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WWW.ARCHPAPER.COMStudio Weave wins competition to design new visitor center and forecourt at British MuseumStudio Weave, an East London office, has won a competition to design a new Visitor Welcome Center and revamped forecourt at the British Museums flagship Camden site. Wright & Wright Architects, Tom Massey Studio, and Daisy Froud are also on the project team. The new visitor center will create a better entry experience at both egress points on Great Russell Street and Montague Place. Nicholas Cullinan, the British Museum director, said the project is essential for helping British Museum facilitate its 6.2 million annual visitors.Renderings show a sinuous plane mirrored on its underside. Below the plane, foliage abounds, suggesting a biophilic milieu for museum workers and visitors alike to enjoy.As Londoners, and long-term visitors, we are honoured to be part of this moment in the Museums history, said Studio Weave founding director Je Ahn. With the entry, our team wanted to celebrate the British Museum as both a global and a local museum, and create an internationally exemplary space that will improve the experience of Great Russell Street and Montague Place for everybody.The new visitor center will create a better entry experience at both egress points on Great Russell Street and Montague Place. (Courtesy British Museum)Ahn added that Studio Weaves proposal aims to resolve complex issues on the site. Ahn also said the project will preserve the appearance of the historic Grade I listed buildings, address the changing climate and look forward to the future of the institution. It will also introduce new soft landscaping and plants, dotted with engaging installationsencouraging curiosity and becoming a memorable highlight of every visit. The competition for a new visitor center and forecourt was part of a comprehensive master plan for the British Museum underway in London today, albeit one marred by controversy from the get go. Last January, environmental activists staged a protest at British Museum because the additions main benefactor is British Petroleum (BP), as reported by AN.After the January protests, 6a architects,David Chipperfield Architects, Eric Parry Architects and Jamie Fobert Architects,Lina Ghotmeh Architecture, andOMA were shortlisted to renovate the British Museums Western Range Galleries.The Studio Weave project should be built by spring 2026.0 Comments 0 Shares 34 ViewsPlease log in to like, share and comment!
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WWW.ARCHPAPER.COMAN shares the top news stories of 2024As we close another year, we find ourselves reflecting on proceedings from the last 12 months: We survived another election, watched hurricanes destroy entire neighborhoods in the southeast, and continued praying for those in war-torn regions.AN editors rounded up the top news stories of 2024 that have shaped architecture and design discourse. This year, we saw follow up on stories weve been tracking for some time now. The year also had its share of new unveilings and scrapped projects. There were stories that made us smile amid a world that sometimes feels chaotic and others that had us grabbing the popcorn bucket to find out what could possibly happen next.ICYMI, check out our controversies roundup for more news from this past year and stay tuned over the next two week as we share the top preservation stories, landscape projects, reviews, and more AN covered in 2024. The Legends Tower (Courtesy AO)Oklahoma City wants to build the tallest building in the U.S.Last year closed out with news that the second tallest tower in the U.S. could be built in, of all places, Oklahoma City. In January the skyscraper from developer Scot Matteson and California architecture firm AO, dubbed Legends Tower, proposed increasing the buildings tall stature to 1,907 feet, making it the tallest building in the U.S. Its height, much like that of New York Citys Freedom Tower, has symbolic significance, as 1907 is the year Oklahoma was admitted as the 46th State of the U.S.This month the tower made headlines again for its exuberant height, with the Federal Aviation Administration claiming it would be a hazard to air navigation. Matheson said in November that construction is planned to start in early 2025.Legends Tower is part of the larger Boardwalk at Bricktown development. Its base will be occupied by a slew of entertainment-focused programming, a hotel, NBA arena, and observation decks.BIG unveiled a megaproject adjacent to the United NationsThe swath of land neighboring the United Nations Headquarters has a history of unrealized architecture visions. In February, Bjarke Ingels Group (BIG) unveiled the latest development to be proposed for the site, located between 38th and 41st Streets on 1st Avenue.The megaproject, dubbed Freedom Plaza, posits residential and hotel towers, a museum, and casino. Following the news announcement, AN spoke with Bjarke Ingels about the project, more specifically its Museum of Freedom and Democracy, which could be located atop the casino. Ingels told ANthe museum will be designed like an urban agora. Riken Yamamoto has been named the 2024 Pritzker Architecture Prize recipient (Courtesy Tom Welsh)Riken Yamamoto awarded the 2024 Pritzker Architecture PrizeThe architecture community always eagerly awaits the first week of March when the Pritzker Prize Laureate is announced. This year, all bets were lost when little-known Japanese architect Riken Yamamoto was awarded the prize. Yamamotos work is deeply rooted in engaging with community; he defines his design philosophy as a sense of sharing one space.Built works by the architect are located in Japan, China, Korea, and Switzerland and include a range of typologies, among these art museums, housing, and schools.Jersey City said au revoir, but not so fast, to Centre PompidouJersey Citys long-awaited Centre Pompidou may be a long-time coming no more. In July, the arts centerslated to be located within the citys Pathside Building, renovated by OMAcited COVID, supply chain issues, and financial burdens as the reasons why the project would be paused indefinitely.This past fall an abatement deal was proposed to revive the project. Centre Pompidou x Jersey City would be rolled into a development that comprises two 50-story towers on Pavonia Avenue. Renderings show the ulterior Centre Pompidou x Jersey City located at the base of the towers amid a sea of sculpture gardens and art parks. Bernheimer Architecture ratified its collective bargaining agreementFor the last few years, the unionization of architecture firms has been a closely followed news item. In 2022, Bernheimer Architecture, a firm in Brooklyn, formed the first functional union at a private-sector architecture firm in the United States in decades, joining the International Association of Machinists and Aerospace Workers (IAMAW) through their Architectural Workers United (AWU) campaign.In July, Bernheimer Architecture ratified its collective bargaining agreement, making history as the first private sector architecture firm to do so. In the agreement there is language about working hours and limits, wages, overtime pay, mentorship, and other employee protections and benefits.Residents of Marshall, North Carolina, gathering just days after Hurricane Helene to discuss reconstruction (Jack Flame Sorokin)Hurricanes Helene nearly decimated entire towns in North Carolina and TennesseeHurricanes wreaked havoc across much of the U.S. southeast this past year. With Hurricane Milton ripping the roof off the Tampa Bay Rays Tropicana Field and Hurricane Helene leaving much of Applachialong considered a climate havenwashed away.After Hurricane Helene, AN spoke with local AIA chapters and businesses about what was lost and what it will take to rebuild and brace the region for the next storm. The devastation left behind by the hurricanes showed that no region of the country is immune from natural disasters. Louis Vuitton store masked as suitcase (Dan Roche/AN)New York City saw a slew of headline-grabbing installationsA dragon wrapped around the tip of the Empire State Building, and scaffolding camouflaged as a building-sized luggage trunk are just two of the