In case you missed it, we’re re-publishing this popular post for your material pleasure. Enjoy!
To celebrate the recent launch of ArchDaily Materials we’ve brought together five projects with fantastic façades, from Viñoly’s Dolby Regeneration Medicine Building in San Francisco to Holzer Kobler’s PALÄON in Schöningen, Germany. A building’s envelope is often people’s first impression and, in recent years, have been one of the focuses of innovation in the design and construction industry. The projects we’ve collated show a glimpse at what’s possible with façades and wall finishings.
In this Metropolis Magazine post on MoMA‘s planned demolition of the American Folk Art Museum, Karrie Jacobs asks a strangely unasked question: How has the Nouvel Tower – in its day the most controversial of MoMA’s expansion plans - not been brought into the debate? The Jean Nouvel-designed tower was predicated up a circulation plan that, by necessity, ignored the (then occupied) Folk Art Museum entirely. Why is this plan no longer possible? Read the fascinating argument here.
The elevated railroad, which was designed to penetrate city blocks rather than parallel an avenue, saw its last delivery (of frozen turkeys) in 1980. By 1999, a “very strange landscape had formed, with a whole eco system around it,” says Diller. Advocacy for the site’s preservation began with two local residents, and culminated in its reclamation with the multidisciplinary collaboration of city officials and impassioned designers (namely James Corner Field Operations, Diller Scofidio + Renfro, and planting designer Piet Oudolf). “The High Line project couldn’t have happened without the right people, the right time and the right administration.”
Today, thirty-feet above the hardscape in the canopy of the New York City jungle, the High Line pauses for a meditative mile. “The high line, if it’s about anything, it’s about nothing, about doing nothing. You can walk and sit, but you can’t be productive,” comments Diller.
Though it has been confirmed that Diller Scofidio + Renfro’s Museum of Modern Art expansion will result in the demise of Tod Williams and Billie Tsien Architects’ American Folk Art Museum, the New York Times has confirmed that the beloved copper-bronze facade will be preserved.
“We will take the facade down, piece by piece, and we will store it,” Glenn D. Lowry, the director of the Museum of Modern Art, said in an interview. “We have made no decision about what happens subsequently, other than the fact that we’ll have it and it will be preserved.”
Alongside news that The Broad’s completion date has been pushed back to 2015, rather than this fall, Diller Scofidio + Renfro has unveiled a new collaboration with landscape architect Walter Hood that will transform the mid-block parcel adjacent to the Grand Avenue museum into a pedestrian-friendly landscaped plaza and restaurant. As reported by the Los Angeles Times, the new square will establish an important link to the neighboring school and apartment, as well as the future 2020 Regional Connector subway stop. The 24,000 square foot parcel will be enhanced by100-year-old olive trees transplanted from Northern California. Watch a video about the design after the break, and find more information here.
With all the controversy surrounding Diller Scofidio +Renfro (DSR) and MoMA’s decision to demolish the American Folk Art Museum to make way for expansion, DS+R has increasingly come under fire (indeed, even DS+R’s democratizing move to make the MoMA’s sculpture garden accessible to the public has provoked considerable ire). In the following article, which originally appeared on Metropolis as “Damage Control,” critic and author Martin Pedersen questions: why didn’t DS+R just walk away?
A few weeks ago, in the wake of MoMA’s decision to raze the Folk Art Museum, the estimable Christopher Hawthorne of the Los Angeles Times asked ; why Diller Scofidio + Renfro (DSR) didn’t simply resign the commission, rather than recommend the demolition of a building designed by their (former?) friends. At the time, I was skeptical of the suggestion. But with the onslaught of negative publicity—which will continue up until the demolition of the building and perhaps well beyond—I’m beginning to think Hawthorne was right. And right not just from a moral, ethical and historic perspective.
Yesterday, Glenn Lowry, director of the Museum of Modern Art (MoMA), and Elizabeth Diller, principal of Diller Scofidio + Renfro, presented their plans for the MoMA expansion to an audience in New York City, insisting - once again - that they require the demolition of the American Folk Art Museum.
