Bjarke Ingels has become know for his “promiscuous hybrids" that are reshaping skylines worldwide. Now, after news of BIG's redesign of the 2 World Trade Center, Ingels is being credited for single-handedly transforming New York City's architecture. At the New York Times' Cities of Tomorrow conference last week, architecture critic Michael Kimmelman sat down with the 40-year-old Danish architect to discuss just how BIG is changing New York.
Looking towards the uppermost floors of the new Whitney Museum of American Art, thick clouds roll diagonally across the sky behind. Reflected in the ample window of the museum’s main gallery they dash in a different direction, while the building’s white facade flashes light and dark in response to the changing light conditions. Superimposed over this scene, bold all-caps lettering pronounces the title of an article: the simple but dramatic “A New Whitney.”
This is the sight that greeted readers of Michael Kimmelman’s review of the Whitney in The New York Times last Sunday. Scroll down just a little, and the first thing you encounter is a list of credits: Jeremy Ashkenas and Alicia Desantis produced the article; graphics were contributed by Mika Gröndahl, Yuliya Parshina-Kottas and Graham Roberts; and videos by Damon Winter (the editor behind the entire endeavor, Mary Suh, is not mentioned).
Before even reading the article’s opening words, one thing is clear: this is not your average building review. As a matter of fact, it might even be the most important article in recent architectural memory.
Depending on how you measure it, Renzo Piano's new building for the Whitney Museum of American Art in New York (designed in collaboration with New York practice Cooper Robertson) could be the most long-awaited museum of the 21st century. At just a fraction under seven years since the first designs of the building were released, the incubation period has been long enough on its own - but in fact the project has its roots in a scrapped 1981 design by Michael Graves, when the Whitney was instead planning an extension to their previous home in Marcel Breuer's 1966 masterpiece on Madison Avenue. With such a highly anticipated building, the Whitney could hardly have a better man for the job; Piano is one of the most prodigious museum builders of our time. Yet despite this, since construction began in 2011 the design has been beset by criticism for its ungainly external appearance.
Ahead of the Whitney's grand opening on May 1st, this past Sunday saw a slew of reviews from New York's many reputable art and architecture critics, who attempted to make sense of the institution's long-overdue move from their idiosyncratic but endearing former home. We've rounded up some of the best of them, after the break.
The sudden and unexpected announcement of the Pritzker Prize yesterday evening sent shockwaves through the architecture world. With the sad death of the Prize's latest laureate Frei Otto on Monday, the Pritzker made the unprecedented decision to announce the winner two weeks early, ensuring that Otto's final, crowning achievement would make its way into the obituaries of this great man.
Of course, despite the sudden nature of the announcement, the many critics on Twitter were on hand to lend their initial thoughts in what was an interesting mix of congratulations, sadness and nostalgia. Read on after the break for all the reactions.
In an interview with Erika Allen for The New York Times, Michael Kimmelman discusses "architecture criticism and the dangers of demolition." Kimmelman, the NYT's architecture critic, has built a reputation as someone who advocates for buildings under threat, his most well known "fight" being against renovation plans drawn up by Foster + Partners for the New York Public Library in Manhattan. Referencing his latest column, in which he shows support for the threatened Orange County Government Centre, Kimmelman elaborates on his critical position and why he believes that speaking out for buildings at risk is "necessary."
Tomorrow legislators are due to decided the fate of Paul Rudolph’s Orange County Government Center. The midcentury icon, listed on the World Monuments Fund’s global watch list, has been the center of a prolonged debate challenging its right to be preserved.
“Architecture and health are inseparable,” says Haitian doctor and founder of Gheskio in Michael Kimmelman’s latest New York Times piece In Haiti, Battling Disease With Open-Air Clinics. Recounting the devastating images of medical dysfunction that have circulated the internet since the Ebola epidemic, Kimmelman presents MASS Design Group’s nearly complete Port-au-Prince health clinics as a potential model for healthcare architecture worldwide. Combating cholera and tuberculosis with a modest, practical layout and open-air design, the new clinics will serve one of the city’s largest slums. Learn why Kimmelman declares them “handsome” and believes they will help eradicate disease in Haiti, here.
Nearly a month since the official (and somewhat mundane) opening of New York’s One World Trade Center, New York Times architecture critic Michael Kimmelman has published a scathing review of the SOM-designed tower, claiming it to be a “flawed” emblem of the city’s “upside-down priorities.”
The cost of living in New York has skyrocketed over the years, causing one of Mayor Bill de Blasio’s biggest challenges to be the integration of affordable housing. Considering this, architecture critic Michael Kimmelman has spotlighted a plan that suggests trading parking lots for micro housing units. Envisioned by three young architects at the Institute for Public Architecture, the “9x18” scheme has the potential to transform the city by capitalizing on outdated zoning regulations that would unleash more than 20.3 million square feet of usable space. Read more here on the New York Times.
Responding to the bevy of critics slamming LG Electronics for building their new headquarters in the Palisades in New Jersey (half an hour north from NYC), Lee Rosenbaum, the Palisades-resident and architecture blogger known as CultureGrrl, maintains that "When it comes to preserving the 'pristine Palisades,' the boat has already sailed." Since LG's planned strip will be located on what is, according to Rosenbaum, already "a very commercial strip," she suggests that "that the incensed defenders of the purportedly unspoiled beauty of the Palisades [...] haven’t actually set eyes on them." Check out the images of her neighborhood as well as her very interesting Twitter tussles with The New York Times' Michael Kimmelman, Vanity Fair's Paul Goldberger, and New York Magazine's Justin Davidson at her blog, and let us know what you think of the debate in the comments below.