installations that had New Yorkers looking up this year.To promote the television show House of Dragons second season, a King Kongstyle homage placed Queen Viseynas dragon, Vhagar, around the tip of the Empire State Building. The inflatable dragon measured 270-feet.Of late, New Yorkers and tourists alike are gawking over the Louis Vuitton flagship currently under construction. The building is masked with a faux facade made of oversized Louis Vuitton trunks. A spokesperson for Louis Vuitton told AN that the installation was designed by the companys in-house team.In other noteworthy New York City news, the Vessel reopened this fall, after four individuals jumped to their deaths from the Heatherwick-designed staircase slash viewing platform. Visitors climbing the structures ziggurat-like steps will now be met with a mesh wrapping that was designed to be as undisruptive to viewing as possible.Stuart Graff, president and CEO of the Frank Lloyd Wright Foundation, to step downStuart Graff, president and CEO of the Frank Lloyd Wright Foundation, announced he plans to step down from his role. He has led the foundation for eight years. During his tenure the Frank Lloyd Wright Foundation endured some rocky times. In 2016, students and faculty said Graff created a climate of fear, allegations which Graff denied. There were also tensions between Graff and Aaron Betsky, SoATs former president.The Frank Lloyd Wright School of Architecture almost closed in 2019, but later changed its name to the School of Architecture at Taliesin and relocated to Arcosanti to an arts compound in Scottsdale, Arizona.Following Graffs announcement of his departure, Aaron Betzky wrote an open letter to the foundations board expressing his recommendations for the foundations future and how it could support the legacy of Frank Lloyd Wright.A search for Graffs successor is still underway. We look ahead to the 2025 International Architecture Exhibition of La Biennale di VeneziaIn 2025, amid the canals of Venice, the 19th International Architecture Exhibition of La Biennale di Venezia will take hold. At a press conference this spring, this editions curator Carlo Ratti announced the theme for the event: Intelligens, which refers to the word intelligence and gens, the Latin word for people. Ratti said the exhibition will be organized around three central themes: natural intelligence, artificial intelligence, and collective intelligence.At the U.S. Pavilion co-commissioners and curators Peter MacKeith, dean of the Fay Jones School at University of Arkansas; Susan Chin, founder of DesignConnects; and Rod Bigelow of Crystal Bridges Museum will stage PORCH: An Architecture of Generosity. The commission will deliver a new temporary porch attached to the front of the U.S. Pavilion. An open call for exhibiting porch-related projects at the biennale is open for submissions through January 17, 2025.The 19th International Architecture Exhibition will be held in Venice from May 24 to November 23, 2025.0 Comments 0 Shares 33 Views
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WWW.ARCHPAPER.COMHotel developers share Nakagin Capsule Towers replacement in TokyoDevelopers shared visuals recently of a new building that will be constructed where Nakagin Capsule Tower used to stand in Tokyos Ginza district. Accor, a global hospitality leader based in France, is behind the project which replaces the the famous Metabolist project from 1970 by Kisho Kurokawa.AN has reached out to Accor for details on the architects working on the forthcoming hotel project. The replacement tower will host the Tokyo flagship of Pullman, a brand hotel. It will contain 145 guest rooms, an all-day dining restaurant, a destination bar, and other amenities, according to a press release. Its modular exterior will have a gold lacquer, standing in stark contrast with the building it replaces.Demolition on Nakagin Capsule Tower started in 2022, and its capsules are now scattered all over the world. One capsule, for instance, is currently on view at Romes MAXXI in an exhibition curated by Diller Scofidio+Renfro.Demolition on the tower began in 2022. (Mark Dytham)Nakagin Capsule Tower was marred by maintenance issues for years after its completion. In 2018, the former owner (Nakagin Integration) had become frustrated with high maintenance costs and sold the land under the building, which it operated as a condominium, to a real estate company. In 2019, realtors floated demolishing the prized building, ushering in public outcries to save it. Those initial demo plans eventually subsided, but the idea to raise the building came up again in 2021. Demolition subsequently began in April 2022 and lasted several months. Afterward, the capsules were shipped to museums, and elsewhere.Kisho Kurokawa & Associates took initiative and relocated several capsules from Nakagin to an off-site location for conservation. In San Francisco, SFMOMA restored one capsule, which is now part of the museums permanent collection, as reported by AN.Another capsule is on display at Japans Museum of Modern Art Saitama. Meanwhile, Centre Pompidou in Paris may acquire another module for its permanent collection.Archivists have created a meticulous digital model of Nakagin Capsule Tower in the event of its reconstruction sometime in the future, albeit at a different location.The new hotel will open in late 2027.0 Comments 0 Shares 34 Views
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WWW.ARCHPAPER.COMAN reveals the top facades covered in 2024Brought to you by:As the year comes to a close, AN is looking back on some of the most interesting building envelopes covered in 2024. The list includes projects from around the world with a variety of material expressionsincluding glass, aluminum, concrete, and timberas well as programmatic functions, featuring a library, community center, institutional facilities, apartments, and offices.To keep up to date on the latest projects and most innovative enclosures, subscribe to our Friday Facades+ Newsletter! A mural by Jos Parl was digitally printed on the facade of the Far Rockaway Library. (Jeff Goldberg)New York CityIn Far Rockaway, Queens, Snhetta has designed a new branch for the Queens Public Library using orange-tinted glazing to reference the neighborhoods dramatic sunsets, which cascade over the Atlantic Ocean. Each IGU was also digitally printed with the composition Style Writing, a mural by Brooklyn artist Jos Parl. Snhetta worked closely with the glazier to appropriately balance the glazings transparency and color to allow light into the building, while also making sure that Parl mural is legible from the exterior. A new building designed by HDR in Rochester, Minnesota for Mayo Clinic was wrapped in a highly custom double-layered facade punctuated by oculi windows. (Dan Schwalm)Rochester, MinnesotaTo signal the scientific prowess of a new research facility for the Mayo Clinic, HDR designed a complex double-skin envelope consisting of a perforated-aluminum scrim that encases an inner layer of glazing. Views were maintained through selected cutouts in the scrim, which the architects call oculi, that reveal spans of glass with the least potential for solar heat gain and glare. The project also had to consider how to prevent snow accumulation and allow for cleaning and maintenance. To overcome these challenges, the architects added ice cleats to the scrims sloped surfaces and devised a series of hatches through the scrim that allow window washers to clean the buildings oculi openings.GROUPWORKs 8 Bleeding Heart Yard uses aluminum to mimic the stone facades of the past. (Timothy Soar)LondonIn London, GROUPWORK has brought old buildings back from the dead with its project 8 Bleeding Heart Yard. The firm reclad an aging midcentury office with aluminum panels that are detailed to resemble the facades of eight historic structures that once stood on the site. Working with Donald Insall Associates, a preservation firm, GROUPWORK sourced archival drawings of the original block to inform the design. The building also possesses founder Amin Tahas trademark references to mannerist architecture (and Venturi Scott Browns iconic Sainsbury Wing) with purposefully incorrect or slipped details occurring across the envelope. During