Yesterday the Frick Collection announced its plans for a 6-story extension to its gallery in New York, designed by Davis Brody Bond. This article by Robin Pogrebin in the New York Times outlines the details of the extension, as the Frick adds itself to the list of post-recession cultural building projects – a list which includes the Museum of Modern Art, the Whitney Museum of American Art, and Miami‘s Pérez Art Museum. The article also outlines the challenges the Frick will have in expanding its landmarked 1914 building. Read the article in full here.
Yesterday, US Housing and Urban Development (HUD) Secretary Shaun Donovan announced OMA, BIG and four other teams as the winner of “Rebuild by Design“, a competition aimed at rebuilding areas affected by Hurricane Sandy focusing on resilience, sustainability and and livability.
Read more about the winning schemes after the break
With no casualties, last week’s fire at the Glasgow School of Art, which caused significant damage to parts of the building and gutted Charles Rennie Mackintosh‘s canonical library room, will be remembered as a tragic event that robbed us of one of the best examples of Art Nouveau of its time. The intention of the Glasgow School of Art is to restore the building in the hope that in generations to come, the fire will be all but forgotten, a strategy which has been largely well received by the profession.
However, in the case of other fires things have not gone so smoothly: for millennia, fire has played a big role in determining the course of architectural history - by destroying precious artifacts, but often also by allowing something new to rise from the ashes. Read on after the break as we count down the top 10 fires that changed the course of architectural history.
Bohlin Cywinski Jackson and Eckersley O’Callagha, both longstanding collaborators of Apple’s flagship stores, has been commissioned to transform a 93-year-old former United States Mortgage and Trust Company building on Madison Avenue into the chain’s next New York City store. Though little has been released about the design, the store’s grand opening is planned for 2015. More information can be found here.
The following are excerpts from one of 41 interviews that student researchers at the Strelka Institute are publishing as part of the Future Urbanism Project. In this interview, James Schrader speaks with Adam Snow Frampton, the co-author of Cities Without Ground and the Principal of Only If, a New York City-based practice for architecture and urbanism. They discuss his work with OMA, the difference between Western and Asian cities, his experiences opening a new firm in New York, and the future of design on an urban scale.
James Schrader: Before we get to future urbanism, I thought it would be interesting to look a bit into your past. Could you tell me about where your interest in cities came from? Were there any formative moments that led to your fascination with cities?
Adam Snow Frampton: I was always interested in cities, but not necessarily exposed to much planning at school. When I went to work at OMA Rotterdam, I was engaged in a lot of large-scale projects, mostly in the Middle East and increasingly in Asia, where there was an opportunity to plan cities at a bigger scale. In the Netherlands, there’s not necessarily more construction than in the US, but there is a tradition of thinking big and a tendency to plan. For instance, many Dutch design offices like OMA, West 8, and MVRDV have done master plans for the whole country.
The largest private project New York City has seen in over 100 years may also be the smartest. In a recent article on Engadget, Joseph Volpe explores the resilience of high-tech ideas such as clean energy and power during Sandy-style storms. With construction on the platform started, the Culture Shed awaiting approval, and Thomas Heatherwick designing a 75-Million dollar art piece and park – the private project is making incredible headway. But with the technology rapidly evolving, how do investors know the technology won’t become obsolete before its even built?
Today marked the ceremonially opening of the National September 11 Memorial Museum. Set to officially open to the public next Wednesday (May 21), the subterranean museum has already made headlines for its emotional 70 foot decent to the bedrock of the World Trade Center Towers.
Prior to entering the museum’s interior, visitors must first walk past the footprints of the Twin Towers, commemorated by Handel Architects’ cascading granite voids, before entering a Snøhetta-designed stainless steel and glass pavilion that is the museum’s entrance.
As Snøhetta’s founding partner, Craig Dyker describes, the pavilion’s main purpose is to serve as the “threshold between the everyday life of the city and the uniquely spiritual quality of the Memorial.”
More about the pavilion from the architects, after the break…
The New York Public Library (NYPL) has abandoned Norman Foster’s controversial plans to transform part of its 20th century Carrère and Hastings “masterpiece” into a circulating library. The news doesn’t come as much of a surprise, considering the city’s new mayor, Bill de Blasio expressed skepticism towards the $150 million renovation earlier this year.
