On the latest episode of Time Sensitive, a newly launched podcast produced the New York-based “conscious entertainment” media company The Slowdown, co-host Spencer Bailey interviews architect Elizabeth Diller of Diller Scofidio + Renfro in a blockbuster-length conversation. Diller talks with Bailey about designing everything from the High Line to The Shed to the upcoming expansion of MoMA, and also delves deeper into her past, revealing how it was her mother’s idea for her “go into architecture, and if not architecture, then dentistry.” But upon getting into the Cooper Union and studying with professors like Peter Eisenman and John Hejduk, Diller’s path was clear—for the most part, anyway; it’s necessary to listen to the full episode to see why her journey to where she is today was indeed unconventional and roundabout.
Diller Scofidio + Renfo: The Latest Architecture and News
Hungarian firm Építész Stúdió has revealed their design for the New Museum of Transport in Hungary, a scheme which was placed third in an international competition won by Diller Scofidio + Renfro. The Építész Stúdió scheme imagined a new structure placed perpendicular to the existing building on the site, with the two buildings intertwined into one system.
The new series of structures manifest as a virtual continuation of the former head building on the street side, with a band-like entrance canopy linking the old and new units on the railway side. Intersecting the old and new buildings, a “Recreation Bridge” connects to the existing static volume to the dynamic additions.
Months Before Opening Day, the Promised - and Sold - High-Tech Utopia of Hudson Yards is Still Just a Dream
This article was originally published on Metropolis Magazine as "Hudson Yards Promised a High-Tech Neighborhood — It was a Greater Challenge Than Expected."
There’s something striking about the command center of America’s largest private real estate development, Hudson Yards, in that it’s actually pretty boring. The room—technically known as the Energy Control Center, or ECC for short—contains two long desks crammed with desktop computers, a few TV monitors plastered to the wall, and a corkboard lined with employee badges. The ceiling is paneled; the lighting, fluorescent. However, New York’s Hudson Yards was once billed as the country’s first “quantified community”: A network of sensors would collect data on air quality, noise levels, temperature, and pedestrian traffic. This would create a feedback loop for the developers, helping them monitor and improve quality of life. So where is the NASA-like mission control? Data collection and advanced infrastructure will still drive parts of Hudson Yards’ operations, but not (yet) as first advertised.
Diller Scofidio + Renfro has been announced the winner of the 2019 Royal Academy Architecture Prize, an award given annually by the British arts body to recognize firms or individuals who have been "instrumental in shaping the discussion, collection, or production of architecture in the broadest sense."
The Museum of Modern Art (MoMA) has announced an October 2019 opening date of its Diller Scofidio + Renfro / Gensler-designed extension, which will offer 40,000 square feet of gallery space for the iconic institution in Midtown Manhattan. The expansion features two key additions, with the Marie-Josée and Henry Kravis Studio creating a double-height space for live and experimental programming, and the Paula and James Crown Platform offering experimental, creative pace to explore ideas, questions, and processes that arise from MoMA’s collection.
The project has not been without controversy, with considerable backlash generated from the decision to demolish the American Folk Art Museum in order to make way for the new expansion. Speaking to the Los Angeles Times in January 2014, DS+R principal Liz Diller embraced the criticism, saying “we would be on the same side if we didn’t know all the details that we know.”
Architect Liz Diller and architectural photographer Hélène Binet have been awarded the 2019 Jane Drew and Ada Louise Huxtable Prizes, respectively, for their exceptional contributions to the field of architecture. The prizes are part of the eighth edition of the Women in Architecture Awards founded jointly by The Architect's Journal and The Architectural Review.
For those in the northern hemisphere, the last full week in January last week kicks off with Blue Monday - the day claimed to be the most depressing of the year. Weather is bleak, sunsets are early, resolutions are broken, and there’s only the vaguest glimpse of a holiday on the horizon. It’s perhaps this miserable context that is making the field seem extra productive, with a spate of new projects, toppings out and, completions announced this week.
The week of 21 January 2019 in review, after the break:
Construction has completed on Diller Scofidio + Renfro (Lead Architect) and Rockwell Group's (Lead Interior Architect) 15 Hudson Yards, an 88-story skyscraper marking the first residential project in the Manhattan masterplan. The scheme is now open with 60% of residential units already sold, totaling over $800 million in sales.
The tower marks DS+R and Rockwell Group's first skyscraper, designed in collaboration with executive architects Ismael Leyva. The scheme topped out in February 2018 to its architectural height of 914 feet.
During the second half of the twentieth century, architects all over the world, specifically from Europe, produced a legacy of renowned, modern works in Brazil. Following the principles of masters such as Le Corbusier, names like Lina Bo Bardi, Hans Broos, and Franz Heep held an undeniable influence on Brazilian architecture.