daylight hours the central control buildings stainless steel panels reflect the sky. (Egemen Karakaya)Karapinar, TurkeyIn the deserts of Central Turkey lies one of the European continents largest solar fields. To support this vast photovoltaic array, Bilgin Architects crafted a rectilinear control center building that is wrapped in a grid of reflected stainless steel panels. Set against the broad horizon of the desert, the building nearly disappears during the daytime, only to reemerge at night thanks to a luminous backlighting configuration. Each of the panels is of varying degrees of perforation, protecting a glazed inner layer from the hot desert sun.Board-formed concrete was chosen for the facade of Shanfeng Academy to emulate the white plaster which is traditionally used in Suzhou. (Zhu Runzi)Suzhou, ChinaIn Suzhou, China, OPEN Architecture created an extension to Shanfeng Academy, an elite bilingual school. The campus layout is experimental, consisting of five primary volumes that are accessible through a multistory network of gardens and circulation paths. What ties the five structures together is the use of white board formed concretethis material references Suzhous traditional architecture, which is often constructed using white plaster. Though largely opaque, the volumes receive light through punched window openings of various sizes and shapes.The Inuusirvik Community Wellness Hub serves Iqaluit, Nunavut, the fastest growing city in Canada. (Andrew Latreille)Iqaluit, Nunavut, CanadaLateral Office, a Toronto-based practice, has completed a new community center located in the arctic territory of Nunavut. Named the Innuusirvik Community Wellness Hub, the building serves the city of Iqaluits Inuit community. Faced with the territorys extreme weather conditions and challenging material limitations, Lateral Office opted to clad the structure with brightly colored corrugated-metal panels, a choice that allows the building to stand out in the snow. Interestingly, the building is not designed to repel snow accumulation, as are most structures in northern climates. Instead, taking cues from the Indigenous igloo construction, the buildings form actually encourages snow accumulation, which provides additional thermal insulation during the winter.Flad Architects designed stepped precast concrete panels for Torrey View, a life science research campus, to emulate the sites canyon geology. (Jason ORear)San DiegoIn San Diego, Flad Architects have designed a new life sciences campus located within a canyon. To emulate the geology of the surrounding site, the architects wrapped the structure in a series of ridged precast concrete panels that frame expansive window openings. The panels stepped geometry also functions to repel water and dirt. Flad Architects worked closely with Clark Pacific, the manufacturer of the panels to create the precise color and mix of the concrete. An outer layer of shingled glass panels marks the entrance to MITs newest building. (Dave Burk)Cambridge, MassachusettsThe Schwarzman College of Computing, a new computer science facility of MITs campus, innovates with the use of glass curtain wall. To improve the buildings thermal performance and create a unique visual identity, architects at SOM implemented a double-layer facade along the front entrance of the structure. The panels on this outer elevation are purposefully overlapping, acting as glass shingles, and are upheld by two large V-shaped braces from below.The Shady Brook Office Building was faced with Accoya wood slats that are expected to silver with age. (Robert Tsai)DallasThe Shady Brook Office Building reimagines office space design in Texas, a notoriously hot state. Instead of building an enclosed air-conditioned boxthe norm for office construction in TexasCunningham Architects opted to use passive design strategies for the project and place the buildings circulation on the exterior. These corridors are shaded by the slats of Accoya wood that wrap the building and are ventilated via the venturi effect, wherein wind is compressed through the corridors, creating a pleasant breeze. The accoya cladding is expected to silver overtime, allowing the building to age gracefully.The apartments are clad with overlapping precast concrete panels. (Francisco Nogueira)Leiria, PortugalA bold new apartment building in Leiria, Portugal negotiates the juncture between a residential neighborhood and an urban corridor. Designed by Bureau des Msarchitectures, a practice that includes artist Didier Fiza Faustino, the structure is faced with a patchwork of concrete and gold-finished aluminum panels, the latter a reference to the yellow hues of the adjacent neighborhood. The aluminum panels act as modular sunshades, allowing tenants to open and close windows throughout the day. Taking advantage of its site, the building is half circular in plan, adding a unique formal expression to Leirias urban fabric.To dive even deeper into the world of high-performance envelopes, check out our live Facades+ events, coming soon to a city near you!0 Comments 0 Shares 33 Views
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WWW.ARCHPAPER.COMA city-wide exhibition in Belfast, curated by Household, invites artists to engage art deco buildings, churches, crystal palaces, and parksA series of immersive artworks recently took over Belfast, activating pockets within the Northern Ireland capital for three days. The city-wide exhibition, Red Sky at Night, featured five temporary, site-specific installations by Polish, Thai, Palestinian, Greek, and Irish artists. It was curated by Household, a women-led collective. Participating artists included Zuza Goliska, Kanich Khajohnsri, Kasper Lecnim, Irmina Rusicka, Dina Mimi, Aisling OBeirn, and Leandros Ntolas. The exhibitions name was derived from the ancient mariners maxim: Red sky at night, sailors delight. Red sky at morning, sailors take warning.The five locations in Belfast where the artworks unfolded were a park, a church, an old bank, an iron warehouse, a palatial Victorian chamber, and a botanic garden from 1840.Lament was a collaboration between Goliska, musician Jack Wilson, and singers from the St. Annes Cathedral Choir. (Chad Alexander/Courtesy Household)At Bank of Irelands abandoned locale on the corner of North Street and Royal Avenue, Lament by Warsaw-based Zuza Goliska offered a meditation on modern architecture, protest movements, music, and gentrification. The mixed-media ensemble took place within a handsome 5-story, art deco tower by Joseph Vincent Downes, completed in 1930.Banks Take Our Houses, So We Take Their BuildingsNot long ago, Household invited artists like Goliska to Belfast to meet the city. Artists had the chance to meander around town, and choose the sites they wanted to work with, culminating in the city-wide exhibition last November.Goliska took an interest in this particular Bank of Ireland building because, in 2012, protesters occupied it during Occupy Belfast, an Occupy Wall Street offshoot, to raise awareness about rising inequity. Banks take our houses, so we take their buildings, one of the protesters told a local reporter during the movement. Occupy Belfast held court at the Bank of Ireland building for ten months, until its electricity was cut, and the police raided it that October. The art deco building has been empty ever since. In the next few years, however, a major development will transform the blocks surrounding the Downes building, which will be repurposed as a tourism center, threatening its historical memory.Lament featured a live musical performance inside the Bank of Ireland. (Chad Alexander/Courtesy Household)Lament was a collaboration between Goliska, musician Jack Wilson, and singers from the St. Annes Cathedral Choir. It was conceptualized as a love song for the former Bank of Ireland building before it enters its last gentrified state and becomes a tourist centre, the curators said. For Lament, Wilson and St. Annes Cathedral Choir played a rearranged version of a 1993 song by the Cranberries, Linger, transforming the epic love anthem into a lamentation. I fell in love with the building on the corner of North Street and Royal Avenue during my first trip to Belfast, Goliska said. Together with a group of artists, we got invited by the Household team for our first research trip, and we were housed around the corner at Donegall Street. It looked exceptional with the tower topped with a clock facing directly towards the crossing of the streets, its placement and height giving it a slightly dominating position over the surrounding buildings, Goliska continued. The former Bank of Ireland building is undeniably also lingering. In its current state, it is in between functions: after its public utility phase and occupied period but before its tourist-driven future.Today, the building is empty, but it will be repurposed into a tourism center. (Chad Alexander/Courtesy Household)Kanich Khajohnsris POSSESSION was sited at the Palm HouseBotanic Garden, an 1840 building designed by Charles Lanyon, a prominent British architect. Khajohnsri, a Thai artist, made sound, photography, and sculpture pieces scattered throughout Lanyons crystal palace. POSSESSION is about finding commonalities between Thai and Northern Ireland cultures, namely how both societies approach burial, death, and spirituality, and how these practices connect peoples to their land, Khajohnsri said.Exterior view of Palm HouseBotanic Garden, a building from 1840 designed by Charles Lanyon. (Simon Mills/Courtesy Household)The choice to stage POSSESSION inside the Lanyon building was fitting. The steel and glass structure was built in Victorian Belfast to demonstrate the British Empires industrial might. The piece by Khajohnsri challenges the imperialist architecture where it sits, and asks visitors to consider new, anti-colonial means of land stewardship. This makes the artwork especially ripe, given the years of anti-colonial organizing against the British Empire set in Belfast for Irish unification.Khajohnsris contribution was similar to one by Irish artist Aisling OBeirn in Waterworks Park. Suggestions for Stargazing was based on a long-term research project by OBeirn that engages astronomers, writers, environmentalists, council workers and residents of Belfast to draw attention to light pollution and [advocate] for darker skies.POSSESSIONS had photography, sound installations, and sculptures. (Simon Mills/Courtesy Household)The contribution by Dina Mimi, a Palestinian artist based in Jerusalem and Amsterdam, was a harrowing narrative that centered men and women who had been incarcerated. The Sound We Longed For was an expos into how the human body responds to incarceration. It took place inside the atmospheric Riddels Warehouse in Belfast. Much like Goliskas piece, which washed an atrium in green light, the work by Mimi used red light to heighten the industrial architecture of Riddels Warehouse. For that artwork, Mimi said she was particularly intrigued by the sensory experiences of imprisonment, posing questions such as: What sounds did you long for? What did you hear and smell? Through these inquiries, she seeks to capture these fading memories through the senses.Mimis contribution centered men and women had been previously incarcerated. (Simon Mills/Courtesy Household)Common Point Exercises by Polish artists Irmina Rusicka and Kasper Lecnim was a rumination on play, set inside 2 Royal Avenue, a palatial building from Victorian Belfast. There, the artist duo concocted an indoor public park for children.The immersive intervention by Rusicka and Lecnim also featured bespoke sculptures meant for children to interact with. Rolls of drawings made by elementary school students were scattered throughout 2RA.Common Point Exercises created an indoor public park for children. (Simon Mills/Courtesy Household)Inside Carlisle Memorial Church, Leandros Ntolas, a Greek artist, delivered Benign Land. That artwork was an exploration of the artists long standing research into perception, architecture and light. Ntolas collaborated with John DArcy, a Belfast-based sound artist and lecturer, to create an audio installation to accompany the production.Benign Land, a sound installation by Leandros Ntolas (Simon Mills/Courtesy Household)Red Sky at Night took place in Belfast between November 13.0 Comments 0 Shares 8 Views
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WWW.ARCHPAPER.COMTwo exhibitions showcase Myron Goldfingers geometric genius through drawings and models132 Delancey Street, New YorkThrough December 24Circle, Square, Triangle: Houses I Never Lived In. The Residential Work of Myron Goldfinger 1963-2008Paul Rudolph Institute for Modern ArchitectureThrough March 22, 2025exhibition at the Metropolitan Museum of Art, a show that I (and others) found rather thin and predictable. More stimulating and unexpected are a pair of exhibitions at the Brutalist masters namesake venue, the Paul Rudolph Institute for Modern Architecture (PRIMA), and the Mitchell Algus Gallery: Both showcase the work of the recently deceased Myron Goldfinger, a prolific and singularly talented designer whose portfolio merits and rewards fresh examination. Circle, Square, Triangle: Houses I Never Lived In. The Residential Work of Myron Goldfinger 1963-2008 at PRIMAs home in the Rudolph-designed Modulightor building features Goldfingers residential projects, which constitute most of his built work. Downtown, the Mitchell Algus Gallery hosts Circle, Square, Triangle: A World I Wanted to Live in. The Public and Unbuilt Work of Myron Goldfinger 1963-2008, which demonstrates Goldfingers work on more varied building types and at larger scale.1969.03 The Goldfinger Residence, designed by Myron Goldfinger in 1969 for Waccabuc, New York. ( The Estate of Myron Goldfinger)The shared titling of these exhibitions references Goldfingers self-professed infatuation with Platonic geometric form. Strong geometry was an inspiration for many practitioners in the 1960s and 70sthink of the New York Fivebut Goldfingers bold compositions of cubes, cylinders, and triangular blocks take the predilection to near-fetishistic extremes. His best work accrues a monumentality that bears the influence of Louis Kahn, under whom he studied at the University of Pennsylvania (where he was a student also of Paul Rudolph, whom Goldfinger always admired). To my eyes, the clarity of Goldfingers designs is a welcome respite after enduring the irrational computer-generated form making that has taken over architectural production in recent years. Goldfinger grew up in a working-class neighborhood of Atlantic City. After graduating from Penn in 1955, he worked at Skidmore, Owings & Merrill and in the office of Philip Johnson before establishing his own practice in 1966. That same year he married June Matkovic, an interior designer who worked alongside him for the duration of his career. Goldfinger made an early splash with the construction of his own home in the woods at Waccabuc, New York; the residence is a towering stack of cubes and triangular volumes clad in vertical cedar siding. The project was selected by the editors of Architectural Record for its 1971 edition of Record Houses.1970.04 The Matkovic Residence, designed by Myron Goldfinger in 1970 for Sands Point, New York. ( The Estate of Myron Goldfinger)At the same time, Goldfinger produced a much grander house for Junes parents, sited on the water in Sands Point, New York; the semicircular bays of which were meant to evoke the decks of boats owned by Mr. Matkovics shipping company. These early projects were followed by numerous commissions for houses in the New York area and, later, on the island of Anguilla, where Goldfinger became involved in the development of a resort community.1976.05 The McGrath Residence, designed by Myron Goldfinger in 1976 for Patterson, New York. ( Norman McGrath)Goldfingers geometric compositions with their sharp play of light and shadow are naturally photogenic, and the exhibition at PRIMA includes many black and white images by Norman McGrath. McGrath, who surely knew every architect in town, selected Goldfinger to design his own home in Patterson, New York. The sculptural quality of Goldfingers houses is celebrated by several models built for the show by students at Pratt Institute, where Goldfinger taught for many years alongside Sybil Moholy-Nagy.The photos and models are wonderful, but the stars of these two shows, as at the Rudolph exhibition at The Met, are the drawings. Goldfinger produced exuberant perspectives hand-rendered in pencil that convincingly and expressively place the houses in their sites and reveal the drama of their interiors. For me, seeing these drawings took me back to the mid-1970s when I was in school (at Penn, like Goldfinger) and we tried to emulate the drawing styles of the masters, including Romaldo Giurgola, Steve Izenour (at Venturi, Rauch and Scott-Brown) and, of course, Rudolph.Installation view of Circle, Square, Triangle: The Houses I Never Lived In. The Residential Work of Myron Goldfinger 1963-2008. (Kelvin Dickinson/Courtesy the Paul Rudolph Institute For Modern Architecture)I applaud the decision by curators Kelvin Dickinson, president of PRIMA, and Eshaan Mehta to include several sheets of pencil-on-vellum working drawings that illustrate Goldfingers attention to detail and the handcrafting of architecture by drawing. June Goldfinger told me that while the finished presentation renderings were usually done by studio employees, Goldfinger was intimately involved in the drafting of the working drawings. I am grateful that I learned (at Davis, Brody & Associates) how buildings get built by tracing and adapting construction details and pity todays interns who learn little more than to copy and paste in AutoCAD.The Mitchell Algus Gallery hosts Circle, Square, Triangle: A World I Wanted to Live in. The Public and Unbuilt Work of Myron Goldfinger 1963-2008. (Kelvin Dickinson/Courtesy the Paul Rudolph Institute For Modern Architecture)The mixed-media presentation of Goldfingers architecture looks right at home in the hyper-designed, residential-scaled setting on the top two floors of the Modulightor building. In the more conventional loft space of the Mitchell Algus Gallery, Goldfingers unbuilt work is, as one would expect, represented by drawings hung museum-style on well-lit walls. For me the stand-out piece is the expansive seagulls-eye view of Goldfingers proposal for a huge residential development on Roosevelt Island, produced in 1975 for a competition that attracted entries by some 250 architects; Goldfingers was one of thirty-five published semifinalists. (This rendering and the best of others in the two shows are by Manuel Castedo, who worked for Goldfinger for several years before establishing his own successful practice.) Less dramatic but also ambitious is a series of plans and axonometrics for a system of prefabricated modular housing that recycled the cubic and triangular forms from his own house, illustrating Goldfingers interest in economical mass housing.The twin Circle, Square, Triangle shows initiate a fruitful exploration of Myron Goldfingers legacy. Its also a turning point for PRIMA, which until recently had been called the Paul Rudolph Heritage Foundation. With the cataloging, scanning, and display of the Goldfinger archive taking place in-house at PRIMA, with Junes participation, the effort validates its newly broadened mission to identify, study, and advocate for the preservation of the work of other modern architects of Rudolphs and later generations, most of whom will likely not get exhibitions at The Met like Rudolph but who, like Goldfinger, have much to offer todays scholars and practitioners.Belmont Freeman is the founding principal of the New York Citybased firm Belmont Freeman Architects.0 Comments 0 Shares 8 Views
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WWW.ARCHPAPER.COMAAU Anastas and Tomoko Sauvage combine ancient Palestinian glass blowing techniques, stone, and sound in FrancePalestine has a long, long history of excellence in glass making which continues triumphantly into the present. Look no further for instance than the stunning glass works by Dima Srouji, and other Palestinian artists like those at Hebron Glass, which bend and warp the material in mind boggling fashion.Artists like Srouji, Hebron Glass, and others weave ancient glass techniques used by the Phoenicians to make contemporary, beautifully crafted objects that often double as political statements which pertain to Israeli occupation, loss, resistance, solidarity, and cultural memory. A trio of architects and musiciansTomoko Sauvage; and Elias Anastas and Yousef Anastas, cofounders of AAU Anastascarried this important legacy on their shoulders recently with a new immersive installation they built in northern France called Serpentine Bell.Elias Anastas and Yousef Anastas are both architects based in Bethlehem, Palestine, while Sauvage is a Japanese musician who lives in Paris. Serpentine Bell is sited in a sculpture garden in Reims, France, at the company headquarters of Ruinarta collaborative master plan recently completed by Sou Fujimoto, Christophe Gautrand, and Gwenal Nicolas.The art object is essentially one large bell made of 103 glass blown voussoirs. (Makoto Chill kubo)Serpentine Bell consists of a stone, steel, and sound systema clear manifestation of the design teams multifaceted skillset that combines architecture and music, and penchant for politics.Palestine is a meeting point of accumulated knowledge of civilizations, the trio said in a curatorial statement. Its rich and perpetuating history of material explorations in the field of glass and stone is the basis for this collaboration, which engages these materials in metaphorical and cross-productive contexts with a local history of sound, architecture and music emerging from peoples long standing life and work with the land with global implications. Through these materials, the installation speaks to the delicacy of matter, and the history of techniques, places, backgrounds, and contexts that form a global and interdependent solidarity network of knowledge, the artists continued. The organic, fluid, oscillating, fluctuating morphologies evoked by the encounter of water, stone, glass and sound are at the heart of the collaboration.Tomoko leaned upon her interest in water, bubbles, sound, and bowls for Serpentine Bell. (Makoto Chill kubo)The artwork glistens in the sunlight. (Makoto Chill kubo)The artwork can be understood as one large bell made of 103 glass blown voussoirs, set on a stone base, hoisted a few feet above the ground on three legs. Its just tall enough so that you can bend over, peak your head inside, and enjoy its kaleidoscopic interior. The stereotomic techniques Serpentine Bell employed derive from ongoing research on stone by AAU Anastasthe art, architecture, and media practice of Elias and Yousef Anastas. At AAU Anastas, the pair explores the potential for structural stone to reemerge in contemporary architecture, combining traditional craftsmanship and materials with modern construction techniques. They also operate a radio station, Radio Alhara, which has played an important role in current Palestinian resistance movements, namely the #SaveSheikhJarrah revolt in 2021.Likewise, Tomoko leaned upon her interest in water, bubbles, sound, and bowls for Serpentine Bell. The juxtaposition between glass and stone created a contrast between weightlessness and heaviness, opacity and transparency, emptiness and content.Serpentine Bell is just tall enough for visitors to step inside. (Makoto Chill kubo)Palestine being a meeting point of accumulated knowledge of civilizations, it has a long standing perpetuating history of material explorations, in particular in the field of glass and stone, the artists added. Paradoxicallyin view of the intentional isolation imposed by occupation forces in Palestineit is the extreme richness of know-hows of techniques anchored in Palestinian artisanship that allowed [the artists] to meet and contribute further to a global solidarity network.0 Comments 0 Shares 9 Views
