Santiago Calatrava’s head-turning World Trade Center Transportation Hub has assumed its full form, nearly a decade after its design was revealed. In light of this, the New York Times has taken a critical look at just how the winged station’s budget soared. “Its colossal avian presence may yet guarantee the hub a place in the pantheon of civic design in New York. But it cannot escape another, more ignominious distinction as one of the most expensive and most delayed train stations ever built.” The complete report, 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.”
“Replacing the twin towers with another giant office building was somehow supposed to show New York’s indomitable spirit: the defiant city transfigured from the ashes. To the contrary, 1 World Trade implies (wrongly) a metropolis bereft of fresh ideas. It looks as if it could be anywhere, which New York isn’t.” You can read Kimmelman’s complete review, here.
Last week, Thomas Heatherwick unveiled his fairytale-like designs for what will hopefully be New York‘s latest and most ambitious park, Pier 55 (with apologies to the High Line, New York’s last ”next big thing” in the public park arena). Envisaged as an undulating artificial landscape on a cloud of mushroom-like supports, Pier 55 has the internet buzzing. In this interview with FastCo Design, Heatherwick discusses the inspirations behind his latest project, explaining how everything including New York’s street grid, the ruins of Pier 54 and yes, even the city’s other recent global green space phenomenon, have manifested themselves in his latest madcap creation. Read the full article here for more.
With their “Past as Prologue“ symposium – a day of lectures celebrating fifty years of Michael Graves‘ career - approaching tomorrow, the Architectural League of New York is taking a look back at one of its seminal exhibitions which heavily featured Graves’ work. When “200 Years of American Architectural Drawing” launched in 1977, New York Times critic Ada Louise Huxtable said “By any definition… a major show,” adding “here is architecture as it comes straight from the mind and the eye and the heart, before the spoilers get to it.” In memory of the show, the Architectural League has published a selection of essays and images from the accompanying book, including the work of Graves, Peter Eisenman, John Hejduk and Richard Meier.
Check out the Architectural League’s collection of 200 Years of American Architectural Drawing here, and don’t forget to tune in to the livestream of the Past as Prologue symposium here at 9.30 EST on Saturday.
The 35-year career of Elizabeth Diller, a founding partner of the New York–based architecture studio Diller Scofidio + Renfro, is a study of contrasts: conceptual and pragmatic, temporary and permanent, iconoclastic and institutional. After graduating from Cooper Union in 1979, Diller started her practice mounting temporary installations with her partner and future husband, Ricardo Scofidio, their interests leaning closer to art and theory than conventional buildings and construction. Today the duo—along with Charles Renfro, who became a partner in 2004—is responsible for some of the most important architectural projects in the country. DS+R counts Boston’s Institute of Contemporary Art (completed in 2006) and a makeover of New York’s Lincoln Center (finalized in 2012) among its highest-profile works. Especially influential, at least among architects and academics, has been the firm’s unbuilt Slow House (1991), a proposal for a residence on Long Island, New York, renowned for its examination of how we see in a media-saturated world.
One notices sharp contrasts not just in the firm’s work history but in its public reception as well. Widely lauded for repurposing a dilapidated elevated railway into New York City’s beloved High Line park (the third phase opened in September), DS+R received heavy criticism this year for its involvement in a major expansion proposal for the Museum of Modern Art. The museum’s plans included the demolition of its little-guy neighbor, the American Folk Art Museum; despite efforts to work the idiosyncratic building into the design scheme, Diller’s studio, hired to lead the expansion, ultimately acknowledged that the structure couldn’t be saved.
Surface recently met with Diller at her office in Manhattan to speak about the ensuing controversy, as well as early career experiences that have influenced her firm’s recent commissions for cultural institutions, including the current exhibition “Musings on a Glass Box” at the Cartier Foundation in Paris (through Feb. 25, 2015), a collaboration with composer David Lang and sound designer Jody Elff. Diller, 60, is pensive and surprisingly relaxed for someone whose aides are constantly interrupting her to remind her of meetings she has to attend. She speaks with an erudite inflection befitting her academic credentials and professional accolades (she is, after all, a professor at Princeton and a MacArthur “genius grant” recipient), though she smiles with the ease of an affable neighbor.
If New Yorkers thought that construction during Michael Bloomberg’s tenure as Mayor was frantic, then what’s coming next might be quite a shock: courtesy of CityRealty, these images show the New York skyline in 2018, when many of the city’s current projects will be complete. Produced from building models by TJ Quan and Ondel Hylton as a marketing ploy for Jean Nouvel‘s 53 West 53rd street which recently (finally) began construction, the images include all of Nouvel’s illustrious future neighbors: the “Billionaire’s Row” including 111 West 57th Street, 220 Central Park South, 225 West 57th Street (Nordstrom Tower) and One57; new Midtown developments such as 432 Park Avenue, 520 Park Avenue, 425 Park Avenue, One Vanderbilt, 610 Lexington, 15 Penn Plaza, and the Hudson Yards towers; and even the latest financial district towers, 1WTC, 30 Park Place, 125 Greenwich, and 225 Cherry Street.
