen and Augustus John are obvious choices both for their celebrity status and the complex narratives surrounding their studios; however, Campbell also selects the sculptors William Reid Dick and F.E. McWilliam, the stained-glass artist Henry Payne, the textiles manufacturer Alastair Morton and four women, Winifred Nicholson, Eileen Agar, Gluck and Dora Gordine.

The sculptors Dora Gordine and Richard Hare at work in Dorich House, Richmond, London, the house they themselves designed Photograph: Historic England Archive

We are not confined to London, but taken to Banks Head in Cumberland (the Nicholsons), to Brackenfell in the Pennines (Alastair Morton), to St Loes in Gloucestershire (Payne) and Fryern Court in Hampshire (John).

The book is enhanced with over a hundred colour and black and white illustrations, many of which are from private collections and have not been previously published. Campbell demonstrates convincingly the power of contemporary magazines with their illustrated interviews and architectural features to build a picture of artists crafting an image of themselves through the planning, design and decoration of their studios.

Louise Campbell, Studio Lives. Architect, Art and Artist in 20th Century Britain, Lund Humphries, 288pp, 35 (hb)

Caroline Dakers is the Professor of Cultural History at Central Saint Martins. Her publications include Fonthill Recovered. A Cultural History (2018) and The Holland Park Circle. Artists and Victorian Society (1999). She is currently researching the public image of artists in British society 1850-1950

Read the rest here:
Demanding artists and receptive architects in book about design and function of the studio - Art Newspaper