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WWW.ARCHPAPER.COMAN looks back at 2024s biggest architecture controversiesTo say that 2024 was bumpy would be an understatement. This year, we saw a mercurial U.S. presidential election conclude that many say could have disastrous consequences for the environment, as climate deniers and CEOs are likely to fill important cabinet positions. (Elon Musk, it seems, is now the countrys top Iran adviser?) We also saw heart-wrenching, unspeakable scenes of death and displacement unfold in Palestine, Sudan, Haiti, and Ukraine. We learned too about a mind-boggling number of worker deaths in Saudi Arabia. A number of more bureaucratic controversies played out in the U.S. as well. The AIA Board of Directors issued an alert not long ago that a coup may have been unfolding against its current leadership. (There were also embittered disputes between NAAB, AIA, ACSA, NCARB, and AIAS over many issues.) But the mess didnt stop there. What follows are some of the biggest controversies AN covered in 2024.Tom Pritzker of the Pritzker Architecture Prize named in Epstein-Maxwell court documentsThe year started off with a bang when highly anticipated courtroom evidence was declassified and shared with the public just a few days into the new year. The Epstein-Maxwell court document was a cumbersome 943-page tome that contained all of Jeffrey Epstein and Ghislaine Maxwells dastardly deeds. To no surprise, many of the worlds rich and powerful were implicated, including Les Wexner, who bankrolled a famous building from 1989 designed by Peter Eisenman at Ohio State University. Tom Pritzker, the hotel scion who annually awards the Pritzker Architecture Prize, was also named in the Epstein-Maxwell docket. Today, Pritzker stands accused of sexual allegations by Virginia RobertsGiuffre, a victim of Epstein and Maxwells sex trafficking syndicate. A spokesperson for Pritzker subsequently denied Giuffres claims, and the case is ongoing. Wexner has also been accused of sexual allegations by Giuffre.Neri Oxman accused of plagiarism amid Claudine Gay falloutIn January, the U.S. watched Ivy League university presidents get grilled in congressional hearings, resulting in numerous resignations. Perhaps the most intense exchange was between former Harvard president Claudine Gay and ultra-conservative house representative Elise Stefanik.Gay was accused by Stefanik of anti-Semitism, and not doing enough to stymie student protests for Palestine in Cambridge.At the movements vanguard to depose Gay was billionaire Bill Ackman, the husband of architect Neri Oxman.Ackman and comrades teamed up and tried bullying Gay into resigning, Harvards first Black woman president; they also accused her of plagiarizing her PhD. In the days after Gay resigned, Oxman was accused of plagiarizing her own PhD. The allegations against Oxman were ironic, given the tirades her husband launched against Gay for the same reasons. Oxman later issued a lengthy response to the allegations made against her on social media.On May 21, students from the Cooper Unions Irwin S. Chanin School of Architecture protested the administrations decision to close the annual End of Year Show to the public by moving models outside, draping work in black veils, and ultimately moving the thesis showcase off-campus to the Clemente Soto Vlez Cultural & Educational Center in the East Village. (Elisa Iturbe)Architecture students and faculty join campus protests in solidarity with PalestineWhile the drama was playing out between Stefanik, Gay, and Ackman, thousands of students and faculty members at schools around the U.S. built encampments in solidarity with Palestine. Many of these participants were architecture students and faculty.Students at Yale built a pop-up library (that was swiftly taken down) stocked with anti-colonial literature outside the Beinecke Library. Later, Cooper Union students moved their end of year show off campus to the Clemente Center to protest a decision made by the schools president, and Harvard GSDs student government passed a resolution calling upon the institution to divest from Israeli companies. Columbia GSAPP and Cooper Union students also teamed up for an exhibition at a83, calling out school administrators for crushing freedom of speech. This all played out as pro-Palestine academics faced looming threats to their job security and personal safety, as described in an op-ed for AN by Cruz Garcia.Former Washington University professor Michael Allen was suspended by that schools administration for his alleged involvement in a campus protest. Samia Henni even received a death threat at ETH Zurich for her politics.AI-generated renderings show skyscrapers, solar fields, water desalination plants, a new high speed rail corridor, and oil rigs off of Gazas shoreline. (Courtesy Israel PMO)Dystopian master plan posits new rail connection between Gaza and NEOMIn May, journalists got their hands on a short pdf. document containing plans from Israel Prime Minister Benjamin Netanyahus administration for Gaza. On May 3, Netanyahu unveiledGaza 2035: A three-stepmaster plan to build what he called the Gaza-Arish-Sderot Free Trade Zone. The plan was first reported by The Jerusalem Postand later byAl Jazeera.Gaza 2035 was a regional plan to build a new high-tech city stocked with flashy skyscrapers atop the rubble of Gaza. It posited oil tankers off of the shoreline, prompting environmental journalist Yessenia Funes to say This genocide is about oil. Plan drawings also showed a new rail connection between Gaza and the city underway in northwest Saudi Arabia, NEOM, getting built about 130 miles south of Rafah.The regional plan was swiftly met with opposition. On May 16, UAE Foreign Minister Sheikh Abdullah bin Zayed Al Nahyan condemned the planin a public statement. Lara Elborno, a Palestinian-American human rights lawyer,said on social media: Israels plan to steal our gas and subject us to this dystopian future must be unequivocally opposed with urgency. Gaza is not nothing.ANs coverage of Gaza 2035 went viral, after someone on Instagram made a template for users to easily share the story. The article was viewed over 50,000 times. A documentary exposed 21,000 work-related deaths in Saudi ArabiaSaudi Vision 2030 is a multi-trillion dollar umbrella program that is transforming its host country. NEOM, the speculative city being designed by a long list of famous architects, is part of Saudi Vision 2030.A new documentary,Kingdom Uncovered: Inside Saudi Arabia, by ITV revealed that more than 21,000 Indian, Bangladeshi, and Nepalese workers died in Saudi Arabiasince 2017 working on various aspects of Saudi Vision 2030. And according toThe Hindustan Times, reports show that more than 100,000 people havedisappearedduring NEOMs construction.While some architecture offices have backed away from the project, many have not. According toreporting fromDezeenandThe Architects Journal, BIG, Zaha Hadid Architects, and OMA are still on the project. And so are UNStudio, Pei Cobb Freed & Partners, Gensler, Mark Foster Gage, HOK, Studio Fuksas, Oyler Wu Collaborative, Tom Wiscombe Architecture, and others. Protests mounted against a new stadium in Philadelphias ChinatownIn Philly, an ongoing saga over a proposed basketball stadium in the citys Chinatown continued into 2024, with tenacity. In February, an economic study concluded that if 76 Place, designed by Gensler, gets built, it could cost the region $1 billion. This report contradicted statements by the development team, who argued 76 Place would boost the local economy.Later, in September, tensions simmered, and many anti-stadium activists took to the streets. Afterward, Philadelphia 76ers officials said they were scouting alternative locations for a new basketball stadium, which many wrote off as a scare tactic. Philadelphia City Council is voting on the project this week.Tensions boiled in Connecticut over plans for Philip Johnson-designed home additionA lingering conversation about how to negotiate Philip Johnsons legacy touched down in Madison, Connecticut, this year. 6 Opening Hill Road is the former home of Emily Hall Tremaine, an art scion with Nazi ties. As an advisor at MoMA, Tremaine crossed paths with Johnson, and the two became friends. Later, Johnson designed an addition to Tremaines house, which a nonprofit now hopes to convert into a mixed-use cultural, educational, and residency center.The Tremaine Foundation, past members of The Glass House Museum, and Docomomo teamed up to garner support for the conversion. Meanwhile, Princeton professor V. Mitch McEwen and art writer Robert Preece raised grave concerns about the conversion, and its implications. In the letter, McEwen said the Tremaine Foundations proposal is not innocent and, if the application gets approved, the Tremaine estate could become a