“For the most part, the way urbanists view black neighborhoods (and other low-income neighborhoods and communities of color) are as problems that need to be fixed. At the heart of what I want to say is what can we as urbanists learn from these neighborhoods?” So asks Sara Zewde, a landscape architecture student at Harvard’s Graduate School of Design and this year’s Landscape Architecture Foundation’s Olmsted Scholar, in a fascinating profile on Metropolis Magazine. Read more about Zewde and her work here.
Shoreland, once a prominent destination built for the stars in 1926, stood derelict for years at risk of being erased from Chicago’s built history. This all changed the moment Jeanne Gang of Studio Gang Architects seized an opportunity to restore the monumental building into a highly sought after residential tower.
Provided by our friends at Spirit of Space, the video above takes you through the meticulous process and unique transformation of this historic landmark, highlighting insight by Gang herself and David Gwinn of Silliman Group.
For more on Gang’s design philosophy, watch our recent ArchDaily interview with her after the break…
Produced by The Bartlett Centre for Advanced Spatial Analysis, this somewhat hypnotic video charts the development of London from its origins as the Roman settlement of Londinium to the present day. It maps the changes in the city’s road network and built environment, and catalogs the thousands of historic structures which are now protected by either listing or scheduling. Among the fascinating thing revealed by the video is how historic events continue to have a profound effect on the city’s built environment: for example a law passed after the Great Fire of London determined that new buildings had to be built from brick, resulting in the large number of Georgian buildings that have survived to the present day.
The Scottish arts charity NVA is looking for an architect to carry out the restoration of St Peter’s Seminary in Cardross, designed by Gillespie, Kidd & Coia in 1966. The building is an icon of post war brutalism; the Grade-A listed structure was voted as the best modern building in Scotland by readers of Prospect Magazine in 2005, and is likely to feature heavily in Scotland’s show at the 2014 Venice Biennale. However despite this adoration, the building had a very short functional life and has been in a state of ruin ever since it was abandoned in the 1980s.
NVA is looking for an architect “highly skilled in the conservation of modernist buildings” to take on the £8 million restoration, which will see the sanctuary and refectory preserved in a “semi-ruinous state”, and a nearby 19th-century greenhouse converted into a visitor centre.
Read on after the break for more on the restoration
Venice Biennale 2014: NRJA to Establish First-Ever Database of Latvian Post-War Modernist Architecture
The architects of NRJA have been chosen to curate Latvia’s participation at the 2014 Venice Architecture Biennale. Based on the assertion that “there is (no) modernism in Latvia,” the pavilion’s exhibition Unwritten will confront the lack of research and evaluation of Latvian post-war modernist architecture.
Paul Rudolph’s threatened Orange County Government Center has new hope. According to a report by Architectural Record, New York City architect Gene Kaufman has offered to purchase the building and transform it into artist studios, though under one condition: Kaufman’s practice Gwathmey Siegel Kaufman must be commissioned to design the city’s new government building adjacent to the brutalist landmark. This news comes a week after an 18-3 vote secured plans to restore a portion of Rudolph’s building and return it to its former use.
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.
For the first time in decades, Philip Johnson’s New York State Pavilion will open to the public tomorrow (April 22) in celebration of its 50th anniversary. Built for the 1964-65 World’s Fair, “the Pavilion represents a pivotal time in American history when the allure of putting a man on the moon inspired renowned architect Philip Johnson to create this emblem for Space Age enthusiasm,” described Stephanie Meeks, president of the National Trust for Historic Preservation.
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.
Within days of David Chipperfield being appointed to design the Nobel Foundation’s new home in Stockholm, heritage protesters began to assemble a campaign to prevent the project from fruition.
Declaring they are “opposed to star-architects constructing their angular spectacles of glass and steel right in the middle of the protected historic environment, as monuments to themselves, at our expense and the city’s,” as stated in an online petition, the protesters are particularly upset that the project would require the demolition of multiple historic structures. Thousands have even joined a Facebook group to voice disapproval.
However, despite the backlash, the Nobel Foundation refuses to bow down and believes the protest will not succeed.
More on the protest, and structures slated for demolition, after the break…
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.
UPDATE: The ArchCouncil of Moscow reports that the Melnikov House has been listed as a cultural heritage site of federal value, an important step in its conservation. The following article first appeared on ArchDaily on April 23rd, 2013.
Peter Eisenman, Steven Holl, and Rem Koolhaas are among the many architects who have signed a letter pleading for the preservation of one of Konstantin Melnikov’s greatest works, the Melnikov House. As we reported in December of 2012, the Melnikov’s house 83-year old foundations have weakened considerably since the onset of neighboring construction. Unfortunately, the situation has only worsened “significantly” over the last few months.
Read more about the state of the Melnikov House, and what architects are doing to try and prevent its deterioration, after the break…
Tadao Ando, Elizabeth Diller, Rem Koolhaas and Thom Mayne are among the many signing a petition to urge Russian president Vladimir V. Putin to reconsider the fate of the neglected Shabolovka Radio Tower (Shukhov Tower), “a structure of dazzling brilliance and great historical importance,” as Norman Foster once described. Designed by Vladimir Shukhov and completed in 1922, the 160-meter hyperboloid structure is a 20th-century engineering feat that has served as a landmark of modernist architecture.
Melbourne newspapers are reporting on an argument breaking out over the preservation of the city’s postwar modernist buildings, centering (as ever) on the dispute between their value as cultural heritage vs their ‘ugliness’ (you can see all the contested buildings in a neat graphic at The Age). While many are in favor of preservation, Alan Davies, in anarticle for Crikey, warns that the cultural benefit in protecting these buildings should always be weighed against the cost of preventing the developments that would have taken their place. Read the full article here.
In a public interview, director Mary McGuckian speaks with Shane O’Toole of DoCoMoMo Ireland about her soon-to-be-released film, “The Price of Desire,” a biopic about the influential Irish modernist Eileen Gray – narrated from the perspective of Le Corbusier, no less. McGuckian explains how the film and the extensive research behind it went far beyond the usual remit of a biopic. Indeed, not only did it spawn an accompanying documentary (“Gray Matters“, directed by Marco Orsini) and book, it even played a pivotal role in the restoration of E1027, Gray’s seminal house design, to a point where it was possible to film on location.
McGuckian explains how the film deals with “the universal female experience, particularly for creative women… the lifetime experience of Eileen Gray was a combination of the time she lived in, the personality she was, and for want of a better expression, insidious chauvinism.” The film casts Le Corbusier as Gray’s rival, who defaced E1027 with his infamous murals, but also uses a little cinematic license to present him as the admirer who tells “the story, from his point of view, of how Eileen Gray came to be the most important, inspirational and innovative architect of their generation, and gives her back the right to be recognized for that work.”
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.”
Chicago-based Harboe Architects has been chosen by the Frank Lloyd Wright Foundation to construct a preservation master plan for Taliesin West, which will guide future restoration and conservation efforts for the prized National Historic Landmark. Built in Scottsdale, Arizona, by the hands of the architect himself, alongside his apprentices between 1937 and 1959, the desert landmark served as the winter home, studio and school of Frank Lloyd Wright. Read and relive the story of Taliesin West here on ArchDaily.