The presentation was part of a larger event, “A Conversation on the Museum of Modern Art’s Plan for Expansion,” presented by The Architectural League, the Municipal Art Society, and the American Institute of Architects New York Chapter. After Lowry and Diller reiterated their case, a panel of experts – including the editor of Architectural Record, Cathleen McGuigan, and critic Nicolai Ouroussoff – gave their opinions on the subject (some panelists spousing particularly anti-MoMA sentiments). ArchDaily was there to catch the conversation; read on after the break for the highlights.
Liz Diller on MoMA Expansion: We’d Be Against Us Too “If We Didn’t Know All the Details That We Know”
In a must-read interview with Christopher Hawthorne of the Los Angeles Times, Liz Diller defends her firm, Diller Scofidio + Renfro, and their design of the MoMA expansion.
Hawthorne asks some great, insightful questions: from whether or not architecture should be considered ephemeral to whether or not idiosyncratic architecture is more vulnerable to change. Diller responds with some fascinating points, claiming that if DS+R’s ICA museum in Boston faced demolition, she’d understand because of the possibility that “at a certain point [a building] takes on another identity.” But perhaps the most poignant response is the one that she gives regarding the maelstrom of negative criticism surrounding the demolition of the Folk Art Museum, saying, “We would be on the same side if we didn’t know all the details that we know.” To learn more about those “details,” read on for excerpts from the interview…
Tod Williams Billie Tsien Architects, Diller Scofidio + Renfro Among Shortlist for Vancouver Art Gallery
In an odd twist of fate, the architects of the soon-to-be-demolished American Folk Art Museum, Tod Williams Billie Tsien Architects, and the architects spearheading the MoMA redesign (that will require its demolition), Diller Scofidio + Renfro, will soon compete to design the Vancouver Art Gallery. Joining them on the impressive shortlist are Herzog & de Meuron, KPMB Architects, and SANAA. More after the break.
In a statement released last night, Glenn Lowry, the director of the MoMA, confirmed that the American Folk Art Museum, designed by Tod Williams and Billie Tsien Architects, will be demolished in order to make way for a re-design and expansion spearheaded by Diller Scofidio + Renfro (DS+R).
More information – and the critics’ reactions – after the break.
UPDATE: The video detailing Diller Scofidio + Renfro’s winning proposal for Moscow’s Zaryadye Park has just been released. In it the three partners discuss the central idea behind the proposal – “Wild Urbanism” – in which plants and people are of equal importance and “nature and architecture are merged into a seamless whole.” They explain how each of Russia’s varied landscapes – its tundra, steppe, forest, and wetland – will be imported to the park and overlapped into ”enfolded nodes” that will house sustainable, artificial micro-climates that will allow for year-round use of the park.
The Strelka Institute has announced the winner of the two-stage international competition to design Zaryadye park, Moscow’s first park in over 50 years: Diller Scofidio + Renfro.
Zaryadye Park, 13 acres of land just a minute’s walk from the Kremlin and the Red Square, is hoped to “project a new image of Moscow and Russia to the world.” See the renderings from Diller Scofidio + Renfro’s winning proposal for Moscow’s new and most important public space, after the break…
Friends of the High Line, along side James Corner Field Operations and Diller Scofidio + Renfro, have unveiled what could possibly be the gateway into the third and final stretch of New York’s most prized parkway. Planned to mark the northeast terminus of the High Line at Rail Yards on 10th Avenue at West 30th Street, the “immersive bowl-shaped structure,” known as “The Spur,” hopes to bring a pocket of New York’s lush woodlands to the heart of the city.
It’s been called a “remarkable work of public architecture” that “engages [the city of] Los Angeles” like few others. With the 10 year anniversary of Frank Gehry‘s Walt Disney Concert Hall approaching, the LA Times, with some great, in-depth coverage, has been taking a look back at its architecture and what makes it such an important icon for both Gehry and LA. Oh, and don’t forget to check out its soon-to-be neighbor on Grand Avenue, the Broad Museum by Diller Scofidio + Renfro!