nationally recognized memorial to antiblack and antisemitic brutality, albeit a glamorous one. Things got heated at the AIAIn Washington, D.C. at AIA HQ, 2024 had its highs and lows. On April 4, twenty-three formerAIApresidents signed a letter recently addressed to AIA Board of Directors expressing their concerns related to finances and management, as well as potential misspending, nepotism, cronyism, and the pursuit of personal gain within AIA leadership.A local law firm was subsequently hired to look into the claims, which ultimately vindicated AIA CEO/Lakisha Woods of any wrongdoing. Then, inSeptember, AIA Board of Directors issued a statement to AIA members about how a concerted effort was underway to publicly discredit Woodss leadership, albeit without going into specifics.All of this was playing out while Terrence Ona, former general counsel to the AIA, was suing his former employer for damages. This December, Woods announced she will leave her role as AIA CEO/EVP in February 2025.Protesters projected words onto the wall of a building in Chelsea, Manhattan, expressing discontents with the Fulton Elliott-Chelsea demolition plan. (Avery J. Savage)Public housing residents in New York fight to save their homesA highly controversial demolition and privatization plan for public housing in Manhattans Chelsea neighborhood continues to entice debate and turmoil. AN first reported on the Fulton and Elliott-Chelsea (FEC) Houses Plan in August 2023, and its been a story weve watched closely ever since.In March, AN reported that the architects behind the project were PAU, COOKFOX, and ILA. This took us to a massive protest on the steps of New York City Hall last October, when NYCHA residents called for a screeching stop to the FEC Plan. Things got dicy when NYCHA residents claimed that they were being barred from community meetings about the FEC Plan.One of the most creative stunts to date was whenMore Art invited the Yes Men, a famous culture jamming activist group, and the Good Liars to infiltrate a gala dressed up as Related executives. This December, NYCHA residents, More Art, Save Section 9, and The Illuminator teamed up and cast anti-demolition messages on the side of a building to raise awareness about the project.Meanwhile, other NYCHA developments have been selected for PACT/RAD, including multiple buildings in the Lower East Side. NYCHA residents in Coney Island this year, however, voted against privatization. NAAB budgetary and governance restructuring proposal gets stiff pushback from AIA, AIAS, ACSA, and NCARBNAAB caught a lot of flak this year, for a number of reasons. Things first got dicy in 2022 when NAAB asked for a 47 percent funding increase from its collateral organizations. AIA, AIAS, ACSA, and NCARB rejected the plan, so NAAB went on the offensive and proposed charging schools directly for another income source.Under NAABs proposal, the 176 NAAB-accredited programs offered by 140higher learning institutionsin the U.S. and abroad would have to cover about one-third of NAABs annual operating budget for accreditation.Later, in December, NAAB got more criticism from prominent organizations that represent minority architects and architecture students for a proposed revision to the 2020 Conditions for Accreditation. The main concern shared by AIANY, NYCOBA-NOMA, and ACSA is the potential removal of Section 5.5 from the NAAB 2020 Conditions for Accreditation. Section 5.5 pertains to Supportive Environment/Social Equity, Diversity, and Inclusion. For AIANY, NYCOBA-NOMA, and ACSA, Section 5.5s removal is an affront to their shared Diversity, Equity, and Inclusion (DEI) initiatives.Berlin politicians propose new housing atop Tempelhofer FeldA newinternational architecture competition that asked designers to ideate housing atop Tempelhofer Feld sparked outrage in Berlin in November. The 940-acre green space about the size of Central Park is frequented by 200,000 people every week. A referendumwas passed in 2014 that was supposed to stymie new buildings on the former airfield, butGermanys ruling coalition made up of center-right (CDU) and center-left (SPD) parties is intent on developing the park to allegedly help quench thecapitals housing crisis.Today, opposition groups likeArchitects4THFhave teamed up with 100% Tempelhofer Feld Initiative to stop development from happening. The need for more housing in Berlin is real, opposition leaders say, but commodifying a beloved public utility isnt the right way to go about it.0 Comments 0 Shares 9 Views
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Mavis Wiggins announces retirement from TPG ArchitectureMavis Wiggins, managing executive and global workplace creative director at TPG Architecture, has announced she will retire from the New York Citybased design firm in January 2025. This milestone will conclude a more than four-decades-long professional career, throughout which Wiggins has been celebrated as an illustrious leader, daring creative, and dedicated client steward. I just love the work we as designers get to do, said Wiggins. We are so passionate and committed to making experiences better wherever and however we can. This profession has allowed me to grow in ways I couldnt have imagined, first as a young person joining the community, and still now. So much you continue to learn once you realize the power of what you offer is a window into the possible.Wigginss attentive ear, inspired eye, and collaborative touch have built an industry-defining legacy. Her passion for design and its power to transform the human experience is evident across her prolific portfolioa dynamic body of work that spans financial services, hospitality, media, and entertainment, as well as workplaces for consumer brands. During her 14-year tenure at TPG Architecture, her team has brought to life countless award-winning spaces in many of New York Citys most iconic towers, including the Seagram Building and One Vanderbilt Tower.It has been both a privilege and a pleasure to build a profession around invigorating the spaces we live, work, and play in, said Wiggins. There werent many women in the industry who looked like me, particularly in the corporate design world, and I am proud to have been part of the movement toward greater diversity and inclusion. I will continue to make that my mission as I make this transition. Representation, inclusion, and collaboration are key to good designto creating spaces that inspire and empower people to thrive and grow. Often, the most rewarding outcome is one where people experience the positive influence of design without realizing it. Throughout her career, Wiggins brought an avant-garde approach to design that honors each clients unique vision, listening to their concerns and addressing their needs to bring their ideal space to life. From her successful interpretation of a challenging, multi-directional brief for HBOs Santa Monica Headquarters to her award-winning program for a prominent quantitative asset management group, her guiding hand has transformed workplaces across industries. Wiggins skillfully translated each companys culture and founding principles, capturing the essence of firms like BDT, MSD, DZ Bank, Heidrick & Struggles, IEX Group, Lexington Partners, Assured Guaranty, and SwissRe.Wigginss far-reaching influence has been recognized on numerous occasions, including at IIDAs 2018 Leaders Breakfast and the St. Francis Food Pantries Shelterss 2019 Women of Valor Awards. The following year, she was selected as Interior Designs Best Interior Designer: Corporate Interiors. In 2021, Wiggins was inducted into the IIDA College of Fellowsthe highest honor given by the IIDA to its professional membersand in 2022, Interior Designs Hall of Fame, which recognizes those who have contributed to the growth and prominence of the interior design field. Wiggins has used this platform to inspire creativity and innovation within her studio and encourage young BIPOC designers to pursue their career aspirationssomething she plans to continue in retirement.This may mark the end of my formal career, but its not a goodbye, said Wiggins. I cant imagine a life without creativity, and I look forward to exploring what that looks like as I take this next step. I am eager to remain active in the design community and continue finding opportunities to expose the next generation to the power of design, particularly in underprivileged communities, with greater concentration. You havent heard the last from me yet!We are deeply grateful for Maviss contributions to the development of our practice, said Jim Phillips, founding partner at TPG Architecture. She has been a driving force in establishingTPGs reputation as a distinguished design firm. Her guidance has been an incredible source of inspiration for our younger staff, who admire her as both a mentor and a role model. We wish her all the best in this next chapter and extend our heartfelt thanks for her years of dedicated service and the enormous impact shes had on our team and our work.0 Comments 0 Shares 9 Views