According to a report by the New York Times, Blasio does not intend on reducing the NYPL funding, however the money will now be allocated to other purposes.
Several library trustees have stated that in order to keep up with the cultural shift from traditional stacks to online resources, they now intend on completing the renovation of the library’s mid-Manhattan branch on Fifth Avenue.
A response from Norman Foster, after the break…
Yes, you read right – the 1960s urban planning battle between Jane Jacobs and Robert Moses will be the central story line for a new opera. Although the premiere is a long way off, its creators promise to bring New York City and the drama to life through song and an elaborate, animated, three-dimensional set. To find out more about the developing project, head on over to Fast Co-Design.
New York Mayor Bill de Blasio has addressed the “crisis of affordability” by implementing a five-borough, ten-year plan that will build and preserve 200,000 affordable units over the coming decade. Believing affordable housing to be part of “the bedrock of what makes New York City work,” Blasio hopes the plan will make New York, once again, “a place where our most vulnerable, our working people and our middle class can all thrive.” Review the plan in detail and check out one of the largest affordable housing projects planned for the city, here.
The following article by Sekou Cooke was originally published in The Harvard Journal of African American Planning Policy.
Not DJ Kool Herc. Not The Sugarhill Gang. Not Crazy Legs. Not even Cornbread. The true father of hip-hop is Moses. The tyrannical, mercilessly efficient head of several New York City public works organizations, Robert Moses, did more in his fifty-year tenure to shape the physical and cultural conditions required for hip-hop’s birth than any other force of man or nature. His grand vision for the city indifferently bulldozed its way through private estates, middle-class neighborhoods, and slums. His legacy: 658 playgrounds, 28,000 apartment units, 2,600,000 acres of public parks, Flushing Meadows, Jones Beach, Lincoln Center, all interconnected by 416 miles of parkways and 13 bridges. Ville Radieuse made manifest, not by Le Corbusier, the visionary architect, but by “the best bill drafter in Albany.”
This new urbanism deepened the rifts within class and culture already present in post-war New York, elevated the rich to midtown penthouses and weekend escapes to the Hamptons or the Hudson Valley, and relegated the poor to crowded subways and public housing towers—a perfect incubator for a fledgling counterculture. One need not know all the lyrics to Grandmaster Flash’s “The Message” or Melle Mel’s “White Lines” to appreciate the incendiary structures built by Moses and his policies. As the Bronx began to burn, hip-hop began to rise.
Richard Kelly illuminated some of the twentieth century’s most iconic buildings: the Glass House, Seagram Building and Kimbell Art Museum, to name a few. His design strategy was surprisingly simple, but extremely successful.
Lighting for architecture has been and still often is dominated by an engineering viewpoint, resigned to determining sufficient illuminance levels for a safe and efficient working environment. With a background in stage lighting, Kelly introduced a scenographic perspective for architectural lighting. His point of view might look self-evident to today’s architectural community, but it was revolutionary for his time and has strongly influenced modern architecture.
Read more about Richard Kelly’s remarkable, and unsung, contribution to architecutre, after the break.
In January of this year, the latest work by Smiljan Radic, the Chilean architect chosen to design the next Serpentine Pavilion, opened to public acclaim. The Museum of Pre-Columbian Art (Museo de Arte Precolombino), located in Santiago de Chile, is a restoration project that managed to sensitively maintain an original colonial structure – all while increasing the space by about 70%.
Two days before the The Museum of Pre-Columbian Art opened, the Museum of Metropolitan Art (MOMA) in New York issued a statement that it would demolish the American Folk Art Museum (AFAM), designed by Tod Williams Billie Tsien Architects, in order to accomplish its envisioned expansion. Two weeks ago, preparations for demolition began.
Some background: MOMA had hired Diller Scofidio + Renfro a year earlier to design the expansion. The office asked for a period of six months to consider the possibilities of integrating the American Folk Art Museum into the design. After studying a vast array of options (unknown to the public) they were unable to accommodate MOMA’s shifting program needs with the AFAM building. They proposed a new circulation loop with additional gallery space and new program located where the AFAM is (was) located.
What appears here is not strictly a battle between an institution that wants to reflect the spirit of the time vs a building that is inherently specific to its place. It represents a lost design opportunity. What if the American Folk Art Museum had been considered an untouchable civic space in the city of New York, much like the The Museum of Pre-Columbian Art is for the city for Santiago? Then a whole new strategy for adaptive reuse would have emerged.
This summer, the drawings, theories and works of architect Lebbeus Woods are headed to the city that Lebbeus considered home. After a five-month stay at SFMOMA, the exhibit “Lebbeus Woods – Architect” will be at the Drawing Center in SoHo, Manhattan until mid-June. The following story and overview of the exhibition, by Samuel Medina, originally appeared at Metropolis Magazine as “Coming Home”.
It’s all too biblical an irony that Lebbeus Woods—architect of war, catastrophe, and apocalyptic doom—died as strong winds, rain, and waves barreled down on Manhattan, his home for some 40-odd years. Woods passed the morning after Hurricane Sandy flooded Lower Manhattan, almost as if the prophet had succumbed to one of his turbulent visions. But this apocryphal reading is just one way to view Woods’s work, which, as often as it was concerned with annihilation, always dared to build in the bleakest of circumstances.
Tod Williams has broke his silence in his first interview since the Museum of Modern Art announced their decision to raze the former Folk Art Museum, expressing devastation that the building will be “reduced to a memory.”
“Yes, all buildings one day will turn to dust, but this building could have been reused,” Tod Williams. “Unfortunately, the imagination and the will were not there.”
Proposals are being suggested on how to resurrect the facade, as the New York Times reported, including a concept from Nina Libeskind, chief operating officer of Studio Daniel Libeskind, and AIA New York executive director Fredric M. Bell that will be presented to MoMA next week. However, Williams expressed disinterest at the idea of installing fragments of the building elsewhere.
Preparations have commenced to demolish Tod Williams Billie Tsien Architects’ American Folk Art Museum in New York. Despite international backlash from preservationists, architects and critics, the neighboring Museum of Modern Art will raze the 12-year-old structure in an effort to make way for an expansion designed by Diller Scofidio & Renfro. According to recent reports, scaffolding has arrived at the site and will soon be erected in front of the museum’s distinct, copper-bronze facade. More on the controversy, here.
A recent article from The New York Times confirms something we’ve all long-suspected. A Pritzker translates into big bucks. Demand for Shigeru Ban’s Manhattan buildings has soared since his awarding of the prize. The New York Times reports that page views of the Metal Shutter Houses, for example, have quadrupled on the listings site Streeteasy.com. Why? The Pritzker name carries weight:
“In this second age of high-flying real estate, brand-name architecture and globe-trotting wealth, the identity of a designer has taken on ever-increasing value to ensure that a project’s multimillion-dollar homes stand out. Anyone can install waterfall showers and Wolf ranges. A Pritzker is harder to come by.”
“Though Mr. Ban’s Pritzker could make it costlier to hire him in the future, some developers find a laureate worth the expense. ‘You can save a lot on plans, because you only have to change 10 percent of the project, instead of 90 percent; the vision is just so complete,’ the developer Aby Rosen said. ‘And you also save a ton on the marketing. People want to write about these Pritzker projects, and an article is way better than an ad.’”
But what does it mean when architecture – particularly the architecture of a socially-conscious designer like Ban – becomes a brand-name item? As Laura Ilonemi writes, “the Pritzker Prize begins to perpetuate an environment that is unhealthy to architecture: too strong a divide is created between winners and non-winners of the same calibre. [...] Sought-after commissions, and other opportunities perhaps better suited to other candidates, may well go to Pritzker Prize winners, helping to reinforce the trend of ‘designer buildings’ in much the same vein as designer label consumer goods and products. ”
As one real estate agent, representing a resident of the Metal Shutter Houses, put it: “It’s like buying an Hermès bag but better.” Is, in the end, the Pritzker nothing more than a branding tool? Should it be more? Let us know your thoughts in the comments below.
Developers Forest City Ratner Companies (FCRC) and Greenland Group have decided to realize SHoP Architects’ original plan to top Brooklyn’s Barclays Center with a 130,000 square foot green roof. Though the design was first disregarded due to budget cuts, the developers have deemed it necessary to enhance the marketability the Atlantic Yards’ three residential towers – the first is currently underway – and dampen the noise from loud concerts. Little details have been released about the green roof’s design, however rumor has it that it might not be open to the public as it was originally intended.