The Department of State’s Bureau of Overseas Buildings Operations (OBO) has shortlisted three design teams for the new U.S. Embassy in Beirut, Lebanon for Stage 3 evaluation. The project is part of OBO’s Excellence in Diplomatic Facilities initiative in which seeks to provide safe and functional facilities that represent the best in American architecture. The shortlisted teams are:
In the 20th century, it was going to be the site of the world’s tallest skyscraper, but it became the world’s largest hotel. In 2006, the hotel was replaced with a fence, the largest advertising space in all of Europe, enclosing acres of undeveloped, highly valuable land. In 2014, it will become Moscow’s first – and most important – park in over 50 years.
Zaryadye Park, located on 13 acres of land just a minute’s walk from the Kremlin and the Red Square, will become a gateway to Moscow, one that will “project a new image of Moscow and Russia to the world.” Because of the Park’s significance, the city of Moscow (with aid from the Strelka Institute for Media Architecture and Design) has decided to host an international competition for its re-design.
The 6 finalists shortlisted for this significant project, after the break…
Taking place this Thursday, June 20th, at 7:00pm EST, Van Alen Books welcomes Diller Scofidio + Renfro for a film screening of ’Reimagining Lincoln Center and the High Line.’ The 54-minute documentary offers insights into the firm’s history, completed projects, and unique process of re-imagining the public identities of two major New York urban spaces. The film includes commentary from the architects as well as interviews with New York City planning commissioner Amanda Burden, as well as several critics and theorists. Before the film, Liz Diller and Ric Scofidio will join directors Muffie Dunn and Tom Piper for a conversation about their work, moderated by VAI executive director David Van der Leer. More more information on the event, please visit here.
After four years of high-brow debate, the demise of the controversial Hirshhorn ‘Bubble’ has been confirmed. The decision, made by Smithsonian Secretary G. Wayne Clough and Undersecretary Richard Kurin, comes shortly after the Hirshhorn board’s split vote resulted in the resignation of director Richard Koshalek – the man behind the ‘Bubble’.
DS+R (Diller Scofidio + Renfro) is one of the most acclaimed architecture practices of these days. The firm was started by Elizabeth Diller and Ricardo Scofidio back in 1979, and they were later joined by Charles Renfro as a partner in 2004.
In the past years the firm has been involved in several cultural projects, including the Blur Building at the Swiss Expo 2002, the Institute of Contemporary Art in Boston, the Julliard School, the Alice Tully Hall and the Hypar Pavilion at Lincoln Center in New York and the Center for the Creative Arts at Brown University. They are also currently working on the Art Museum and Pacific Film Archive in Berkeley, the Broad Museum in Los Angeles, the Museum of Image & Audio in Rio de Janeiro, the Columbia Medical Building and Business School in New York… and the list just keeps growing.
But for sure one of their most important projects has been The Highline, together with James Corner / Field Operations. This urban regeneration project has not only changed Manhattan, but also inspired cities around the world to understand their hidden value. This project is currently on its third stage, which includes a multi-use venue designed by DS+R, the Culture Shed.
In all these projects, there is a common denominator between private/public space relationships, as discussed with Charles Renfro in this interview. In this conversation you will also learn about a very important aspect of the firm’s work, one that is very hard to transmit in traditional architecture media or even on the web: the experience. The art and performance projects that the firm has been doing since its beginning has added a particular layer to their built work. After you see their installations (and the effect they create in people), and then go back to their built projects, you start to see them as a series of situations where users are not static, but part of this performance.
Take for example the sunken auditorium at the Highline, a place that is meant to be seen by the cars driving below, who get a glimpse of the active urban life above. Or the hanging media center at the ICA, that uses the sea as a facade. Or The Art of Scent exhibit at the MAD Museum, where they exhibit the intangible. Or at the Blur Building, where you enter into a cloud.
DS+R’s work is very clear and bold at first glance, but with many underlaying moments and situations that reflect the careful design of each project.
Thanks to UNIACC Architecture School for making this interview possible. Projects by DS+R at ArchDaily: