New York City’s Hudson Yards has opened its doors to the public, and the reviews are flooding in. Built on Midtown Manhattan’s West Side, the project is New York’s largest development to date and the largest private real estate venture in American history, covering almost 14 acres of land with residential towers, offices, plazas, shopping centers, and restaurants. A host of architecture firms have shaped the development, including BIG, SOM, Diller Scofidio + Renfro, Rockwell Group, and many others.
Read on to find out how critics have responded to Hudson Yards so far.
Contrary to some beliefs, climate change is not simply some unidentifiable threat perpetually on the horizon, but a phenomenon that has already had real impact on real world places. To illustrate the effects of our changing environment, the New York Times has launched a new multi-media series called “Changing Climate, Changing Cities,” written by architecture critic Michael Kimmelman, that aims to expose how climate change is “challenging the world’s urban centers.
The first installment takes a look Mexico City, where environmental issues that have already wreaked havoc for centuries, such as water shortage and ground subsidence, are beginning to see their effects multiplied by the city’s changing climate. The piece explains the root of these problems, and their effect of an already fragile infrastructure and social fabric.
When we started talking about migration [as a conference theme], everybody said ‘don’t do it, it’s too controversial.’ We said that’s exactly why we’re going to do it.
This defiant attitude was how Martin Barry, Chairman of reSITE, opened their 2016 Conference in Prague three weeks ago. Entitled “Cities in Migration,” the conference took place against a background of an almost uncountable number of challenging political issues related to migration. In Europe, the unfolding Syrian refugee crisis has strained both political and race relations across the continent; in America, Republican Presidential candidate Donald Trump has led a populist knee-jerk reaction against both Mexicans and Muslims; and in the United Kingdom—a country only on the periphery of most attendees’ consciousness at the time—the decision in favor of “Brexit” that took place a week after the conference was largely predicated upon limiting the immigration of not only Syrians, but also of European citizens from other, less wealthy EU countries.
In architecture, such issues have been highlighted this year by Alejandro Aravena’s Venice Biennale, with architects “Reporting from the Front” in battles against, among other things, these migration-related challenges. From refugee camps to slums to housing crises in rich global cities, the message is clear: migration is a topic that architects must understand and respond to. As a result, the lessons shared during reSITE’s intensive two-day event will undoubtedly be invaluable to the architectural profession.
On the eve of the Venice Biennale, The New York Times’ Michael Kimmelman sits down with Alejandro Aravena in an intimate profile for T Magazine’s Beauty Issue. Visiting a number of projects by the architect and his office, Elemental, Kimmelman experiences socially minded architecture in an age of informal growth, income inequality, and mounting threats linked to climate change, all while learning about Aravena’s own path and growth as a practitioner. Although told by colleagues that he might be standoffish, Kimmelman finds Aravena to be “earnest, open, a little nerdy –– and deadly serious.”
"During the Middle Ages, smell was the unspoken plague of cities," writes New York Times architecture critic Michael Kimmelman. "Today it is sound." In his latest article, entitled "Dear Architects: Sound Matters," Kimmelman breaks down an often-overlooked element of architectural design, explaining how space shapes sound, and how sound shapes our experience of a space - and imploring architects to put more thought into the sonic environments created by their designs.
Frustrated with the congestion of panhandlers, Mayor Bill de Blasio has shocked New York City dwellers by threatening to remove their beloved Times Square. As New York Times' architecture critic Michael Kimmelman reports, this comes at a time when dwellers fear that quality of life is declining in the city: "Entertaining the demolition of the plazas, the mayor sends a message that New York can’t support the sort of great pedestrian hubs that thrive in competing cities around the globe." Blasio said he will look into the "pros and cons" of returning Times Square to traffic. Read Kimmelman's full report on Blasio's threats, here.
Looking towards the uppermost floors of the new Whitney Museum of American Art, thick clouds roll diagonally across the sky behind. Reflected in the ample window of the museum’s main gallery they dash in a different direction, while the building’s white facade flashes light and dark in response to the changing light conditions. Superimposed over this scene, bold all-caps lettering pronounces the title of an article: the simple but dramatic “A New Whitney.”
This is the sight that greeted readers of Michael Kimmelman’s review of the Whitney in The New York Times last Sunday. Scroll down just a little, and the first thing you encounter is a list of credits: Jeremy Ashkenas and Alicia Desantis produced the article; graphics were contributed by Mika Gröndahl, Yuliya Parshina-Kottas and Graham Roberts; and videos by Damon Winter (the editor behind the entire endeavor, Mary Suh, is not mentioned).
Before even reading the article’s opening words, one thing is clear: this is not your average building review. As a matter of fact, it might even be the most important article in recent architectural memory.
Depending on how you measure it, Renzo Piano's new building for the Whitney Museum of American Art in New York (designed in collaboration with New York practice Cooper Robertson) could be the most long-awaited museum of the 21st century. At just a fraction under seven years since the first designs of the building were released, the incubation period has been long enough on its own - but in fact the project has its roots in a scrapped 1981 design by Michael Graves, when the Whitney was instead planning an extension to their previous home in Marcel Breuer's 1966 masterpiece on Madison Avenue. With such a highly anticipated building, the Whitney could hardly have a better man for the job; Piano is one of the most prodigious museum builders of our time. Yet despite this, since construction began in 2011 the design has been beset by criticism for its ungainly external appearance.
Ahead of the Whitney's grand opening on May 1st, this past Sunday saw a slew of reviews from New York's many reputable art and architecture critics, who attempted to make sense of the institution's long-overdue move from their idiosyncratic but endearing former home. We've rounded up some of the best of them, after the break.
The sudden and unexpected announcement of the Pritzker Prize yesterday evening sent shockwaves through the architecture world. With the sad death of the Prize's latest laureate Frei Otto on Monday, the Pritzker made the unprecedented decision to announce the winner two weeks early, ensuring that Otto's final, crowning achievement would make its way into the obituaries of this great man.
Of course, despite the sudden nature of the announcement, the many critics on Twitter were on hand to lend their initial thoughts in what was an interesting mix of congratulations, sadness and nostalgia. Read on after the break for all the reactions.
“Architecture and health are inseparable,” says Haitian doctor and founder of Gheskio in Michael Kimmelman’s latest New York Times piece In Haiti, Battling Disease With Open-Air Clinics. Recounting the devastating images of medical dysfunction that have circulated the internet since the Ebola epidemic, Kimmelman presents MASS Design Group’s nearly complete Port-au-Prince health clinics as a potential model for healthcare architecture worldwide. Combating cholera and tuberculosis with a modest, practical layout and open-air design, the new clinics will serve one of the city’s largest slums. Learn why Kimmelman declares them “handsome” and believes they will help eradicate disease in Haiti, here.
The cost of living in New York has skyrocketed over the years, causing one of Mayor Bill de Blasio’s biggest challenges to be the integration of affordable housing. Considering this, architecture critic Michael Kimmelman has spotlighted a plan that suggests trading parking lots for micro housing units. Envisioned by three young architects at the Institute for Public Architecture, the “9x18” scheme has the potential to transform the city by capitalizing on outdated zoning regulations that would unleash more than 20.3 million square feet of usable space. Read more here on the New York Times.
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.
Each edition of CLOG poses a particular challenge to the reader: by showcasing such a variety of distinct view points, teasing out the central, connective themes is far from an easy task. It requires analysis, thought, and most of all time - which is, of course, entirely the point. CLOG seeks to “slow things down” so that the greater issues of architectural discourse are mulled over and explored.
The latest CLOG, however,Unpublished, has two central points that quickly, easily emerge. Pick up CLOG: Unpublished if you want to learn two things: (1) about how and why certain publications choose the architecture they publish (ArchDaily included); or (2) about works that have, for their geographical location or problematic nature, been forgotten from the “idealized narratives” of architecture