Update: Steven Holl Architects has announced the topping out of the University of Iowa’s Visual Arts Building, a commission they won in a competition in 2010. When complete, the new building will work with their Art Building West, which they completed on the University of Iowa campus in 2006, to provide a dedicated arts space for students. Read on after the break for our coverage of the design reveal from 2013, and for construction photos and up to date renders of the project.
The Metropolitan Museum of Art in New York has tapped British architect David Chipperfield to design its new Southwest Wing for modern and contemporary art. The commission, a result of an international competition, aims to increase gallery space, double the size of the museum’s popular roof garden, and establish accessible on-site storage. “The new design will also enhance gallery configuration and visitor navigation throughout the Southwest Wing, and support a more open dialogue between the Museum and Central Park,” says the architects.
An overlooked strip mall at the corner of Sunset and Crescent Heights boulevards will soon be replaced by a mixed-use, walkable community designed by Frank Gehry. Known to be the “gateway to the Sunset Strip,” the West Hollywood site will be comprised of 249 apartments, restaurants, retail storefronts and a central plaza – all within “an environmentally sensitive building that complements and contributes to the historic architecture in the neighborhood.”
“Frank Gehry’s deep understanding of the property, its history and the context will elevate the project to the iconic and timeless status that it deserves,” said Townscape partner and project developer Tyler Siegel.
Despite Andrés Jaque of Office of Political Innovation emerging as the winner of the 2015 MoMA PS1 Young Architects Program (YAP), his competitors put up quite a fight. One of this year’s five shortlisted proposals, Erin Besler’s Roof Deck breathes life into arguably the most overlooked aspect of architecture – the roof – by injecting it with an active public program and making it a vessel for summer celebration.
Read on after the break for more on Besler’s proposal.
Yesterday Orange County legislators decided to “take no action” against blocking the “destructive” rebuild of Paul Rudolph’s Orange County Government Center. The plan, deemed by architecture critic Michael Kimmelman to be “vandalism,” will remove one of the building’s three sections and replace it with a “big, soulless glass box.”
The 44-year-old brutalist landmark has been the center of a preservation debate for years; lawmakers argue that the building is “not easy to love” and expensive to maintain, while preservationists declare the building is an important piece of modern history and blame its state of disrepair on neglect. The council vetoed an offer last summer to allow a New York architect to purchase the property and transform it into artist studios. More on the decision, and more of Matthew Carbone’s images for Architect Magazine, after the break.
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.
“The plan is to gut Paul Rudolph’s Orange County Government Center, strip away much of its distinctive, corrugated concrete and glass exterior and demolish one of its three pavilions, replacing it with a big, soulless glass box,” says architecture critic Michael Kimmelman. “[The legislators] can do the right thing Thursday. They can overturn the veto and reconsider demolition.” More on Kimmelman’s call to save the Rudolph landmark, here.
Having joined Skidmore, Owings & Merrill after World War Two at the age of 27, Walter Netsch was promoted to become a partner at the age of 31. Netsch entered the firm during what was arguably its defining era, when the reputation of Gordon Bunshaft and the image of a corporate-driven, teamwork-minded made SOM one of the most recognizable practices in the US. He was also, at the age of just 34, responsible for one of SOM’s most recognizable projects of the decade, the Air Force Academy in Colorado Springs and its striking geometric chapel.
To honor what would have been Netsch’s 95th birthday, SOM recently republished an interview between Netsch and architecture theorist and writer Detlef Mertins, which had originally been published in 2001 in SOM Journal 1. In the following extract from this interview, Netsch discusses the story of how he developed the design, and what it was like to participate in one of America’s most influential practices among a host of strong characters.
New York-based firm HWKN have revealed the design for what is to become the University of Pennsylvania’s latest hub for entrepreneurs, researchers, and innovators. Dubbed “The Pennovation Centre,” the project is the first major development within the Pennovation Works, and will occupy a 58,000-square-foot footprint on the campus’ south.
A rejuvenation of the former DuPont laboratory, it is hoped that The Pennovation Centre will become an “iconic landmark” for pen, providing a “dynamic environment” for innovation in varied fields.
Despite his status, Le Corbusier never had the opportunity to build in New York – in fact he only had one chance to build in the United States at all, completing Harvard’s Carpenter Center for the Visual Arts in Cambridge in 1963. But this doesn’t mean his influence isn’t visible all over the Big Apple. Originally published on 6sqft as “Towers in the Park: Le Corbusier’s Influence in NYC,” this article takes a look at three examples where Le Corbusier’s “Radiant City” ideals were transplanted to New York.
Even before taking his first trip to New York in 1935, Le Corbusier described the city as “utterly devoid of harmony.” After seeing it in person, his feelings didn’t soften. He wasn’t impressed by the tall towers, rather stating that they were the product of an inferiority complex, and he thought the city’s leaders were too timid to hire him. He wrote an opinion piece in the New York Times saying that “American skyscrapers have not attained the rank of architecture; rather, they are merely small objects such as statuettes or knick-knacks, magnified to titanic proportions.” He thought the city would benefit from buildings that “don’t try to outdo each other but are all identical.”