In her monthly “Letter from Baltimore,” Elizabeth Evitts Dickinson writes about architecture, culture, and urbanism in a city more often associated with violent crime than with good design. Click here to read her previous posts. For more by Dickinson, visit her blog, Urban Palimpsest.

Photo: Emily Pilloton

Nothing—not even well-intentioned design—is above reproach. The confluence of organizations and individuals working to bring design practice to those who might not normally get it seems to have hit a critical mass, and with it comes the inevitable backlash. In an entry written last fall on his Design Altruism Project Web site, David Stairs lit a firestorm of debate when he argued that “social networking has struck the design world with the force of the Indonesian tsunami bringing changes of sorts, but no guarantees of lasting change.”

So what do we mean by humanitarian design and is it really making an impact? Read more…

Warning: the 2009 documentary Casa Bronfman is guaranteed to arouse severe real estate envy in even the most sanguine New Yorkers. The 38-minute film—which is being shown this weekend at the 28th International Festival of Films on Art, in Montreal—takes viewers on a leisurely tour of the Manhattan townhouse of Edgar Bronfman, Jr., and family. Their 12,800-square-foot home was designed in the 1990s by the architect Peter Rose (who also designed the Canadian Centre for Architecture for its founder and director, Phyllis Lambert—the daughter of Samuel Bronfman, Edgar, Jr.’s grandfather.) Rose took a 1918 townhouse that had been converted into apartments and returned it to a single-family home, organizing the interior around two vertically-stacked central courts. This allowed for ample natural light in the middle of the building—traditionally the darkest part of a New York townhouse—and also created an interesting arrangement of space, with a large semi-private event/entertainment core surrounded by a warren of private family rooms. (And, on top of the lower court, an outdoor garden designed by Dan Kiley.) For a quick tour, check out the three-minute sample of the charming-if-jealousy-inducing film above.

Update, 10/19: Due to a technical glitch, the video is now unavailable; we’re working to restore it as soon as possible.

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On the site today, you’ll find Metropolis’s annual special product issue. After the jump, senior editor Kristi Cameron explains this year’s theme in the latest installment of our “Metropolis Minute” video series. Read more…

Hard to believe but true: It’s already time to start making plans for this year’s ICFF, the nation’s premier trade show for contemporary furniture, which takes place each May in New York’s lovely Javits Center. This year, the four-day fair begins Saturday, May 15; and, as in years past, ICFF Monday will feature a day-long conference organized by your humble servants here at Metropolis.

The 2010 theme is Design Entrepreneurs: What’s Next, with leaders from a range of design disciplines talking about how they’re reinventing their businesses and remaining creative (and socially-conscious) in the new economy. The speakers will include Valerie Fletcher on universal design; Foster + Partners’ Jürgen Häpp on the Abu Dhabi zero-carbon ecotopia Masdar City; WORKac’s Dan Wood on his firm’s Edible Schoolyard in Brooklyn; Yves Béhar on a line of student-designed solar-cell products; this year’s Next Generation honorees on their brilliantly simple fixes for the design environment; and several others. Click here for the full conference schedule.

This year’s conference is sponsored by the American Society of Interior Designers, Dornbracht, and Interiors from Spain. For video of last’s year’s Metropolis Conference at ICFF, click on over to our Multimedia site—or check out the one-minute teaser below. Read more…

The vast majority of the architects and artists that submitted work to Contemplating the Void—an ongoing exhibition at the Guggenheim that re-imagines Frank Lloyd Wright’s iconic building in fanciful, and often humorous, ways—have also contributed those pieces to an online auction that will run through next week.

About half of the 178 items up for auction have yet to receive any bids, and only a quarter elicited more than one offer. The works range from the whimsical, to the psychedelic, to the esoteric, but if there’s a trend, it has more to do with the art-makers than the objects themselves; generally, it’s the fine artists and not the architects that have garnered more, and higher, bids (maybe because they’re easier to collect). Beyond that, it’s hard to see broad differences in approach or style. Some projects look like schematic architectural sketches, others more like plans, paintings, or posters. The works range in estimated value from $500 to $25,000, which, we’re guessing, is a little steep for most people. But with opening bids starting at $150 (and all proceeds going to future museum programming) it’s probably as close as many of us will get to owning a museum-quality print. After all, if you can’t afford a Toyo Ito house, at least you can buy his drawing.

After the jump, images of some of the lots and their auction status as of this morning. Read more…

Last fall we wrote about the architecture firm Anshen + Allen’s Green Patient Lab, a traveling mock-up of a hospital room stocked with the latest and best in sustainable health-care technology and design. Today the firm let us know that it has also begun working with Containers to Clinics (C2C), a Dover, Massachusetts-based nonprofit that’s developing a prototype portable health clinic constructed from industrial shipping containers. C2C was founded in 2008 by a Boston-area physician’s assistant named Elizabeth Sheehan; it aims to deliver routine preventive care to underserved areas of the developing world. (Right now, it’s working to deploy its first prototype in Haiti.) Sheehan estimates that one C2C unit will cost approximately $100,00, but that figure includes transport, equipment, medications, and salaries for seven local staff members. You can watch the retrofit process in the video above; read more at containerstoclinics.org.