In recent years, the country has been welcoming a variety of buildings designed by foreign architects. Below, we have compiled 10 iconic works by international architects.
Architecture is a profession deeply dependent on the visual. It’s imagined, sold, critiqued and consumed almost entirely on the strength (or lack thereof) of drawings. We pick and prod at images presented at angles we’ll never be able to see, admiring the architectonic qualities of elements we’ll never actually experience.
This article was originally published on Metropolis Magazine as "Architecture You Can Smell? A Brief History of Multisensory Design."
What comes to mind when you encounter the term “sensory design”? Chances are it is an image: a rain room, a funky eating utensil, a conspicuously textured chair. But the way things actually feel, smell, even taste, is much harder to capture. This difficulty points to how deeply ingrained the tyranny of vision is. Might the other senses be the keys to unlocking broader empirical truths? Does the ocular-centric bias of art, architecture, and design actually preclude a deeper collective experience?
Try as we might to inure ourselves to the opinions of others, recognition is a powerful thing. It brings with it a captive (and expectant) audience, not just of admirers but of kingmakers - or, cynically, those who see an opportunity to capitalize. For architects, this can be both a blessing and a curse. Many practices start with the motivation to pursue an idea or concept; as recognition becomes diluted to labels it becomes harder to understand what was distinguishing in the first place. This week saw the announcements of a numerous significant awards - and an interview with a practice determined to shake off the labels that come with recognition. Read on for this week’s review.
"Making Problems is More Fun; Solving Problems is Too Easy": Liz Diller and Ricardo Scofidio of Diller Scofidio + Renfro
It is so refreshing to hear the words: “We do everything differently. We think differently. We are still not a part of any system or any group.” In the following excerpt of my recent conversation with Liz Diller and Ric Scofidio at their busy New York studio we discussed conventions that so many architects accept and embrace, and how to tear them apart in order to reinvent architecture yet again. In New York the founding partners of Diller, Scofidio + Renfro have shown us exactly that with their popular High Line park, original redevelopment of the Lincoln Center, sculpture-like Columbia University Medical Center in Washington Heights, and The Shed with its movable “turtle shell” that’s taking shape in the Hudson Yards to address the evolving needs of artists because what art will look like in the future is an open question.
Diller Scofidio + Renfro has won an international competition for the design of a new V&A collection and research center to be located in the Queen Elizabeth Olympic Park in East London.
Designed in collaboration with Austin-Smith:Lord, the scheme seeks to broaden public access to collections of art, design, and performance which are not currently on display. The scheme forms part of V&A East, an initiative which also includes a new museum planned for Stratford Waterfront, designed by RIBA Gold Medal winners O’Donnell + Tuomey.
Architect Elizabeth Diller of firm Diller Scofidio + Renfro has once again been named one of TIME’s most influential people in 2018. TIME Magazine’s annual ‘Time 100’ List recognizes the achievement of artists, leaders, activists, entrepreneurs, and athletes who are exemplary in their fields. Diller has been named to the category of “Titans,” along with Roger Federer, Oprah Winfrey, Jeff Bezos, Elon Musk and Kevin Durant. This is Diller’s second time on the list but the first time being honored as a "Titan."
Other honorees this year include Shinzo Abe, Justin Trudeau, Xi Jinping and Jimmy Kimmel.
What is the role of sound and acoustics in the work of leading architecture practices? In February this year, reSITE and MAAT in collaboration with Meyer Sound hosted RESONATE: Thinking Sound and Space, a conference focused exclusively on the intersection of architecture and sound.
Elizabeth Diller of Diller Scofidio + Renfro, Snøhetta's Kjetil Trædal Thorsen, Michael Jones from Foster + Partners, the founders of Meyer Sound, and the pioneer of sound art Bernhard Leitner spoke with reSITE and Canal 180 at MAAT Museum in Lisbon, Portugal. Below are the 4 episodes in the series, where they discuss the role of sound in designing cultural venues and concert halls and the changing role of the architect in an age of specialization:
The new images show how some of the cultural venue’s interior spaces will look, including the galleries and the vast event space created when the wheeled steel structure is rolled out to its furthest extents. This space will be known as “the McCourt,” named after businessman Frank McCourt Jr, who donated $45 million to the project.
Designed by Diller Scofidio + Renfro in collaboration with Rockwell Group, the 200,000-square-foot cultural center was envisioned as a spiritual successor to Cedric Price’s visionary “Fun Palace,” a flexible framework that could transform to host different types of events.
Seventeen projects chosen by the American Institute of Architects (AIA) have been selected for this year’s Institute Honor Awards for Architecture, an award known to be the profession’s highest recognition of works in America that exemplify an excellence in architecture, interior architecture and urban design.
Out of 500 submissions, the 17 recipients will be honoured with the award at the AIA Conference on Architecture in New York City in June.