Each edition of CLOG poses a particular challenge to the reader: by showcasing such a variety of distinct view points, teasing out the central, connective themes is far from an easy task. It requires analysis, thought, and most of all time - which is, of course, entirely the point. CLOG seeks to “slow things down” so that the greater issues of architectural discourse are mulled over and explored.
The latest CLOG, however, Unpublished, has two central points that quickly, easily emerge. Pick up CLOG: Unpublished if you want to learn two things: (1) about how and why certain publications choose the architecture they publish (ArchDaily included); or (2) about works that have, for their geographical location or problematic nature, been forgotten from the “idealized narratives” of architecture
The Municipal Art Society (MAS) of New York has announced New York Times architecture critic Michael Kimmelman as winner of the 2014 Brendan Gill Prize, a cash award presented annually to the creator of a specific work that “best captures the spirit and energy of New York City.” Kimmelman is being recognized, as President Vin Cipolla described, for his “insightful candor and continuous scrutiny of New York’s architectural environment” that is “journalism at its finest.” See why they singled out his coverage on the challenges of Penn Station, here.
After sitting derelict for years, the Kate Wollman Memorial Rink in Brooklyn's Prospect Park is poised for something of a rebirth. Tod Williams and Billie Tsien's plans for a sports complex, known as Lakeside, is expected to restore the rink's role as the park's chief attraction. Michael Kimmelman recently stopped by the site to explore the project as it nears completion - click here to read his thoughts on what he calls one of the last "parting gifts of the Bloomberg era to the city."
Zadie Smith recently suggested that libraries are “the only thing left on the high street that doesn’t want either your soul or your wallet." Michael Kimmelman has put forward the argument in the New York Times that local libraries could be far more important than we think in the aftermath of large storms, suggesting that "places that serve us well every day serve us best when disaster strikes" by fostering congregational activity and offering well-needed warmth, power and friendly faces. You can read the full article here.
New York City Mayor Michael Bloomberg’s 12-year reign has left an undeniable impression on the built environment, which transformed “whole swaths of the city” but also made it “increasingly unaffordable to many.” According to architectural critic Michael Kimmelman, “The next mayor can keep architecture and planning front and center or risk taking the city backward.” Understanding that “the social welfare of all cities is inextricable from their physical fabric,” Kimmelman has laid out a comprehensive, mayoral “to-do list” to “building a better city.” Read it here on the New York Times.
When applying “major surgery” to a beloved, 20th century “masterpiece”, you’re going to face some harsh criticism. Such is the case for Norman Foster, as the legendary British architect has been receiving intense backlash from New York’s toughest critics for his proposed renovation to the New York Public Library. First, the late Ada Louise Huxtable exclaimed, “You don’t “update” a masterpiece.” Now, the New York Time’s architecture critic Michael Kimmelman claims the design is “not worthy” of Foster and believes the rising budget to be suspect.
More on Kimmelman's critique and Foster’s response after the break...
The preservation battle continues over the fate of Bertrand Goldberg’s 1970’s Prentice Woman’s Hospital. As we reported in July, an ever-growing community of prominent architects – such as Frank Gehry, Jeanne Gang, Tod Williams and Billie Tsien – have joined preservationists in the fight to save the late modernist structure that is at risk of being replaced by a new biomedical research facility for Northwestern University. The seven-story concrete cloverleaf, cantilevered 45 feet from the supporting core and floating atop a glass and steel box, is an engineering feat ahead of it’s time as well as an important icon within the Chicago skyline. As architecture critic Michael Kimmelman argues, “Great late-Modernist buildings, innovative and ruggedly beautiful, deserve respect and, increasingly, careful custody. Prentice is a good example.” However, it is not suited for 21st-century research labs and many Chicagoans hate it. Currently, Northwestern University is leading the debate by arguing that a new building would “bring to the city millions of investment dollars, create jobs and save lives”. Could there be a compromise? Solutions are rarely black-and-white. Kimmelman has consulted Chicago architect Jeanne Gang to envision a proposal that would satisfy both opposing sides. Continue reading to learn more.
Yesterday, Michael Kimmelman, the architecture critic for The New York Times, unleashed his anticipated take on this year’s Biennale. Usually, we find ourselves almost perfectly aligned with Kimmelman’s socially-oriented perspective (in fact, we lauded his approach in “The Architect Critic is Dead“); this time, however, we found ourselves almost entirely at his opposite. In our Editorial, “The Most Political Biennale Yet,” we contend that “Common Ground” represented a stepping stone in the Biennale’s evolution: it revealed an unprecedented engagement with reality and reflected, for the first time in any substantial way, architecture’s movement away from “starchitecture” and towards urbanist solutions. Was it perfect? No. But it was engaged. However, Kimmelman’s take suggests that all that progress simply wasn’t enough. In fact, the exhibits we cite as evidence of the Biennale’s progress, Kimmelman cites as exceptions in a festival still overly obsessed with architecture’s big names. What do you think? Was this Biennale very political, or not political enough? Was Kimmelman too harsh? Were we too forgiving? Or are we both off-base? Read on for a few select quotes from our Op-Eds, and give us your opinion in the comments below.