Commission for Architecture and the Build Environment’s Severance Package Details Released

If you recall back to the tail end of last year, when budget cuts were sweeping through the UK with an unmerciful vengeance, and sympathies were particularly heavy toward the Commission for Architecture and the Build Environment (Cabe) as they announced their government funding had been cut. Prince Charles even got a (now semi-routine) batch of flak for offering to help take over some of their architectural review duties with his Foundation for the Built Environment. However, according to a recent report by the Telegraph, perhaps the former employees, the ones who didn’t stick around when the organization merged with the UK’s more famous Design Council, did okay for themselves with some fairly generous severance packages. “Golden handshakes,” the paper calls the government-wide redundancy packages, which reportedly cost British taxpayers somewhere in the range of “almost £1 billion.” Cabe itself apparently did okay, with £2.7million spread across the 76 employees who were laid off. Building Design highlights that its former director of resources, Charlotte Cane, “received £224,000 when she left her post” and Matt Bell, director of campaigns and education, “was handed a £111,000 payout.” Whether you think it’s a good thing that the people in these creative professions weren’t thrown out on the street when the government decided to cut off their employers, or that they should have to pay back every Pound and live in shame, working in forced labor on a peat bog somewhere in the country for the rest of their lives is completely up to you. We just post about it.

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Bill and Melinda Gates Foundation Launches Toilet Redesign Program, Pledge $42 Million

Making the rounds this week, and rightly so because it involves both a billionaire and something people can giggle like children about, is the launch of the Bill & Melinda Gates Foundation‘s “Reinventing the Toilet Challenge,” which is exactly what is sounds like. This week, at the AfricaSan Conference in Rwanda, the Foundation announced that it would be putting $42 million toward grants for helping to rethink and redesign the traditional toilet, searching for innovations that would aid not only sanitation in developing countries, but also finding ways to safely process waste into such things as reusable energy and fertilizer. The Foundation has released a list of the first eight projects they’ve given grants to (pdf), but because lists don’t get attention as well as an animated, somewhat humorous YouTube video, they’ve put out on of those as well:

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Stirling Prize Shortlist Released, ‘Austerity’ Awaits Its Moment

Around this time of year, we start getting a bit exhausted by the annual architecture prizes. It’s only July, but we’ve already been through the Pritzker, the van der Rohe, who gets the Serpentine, and of course, the shortlist for the Architect Barbie Dream House Design Competition. We’re sure we missed some in that list and that there are more to come, but getting to Stirling Prize always seems like it’s the end of the season. So here we now are with the shortlist for the Royal Institute of British Architects‘ top honor. For the first time ever, all the nominees have been at least nominated for the prize in previous years, and, as to be expected anymore: former winners are on there again as well. Those two are David Chipperfield for his Folkwang Museum, and Zaha Hadid, returning again after winning the award last year, this time nominated for her Evelyn Grace Academy. However, neither starchitect seems to be the favorite, as it appears that Hopkins Architects’ velodrome for the 2012 Olympics is the betting person’s picks. However, as the Guardian puts it, the real story in the Stirling shortlist is that two of the finalists aren’t new construction at all, but rather rehabbed buildings that “save money and energy” and signal a “new austerity in architecture.” We will know for sure if this new austerity is really swept in or not on October 1st, when the winner is announced.

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Frank Gehry’s Luma/Parc des Ateliers Put on Hold

It’s perhaps too early to tell, because who knows what else might be in store either positive or negative, but thus far, 2011 is shaping up to the be the year that the French decided to irritate Frank Gehry. Back in April, you might recall, the famous architect’s Louis Vuitton Foundation for Creation project on the outskirts of Paris was put on hold for two months after neighboring residents there fought to stop the building. Eventually, after some particularly terse words by Gehry, wherein he called the detractors “individualistic, uncouth philistines,” the powers that be eventually pushed the project forward and work resumed. Who knows what sort of language he’ll use this time, as just a few months later, another stop work order has been put in place, this time on his Luma/Parc des Ateliers. That project was the belle of the ball at last year’s Venice Architecture Biennale, with spectators swooning all over his plans for a park in Arles that features a new cultural center all gussied up in typical Gehry fashion, with lots of crooked-metal-on-metal action. The Art Newspaper reports that the hold up on building all of it comes at the hands of the French National Commission for Historical Sites and Monument who rejected “two out of five building permit applications.” They have called for Gehry’s buildings to be relocated elsewhere in the park for two reasons: a) they would obscure a medieval bell tower, and b) their construction in the current planned location “would disturb the underground Roman-Gallo Sarcophagi” (echoes of Gehry’s Museum of Tolerance problems there, eh?). So far it appears that the architect won’t be verbally lashing out this time, but has accepted the Commission’s findings and will readjust their plans. However, in doing so, it’s expected to add on six more months before construction can begin.