Billionaire Barry Diller, chairman of IAC/InterActiveCorp and former head of Paramount Pictures and Fox, has commissioned Thomas Heatherwick to design a $170 million “futuristic park” on Manhattan’s lower west side. Replacing the deteriorated Pier 54, the new “Pier55” will be a lush undulating landscape, raised atop 300 mushroom-shaped concrete columns placed 186 feet off of the Hudson River shoreline, that will host outdoor performances, act as a marine sanctuary for striped bass and guard the city against storms.
Heatherwick will be collaborating with landscape architect Mathews Nielson. Read on to learn more about the project.
“So in some ways I think that this tragedy gave a sense of purpose to people that was very positive, and we tried to translate that feeling into this building.” In this video from the Louisiana Channel, Craig Dykers of Snøhetta describes how his own experience with the events of 9/11 and the positivity of the spirit of people around him helped inspire the design process of the 9/11 Memorial Museum Pavilion.
He speaks of the journey of healing and understanding as central to the design and experience of the building itself. “As you move through these cycles, you realize one day that you are alive, and you that have to present the strength of being alive to those around you, and this building is meant to be a part of that cycle…to allow you to see yourself, at a moment in time.”
Watch the video above to learn more about the challenges of designing a memorial museum fully integrated within an essentially nonexistent site.
MoMA P.S.1 has announced five finalists to compete in the 2015 Young Architects Program (YAP). Now in it’s 16th edition, the competition will challenge a group of emerging architects to design a temporary installation within the walls of the P.S.1 courtyard for MoMA’s annual summer “Warm-Up” series.
The 2015 shortlist includes Office for Political Innovation (Andres Jaque; NY), brillhart architecture (Jacob Brillhart; Miami, FL), Erin Besler (LA, CA), The Bittertang Farm (Michael Loverich; NY), Studio Benjamin Dillenburger (Benjamin Dillenburger and Michael Hansmeyer; ONT, Canada). The winners will be announced in early 2015.
As the culmination of a 14-month initiative to examine new architectural possibilities for rapid growth in six megalopolises – Hong Kong, Istanbul, Lagos, Mumbai, New York, and Rio de Janeiro – the Museum of Modern Art is preparing to open Uneven Growth: Tactical Urbanisms for Expanding Megacities on November 22. The exhibition will present mappings of emergent modes of tactical urbanism from around the globe alongside proposals for a bottom-up approach to urban growth in the highlighted cities by six interdisciplinary teams made up of local practitioners and international architecture and urbanism experts.
Curator Pedro Gadanho, in collaboration with the Austrian Museum of Applied Arts (MAK), states:
“The exhibition features design scenarios for future developments that simultaneously raise awareness of the prevailing inequalities in specific urban areas and confront the changing roles of architects vis-à-vis ever-increasing urbanization. Each team in the exhibition was asked to consider how emergent forms of tactical urbanism can respond to alterations in the nature of public space, housing, mobility, spatial justice, environmental conditions, and other major issues in near-future urban contexts.”
A synopsis of each team’s work, after the break.
The National Council of Architectural Registration Boards (NCARB) has awarded Parsons The New School for Design and Clemson University the 2014 NCARB Award to aid the development of innovative programs that merge practice and education.
“The award honors innovative ways for weaving practice and academy together to address real-world architecture challenges,” says NCARB CEO Michael J. Armstrong. “The winning proposals for 2014 explore new paradigms of practice and move students from the theoretical to applied practices working with licensed practitioners.”
The first tenant has moved into the One World Trade Center, making Monday, November 3, the official opening of the (arguably) tallest building in the Western hemisphere 13 years after the tragedy of 9/11. The “extraordinary moment was passed in the most ordinary of ways,” described the New York Times, as employees of Conde Nast entered into the white marble lobby (taken from the same quarry that produced marble for the original twin towers) and headed straight to the elevators to start their work day.
The relationship between immortality and architecture is ancient one. Writing in The New Yorker, Alexandra Lange discusses the past and future of cemetery design in relation to a new exhibition on display in New York. Featuring a selection of 1300 individual mausoleum designs stored in Columbia University’s archives, Lange notes how “patrons weren’t picky about originality. In the late nineteenth century, memorial companies might just bring back a shipment of angels from Carrara to be distributed among future clients.” These “rural estates in miniature” eventually gave way to more contemporary designs which dabbled in Realism and Cubism. What will the people of today house their remains in? For Lange, “the design we take personal pleasure from everyday is now less likely to be architecture and more likely to be an interface.” Read the article in full here.