During the 20th century, Miami Beach reinvented itself several times, from Gilded Age mecca to Art Deco capital, to glamorous 1950s destination, only to become a faded has-been resort by the 1970s. The preservation movement that began in the 1970s and 1980s became its saving grace. By the 1990s Miami Beach, especially its South Beach neighborhood, was one of the hippest communities in the United States, drawing notable European residents like Gianni Versace.
The Cultural Landscape Foundation (TCLF) has released its 2020 edition of Landslide, an annual in-depth report produced by the Washington, D.C.-based nonprofit that profiles—and raises awareness of—a geographically diverse number of at-risk American parks, gardens, horticultural features, working landscapes, and “and other places that collectively embody our shared landscape heritage.”
Throughout the south of the United States, hundreds of mid-century “equalization schools”—public schools built in the 1950s following Brown vs. Board of Education in a desperate effort to maintain segregated “separate but equal” schools in southern states—sit empty, abandoned, and crumbling.
The Chet Holifield Federal Building in Laguna Niguel, California—better known to locals as the “Ziggurat” for obvious reasons—is reportedly at risk of demolition. The six-story, one-million-square-foot government services building is on the chopping block as the U.S. Public Buildings Reform Board, responsible for unloading federal facilities, will likely sell the structure as early as next year.
In the 20th Century, New York City became an epicenter of newly constructed buildings that quickly gained an iconic status. While they greatly influenced new ways that we think about aesthetics and space, many of them met their demise less than 60 years after their commissioning. It seems that in the modern age of mass development, and where a wrecking ball symbolizes progress forward, no building is safe. The tenacity to tear down even these structures deemed to be culturally significant speaks to how architects are quick to dismiss ideas about how long we plan for buildings to live and how we decide when its time for them to come down.
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Menokin Foundation has begun construction on its “Glass House Project”, a new initiative in the preservation of historic landmarks. Protecting what remains from the 1769 house, the intervention will replace missing walls, floors, and sections of the roof with glass. Designed by Machado Silvetti, in collaboration with glass engineer Eckersley O’Callaghan, and landscape designer Reed Hilderbrand, the project will be developed in phases, to be completed in 2023.
This article was originally published on Metropolis Magazine.
Designed by EAA–Emre Arolat Architecture, the 199-room hotel in Antakya, Turkey, features prefab modules slotted into a massive network of steel columns.
The urban surfaces we walk on, planed sidewalks cleared of debris or asphalt streets kept in good repair, are simply the topmost layers of human-churned earth extending sometimes hundreds of feet belowground. In some cities, digging downward exposes dense infrastructure networks, while in others—Antakya, Turkey, for one—construction workers can’t turn over a rock without uncovering priceless relics. The newly opened Antakya Museum Hotel, designed by the firm EAA–Emre Arolat Architecture, has turned one such discovery into a bold new strategy for historic preservation.
Brutalism is merely a basic equation of reinforced concrete + geometry, but while the result of this equation is rather minimal, the architecture movement remains as one of the most debatable styles, ranging between “fascinating structures” and “is it even worth preserving”.
While many perceive Brutalism as “ugly” or “incomplete”, 17 year-old Arhan Vohra found glory in these modernist structures and launched Brutal Delhi, a photography website of New Delhi’s Brutalist buildings, shot through his camera lens.
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Notre-Dame Cathedral, one of the most beloved Gothic landmarks in Paris and Europe, is engulfed by flames this evening as a major fire broke out on the cathedral’s roof. As detailed by The Guardian, it is believed that the fire may be linked to restoration works currently underway. Video footage below shows the iconic spire of the 850-year-old Gothic building collapsing, with fears that the cathedral's wooden interior is under threat. In a glimmer of hope, fire officials have confirmed that the main structure has been "saved and preserved."
The National Trust for Historic Preservation has announced the winners of the Richard H. Driehaus Foundation National Preservation Awards, honoring the best projects on 2018 in the field of preservation and adaptive reuse. The three schemes range “from the reimaging of a former asylum to the adaptive reuse of a historic school to the groundbreaking transformation of a 1.5 million square foot mixed-use facility”
The schemes were chosen from a shortlist of 50 nominated projects by a jury led by Pulitzer-Prize-winning architecture critic Paul Goldberger, recognized for demonstrating “excellence in execution and a positive impact on the vitality of their towns and cities.”
At first glance, The Stealth Building looks like a pristinely-restored cast iron apartment building. That’s because technically, it is. But upon closer inspection, the Lower Manhattan building is rife with innovative restoration and renovation practices by WORKac.
Schmidt Hammer Lassen has won an invited competition for the design of the Marine Knowledge Hub in Liverpool, United Kingdom. The 70,000-square-foot (6,400-square-meter) scheme, intended for marine engineering research, survival training, workspace, and events, seeks to elevate the status of both Liverpool and the United Kingdom in the maritime research industry.
The scheme forms part of the Wirral Waters regeneration project, a £4.5 billion masterplan, which represented the largest planning application ever submitted in the UK in 2009.
Danish firm Schmidt Hammer Lassen Architects has been selected to design the redevelopment of Kimmel Quarter, a historic district in the heart of the Latvian capital of Riga, after an international competition. The 19th-century Kimmel Brewery complex, now mostly abandoned, will be transformed into a mixed-use center featuring a new office building, hotel, and an array of public facilities. Schmidt Hammer Lassen was one of eleven participants, with firms such as Henning Larsen and Zaha Hadid invited to the open competition.
The proposal for the 120,000-square-foot (11,500-square-meter) district manifests as a vibrant, public-orientated program, including a gym, child care center, café, food court, and spa. A series of courtyards and plazas are laced throughout the scheme, connecting old and new in a “timeless, classic appearance that is also uniquely contemporary.” The design took 2nd place in a competition in which no first place winner was selected, as the jury felt that no entry fully met the competition criteria. As the highest-placing entry, the competition organizers have committed to begin negotiations with Schmidt Hammer Lassen to refine the design.
This article was originally published by Common Edge as "How the Restoration of Louis Kahn’s Yale Art Gallery Helped Kickstart Modern Preservation."
I have a distinct memory from my days as an architecture student at the University of California Berkeley in the late ‘80s. During an architectural survey class taught by Spiro Kostof, Louis I Kahn’s Yale University Art Gallery popped up in the slideshow. “Nice building,” I thought, “but what’s with those windows?”
Fifteen years later at Polshek Partnership (now Ennead Architects), I would become the project architect for the construction phase overseeing the rehabilitation of that classic building—the most challenging aspect of which was to replace “those windows.” I came to understand, intimately, how the double-paned window wall had failed almost as soon as construction was complete. Condensation accumulated between the panes, creating the foggy effect that marred my first impression of this groundbreaking building.
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While the exterior of Philip Johnson’s iconic AT&T awaits its fate in an upcoming New York City landmarks designation hearing, demolition of its granite-clad interior lobby has already begun.
Citing the fact that the lobby had already been altered in the 1990s – including the removal of the “Golden Boy” statue – when the building switched tenants from AT&T to the Sony Corporation, the Landmarks Preservation Commission decided last month that the interiors were not deserving of landmark status.
Facing plans for a major renovation that would significantly alter the street presence of the building, Philip Johnson’s Postmodern icon, 550 Madison (formerly AT&T Building) has now cleared the first stage in the process of becoming a designated New York City landmark.
Today, an application to schedule a hearing to landmark the building was approved unanimously by the city’s Landmarks and Preservation Commission (LPC). In a few months time, the LPC will hold a public forum for the building, followed by a deliberation on whether or not the tower deserves official landmark status.
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