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‘America’s Presidential Historian’ Arrested After Allegedly Stealing from the Maryland Historical Society

Being as its summer reading season and that’s when you break out the guilty pleasures, we were really hoping for a good true crime heist story to break. Sure, there was that theft at Beijing’s Forbidden City a few months back and more recently, that New Jersey chef who was just caught after having swiped a Picasso, but we were holding out for something more sensational. Fortunately, the fates have provided. The Baltimore Sun was the first to report on the arrest of Barry H. Landau and his young accomplice after the pair were caught trying to steal artifacts from the Maryland Historical Society. What makes the story juicy is that Landau is a longtime and well-known collector of presidential memorabilia. On his site, he even calls himself “America’s Presidential Historian.” He’s hobnobbed with presidents and celebrities for more than 40 years, starting his collection after a visit with President Eisenhower when he was just ten years old, has made countless media appearances, and wrote the best-selling book The President’s Table: Two Hundred Years of Dining and Diplomacy. But now, as the Sun writes, he “sits in Central Booking and is being held without bail.” According to their report, Landau and the “24-year-old Jason Savedoff” spent most of Saturday at the museum looking at documents, after which museum officials eventually spotted the young accomplice “taking a document and concealing it in a portfolio, then walking out of the library.” Police were quick to act and he was apprehended, with Landau following shortly thereafter. It’s sure to be an interesting case, as we’re already riveted by just the crime. Of course it begs the question: what other skeletons are in Landau’s closet (figuratively and perhaps literally as well). Quality summer reading indeed.

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Rogers Marvel Architects Wins Commission to Redesign President’s Park South Outside the White House

We told you the National Capital Planning Commission was quick, and not that we needed it, but now we have the proof to back that up. Just two short weeks ago, the NCPC announced its finalists to redesign the President’s Park South, the open area directly south of the White House. The competition aimed to make the area, now a bit bland, more warm and inviting, even if it did include “beautify[ing] the security components,” which is short for “where the heavily armed guards stationed there hang out.” Unlike many design competitions where the wait between shortlist and winner can take eons, just a few short days later and the NCPC has announced that New York-based Rogers Marvel Architects has landed the commission (pdf). You can see their submission on this page and here’s a description from the announcement of Marvel’s plans for the space:

Rogers Marvel’s design defines the edge of the Ellipse by adding a seating wall with integrated pedestrian lighting, while subtly raising the grade of the Ellipse. This establishes a security feature, reinforces the Ellipse as an event space, and minimizes the visual appearance of adjacent parking. This bold, elegant move allows for a larger, unobstructed interior public area. The design culminates in a new E Street terrace that joins the enhanced space of the Ellipse with the White House South Lawn. The terrace provides another prominent space for public gathering. Should threat conditions change in the future, this design could also accommodate re-opening E Street, NW without requiring significant changes.

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Forensic Art Expert Peter Paul Biro Sues Over New Yorker Profile

Even with having finally hooked up the user account thingie so we could download issues on our iPad after our wife recycles the print edition, this writer is still hopelessly behind in his reading of the New Yorker. However, we’ve recently learned that a) we’re not so far behind as to make it absurd and b) if there was a feature profile about us in an issue, we’d likely make the time to read it right away. This doesn’t seem to be the case with forensic art expert Peter Paul Biro, who has filed a $2 million suit against Conde Nast‘s owners and writer David Grann, claiming defamation after a profile appeared about him in the New Yorker in July of last year. Okay, okay, lawsuits must take a while to put together, so maybe that’s why it’s taken a full year to file, but let’s move on, shall we? Adweek reports that Biro’s suit claims that Grann’s piece “paints a portrait of a plaintiff which has no basis in reality, and which has been highly damaging to his reputation.” Fair enough, as we read the piece way back when and it certainly puts both Biro’s past and his methods into sharp question. However, ArtInfo chimes in that Biro “might be in for an uphill battle” considering that several of the sources used in Grann’s article to help paint him in such a fashion were anonymous, and worse for him still, no longer living. So getting proof that he was defamed will perhaps mean finding ways around journalistic privilege and the great beyond. To read up on the whole matter and make up your own mind, you can read some great highlights from the Courthouse News Service about the filing. Here’s but a slight portion of the claims:

Biro adds: “Defendant Grann obtained plaintiff’s consent to a series of interviews, by misleading him about defendant Grann’s true intentions in writing the article, and he distorted the substance of those interviews to serve a predetermind agenda.”