After the jump, Anshen + Allen’s renderings of the prototype clinic provide a better idea of the distribution of medical facilities within the 8-by-20-foot steel containers. Read more…

It’s only the ninth of March and already we’re having trouble keeping up with all this month’s design news. If you’re like us (harried, easily distracted, constantly hungry, etc.), then read on for a quick, painless recap of the month’s biggest design news, so far.

President Obama Appoints Edward Tufte to the Recovery Independent Advisory Panel

In his new role, the information-design guru (and vocal PowerPoint critic) will help track and explain the $787 billion in federal stimulus funds. “I’m doing this because I like accountability and transparency, and I believe in public service,” Tufte wrote on his Web site. “And it is the complete opposite of everything else I do.”
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MIT’s New Media Lab Building Opens

Fumohiko Maki’s design draws on Piet Mondrian, George Seurat, and Japanese paper lanterns for a 163,000-square-foot exercise in transparency.

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As much as we love to read around here—and even though we rely on the printed word (and the e-printed word, or whatever you want to call it) for our livelihoods—by some Friday afternoons, we’ve reached our limit; it’s all we can do to drag our text-saturated eyeballs across another line of type. If you’re feeling about the same—and a quick nap isn’t an option—then perhaps a video diversion will help. And we think we have just the thing: a collection of time-lapse architecture videos from around the Web. Read more…

In our running series on accessibility issues in buildings and cities, we’ve looked at some ways that New York City in particular may fall short when it comes to providing easy, well-maintained design for people with limited mobility. So when our publisher noticed what appeared to be a dearth of handicap-friendly design at a well-known restaurant—one that happens to sit in a landmarked building—we took it upon ourselves to investigate.

What we found was one small-scale instance of just how complex these issues can be. In this case, the restaurant blamed the city’s Landmarks Preservation Commission (LPC) for rejecting its request to install an exterior-stairwell hand rail. The LPC countered that it had never received such a request, and that it would almost certainly have approved one if it had. The restaurant’s architect had only worked on the interiors, and therefore claimed ignorance of the whole situation.

It didn’t seem productive to investigate the matter beyond this impasse—but we did want to take a closer look at the larger issues at play here. What interested us most about this case was the building’s historic status. How do city government and private owners reconcile the desire to protect the character of historic buildings with the need to promote accessibility?

In theory, the solution is pretty straightforward. When asked about accessibility features in commercial spaces, a representative from the LPC said, “We’ve never turned down a request for barrier-free access. Our job is to try to figure out a way to solve a problem without detracting from the historic building or diminishing its significance.” To prove the point, LPC provided us with a list of landmarked buildings where new additions had been approved. Where accessibility features like ramps or lifts are necessary, the agency works with building owners to mitigate the visual effect of those additions, sometimes suggesting an appropriate color or material palette or camouflaging the new design with landscaping.

But exploring the bureaucratic world of design regulation made us curious to know more about which buildings fall under what regulations—and since we’d already started, we decided to follow the rabbit hole of building code just a little further. Here, for those curious about how these things work, is what we learned: Read more…

What is happening in the murky video clip to your left? To be honest, I’m not entirely certain. All I can tell you for sure is that this is a preview of the new work by Joris Laarman Lab to be exhibited at Friedman Benda Gallery, in New York, beginning Friday.

Laarman is the young Dutch designer best known for creating the Bone Chair and Bone Chaise, among other bone furniture. For those limited-edition pieces, he used computer algorithms and a trademarked CAD casting method to mimic the growing patterns of bones in bizarre-looking aluminum or polyurethane seats.

His new work includes the Half Life Lamp, which again tries to imitate a biological process in a manufacturing setting. This is a case where it may be best to let the designer speak for himself. Here’s an excerpt from a statement by Laarman:

This lamp Half life – it is half made of living organism and half made of non living material recently died. It was born on February 23 in a Dutch tissue culture laboratory. On the video Half life radiated brightly when it was in healthy conditions. The cells responsible for the emission of light in the hood of the lamp originally stem from a Chinese hamster. In 1957 these CHO cells were isolated from a hamster’s ovary and kept alive as a cell culture for research purposes. In the 1990s this cell line was enriched with the fire fly’s luciferase gene. Ever since than these hamster cells glow in the dark in presence of luciferine. According to present state of knowledge in the life science the development of bioluminescence systems in living organisms occurred naturally about 20 or 30 times in evolution. Well known examples of bioluminescence are found in bacteria, fire flies, and jelly fish.

So the above video illustrates this bioluminescence. And the final result? Read more…