Biro claims that Grann’s article “ignores the many highly celebrated and iconic masterpieces of art which plaintiff has been privileged to work with, including Edvard Münch’s ‘Scream’, works by Leonardo da Vinci, Claude Monet’s ‘Impression, soleil levant‘, and many works by J.M.W. Turner.

And here’s the official word from the New Yorker‘s David Remnick:

“David Grann’s reporting on this story and everything else he does is painstaking in both its attention to the facts and tone. We stand with David Grann and behind the story and believe the suit has no merit.”

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Van Gogh Museum Set to Close in 2012 for Renovations, Collection Moving to Hermitage Amsterdam

Hot off the heals of last year’s fun “watch them restore The Bedroom live” online project and the recent news that a once-though self-portrait is now believed to be a painting of his brother, Amsterdam’s Van Gogh Museum is closing up shop. We could very nearly hear your audible gasps at that news, but rest easy (and stop gasping so loudly), the museum will just be closing temporarily, as their building is renovated, largely “to meet the heightened security requirements for the visitors and the art” (we think that means that they’re going to re-do all the eyes, so it looks even more like the paintings are looking at you no matter where you are in a gallery — that’s always spooky). What’s more, the Van Gogh is giving everyone plenty of notice, as they won’t close down until September 15th of next year, then hoping to re-open on March 15th of 2013. In the interim, if you’d like to still see a bevy of paintings by the artist, you’ll only need take the short hike over to the Amsterdam arm of the Hermitage, the aptly named Hermitage Amsterdam. The fellow museum will take a reportedly large collection from the rehabbing museum, both for safe keeping and to mount a special exhibition. So now that you know all the details and understand that you have a whole year to prep for its closure and that, on your next trip to Amsterdam, you can still swim in a sea of Van Gogh’s, hopefully you’re back to being calm and relaxed. It’s at this point that we wouldn’t even dare tell you another piece of museum news: that plans for a Bruce Lee Museum in Hong Kong have fallen apart and it doesn’t look like it’s going to be built. Oh, wait… Sorry. Please feel free to take another Xanax.

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Marine Conservationist Organization, Blue Ventures, Wins Buckminster Fuller Challenge

Spring has come and gone and now that summer is here, we’ve long moved past the annual Buckminster Fuller Challenge shortlist and are ready to crown a winner. The prize, which hands out “a $100,000 prize to support the development and implementation of a strategy that has significant potential to solve humanity’s most pressing problems,” has this year been awarded to Blue Ventures, “a conservation organization that simultaneously protects marine environments while improving the standard of living in some of the world’s poorest coastal communities.” We’d try to explain exactly what it is that Blue Ventures does, which involves things like designing and implementing plans for a Marine Protected Area in the Indian Ocean, which has benefited more than 10,000 people in traditional fishing villages, but it’s probably best if we let the video they submitted for the Challenge do the talking:

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Possible Oversight by Foundation Results in Robert Smithson’s Spiral Jetty Being Handed Over to the State of Utah

If you are the foundation in charge of overseeing an iconic piece of art by a celebrated American artist, it’s always best to make sure you jot a note in your calendar to remind you to pay the annual $250 fee for the land it’s sitting on. According to the Salt Lake Tribune, that oversight has apparently occurred with Robert Smithson‘s “earthwork masterpiece,” Spiral Jetty. The paper reports that the New York-based Dia Foundation, which was tasked with overseeing the Utah installation by the artist’s estate, failed to pay the small annual fee for the 10 acres of submerged land it sits in. “Worse,” they report, “Dia had also failed to respond to the state’s automatically generated notice in February that its 20-year lease on the lake bed had run out.” Not having received a check or a response, Smithson’s installation went into the hands of the State of Utah last week. For their part, the Dia Foundation released a statement on their site, with director Philippe Vergne saying that they were “stunned to read” the Tribune article, apparently that being the first they’d heard of any of this. The Foundation reportedly immediately got in touch with the state and are in negotiations to smooth out the issue. “We are in close contact with the State of Utah to resolve the matter,” Vergne writes in his statement. “Maintaining Spiral Jetty in perpetuity is central to Dia’s mission and purpose, and to the history of American art.”

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