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WWW.ARCHPAPER.COMThe RO is a major mixed-use development coming to Houston with designs by KPF, Roman and Williams, and othersA long list of reputable architecture firms are contributing to a forthcoming, mixed-use development in the city of Houston. The RO is a major project backed by Transwestern Development Company, a local office. Its being built adjacent to Houstons River Oaks neighborhood, a historic locale built in the 1920s by William and Michael Hogg known for its gardens and verbose architecture. The RO is slated for a 17-acre site at the intersection of West Alabama Street and Buffalo Speedway that once housed a research campus for Exxon-Mobil. The master plan, developers said, will essentially extend the qualities that make River Oaks special further into the city, namely its leafy public realm and walkable corridors. The tallest building at The RO will be 28 stories, delivering much needed density to the sprawling metropolis.The future neighborhood will have diverse programming. It will contain Houstons first ultra-luxury Auberge Resorts Collections hotel and residencies, for instance, as well as a retail village stocked with restaurants helmed by local chefs. There will also be boutiques, luxury multifamily housing, and creative Class A+ office spaces.The ROs tallest building will rise up 28 stories. (Courtesy The Boundary)The multifamily residential community will have a total 317 units, and the boutique office building will span 146,000 square feet. Pickard Chilton, a Connecticut office, is the doing the master plan. That firm is also designing office space and multifamily housing for the site. Meanwhile, KPF is designing a hotel and residencies. The hotel interiors are being designed by Roman and Williams, and the residences will have interiors by Dillon Kyle Architects, a local office. Michael Hsu Office of Architecture is designing retail buildings at The RO, together with House & Robertson Architects.The central lawn at The RO (Courtesy Michael Hsu Office of Architecture)MaRS Culture is designing the multifamily housings interiors. OJB Landscape Architecture is envisioning lively outdoor space for The RO. OJBs vision for The ROs exteriors entail an active public realm that resembles a fine and time-honored residential neighborhood, the developers said.With curving streets that invite exploration and discovery, the quaint materiality of stone and cobble work, and a lushly layered planting palette, The RO seamlessly blends architecture and green spaces, infrastructure, and beauty in highly performing land and streetscapes that meet the desire to gather, find solace and respite, and support health and happiness, the project team continued.Rendering of hotel lobby at The Birdsall Residences (Courtesy Roman and Williams)A members-only living room at The Birdsall Residences (Courtesy Roman and Williams)Typical guest room at The Birdsall Residences (Courtesy Roman and Williams)The multifamily housing at The RO pays homage to Birdsall Briscoe, a famous Houston architect, developers added. All in all, The RO is being designed so it looks as if it evolved organically. Some buildings will be made of handmade brick, and the streets will be lined in cobblestone. Rich woods, metal mullions, and fine glass details will account for the interiors.0 Comments 0 Shares 8 Views
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WWW.ARCHPAPER.COMTrahan Architects and SMM transform a public park in Springdale, ArkansasLuther George Park has offered respite for residents of Springdale, Arkansas, for some time now. But after many years of wear and tear, the public park needed repairs. Today, the 14-acre green space is undergoing a major renovation by Spackman Mossop Michaels (SMM), a New Orleans-based landscape architecture office. There, Trahan Architects recently completed an elegant public pavilion that mimics Luther George Parks rolling hills. Over time, the pavilions steel will develop a nice toned patina.The design by Trahan Architects recalls past sculptures by Richard Serra. The pavilion is meant to host play, performance, community gatherings and quiet contemplation. It marks the inaugural piece of Downtown Springdale Alliances masterplan, the project team shared, which is set to add 200 new trees to Luther George Park, among other upgrades.The pavilion is sited on a central pedestrian extension to Springdales Water Street. (Tim Hursley/Courtesy Trahan Architects)To accommodate all sorts of performances, the public pavilion designed by Trahan Architects has no backside. Our architecture is deeply informed by the soils, landscape, and cultural context of each place we work in, noted Trey Trahan, founder and CEO of Trahan Architects. The performance pavilion draws inspiration from Springdales unique ecology and surroundings, while emphasizing the strong axial connection between the creek and downtown Springdale, Trahan continued. Our collaboration has created a park and pavilion of performative sculpture that will be a local, regional, and national destination for generations to come.The pavilions distinctive shell was made in sections produced by CIG Architecture, a Dutch steel fabricator. (Tim Hursley/Courtesy Trahan Architects)The pavilion is sited on a central pedestrian extension to Springdales Water Street. The elevation that faces the eastern great lawn is where large scale performances unfold while, to the west, more intimate gatherings like movie screenings can take place. The pavilions distinctive shell was made in sections produced by CIG Architecture, a Dutch steel fabricator. Its composed of weathering steel plates and spans a total 150 feet in length. The structure itself is anchored by only two points, Trahan Architects shared, making it appear weightless.The pavilion is located close by to a playground. (Tim Hursley/Courtesy Trahan Architects)Performance technologies are inserted throughout the pavilion, such as rigging coves for theatrical lighting. Theres also dedicated power sources for AV equipment and perforations for optimized acoustics.At its heart, Luther George Park is about creating connections, added Wes Michaels, SMMs founding principal, linking downtown Springdale to Spring Creek and the Razorback Greenway, uniting the greater northwest Arkansas region through cultural celebrations at the performance pavilion, and most importantly, bringing together the people of Springdale through everyday gatherings of family and friends in the park.0 Comments 0 Shares 8 Views
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WWW.ARCHPAPER.COMBethel Woods Center for the Arts seeks proposals to memorialize iconic Message TreeAs part of its commitment to preserving the legacy and history of Woodstock, Bethel Woods Center for the Artsthe historic site of the 1969 music and art festivalis seeking proposals from artists and artisans to create commemorative works of art in honor of the legendary Message Tree, a central symbol of the 1969 Woodstock festival. The Message Tree was a 60-foot red maple located on the site of the original festival that served as a unique gathering place for attendees who left messages, notes, and well-wishes pinned to its bark, making it an enduring symbol of peace, love, and community. (Paul Gerry/Bethel Woods Collection)After more than 100 years of life, the Message Tree was no longer viable and at risk of falling. In September, the tree was carefully taken down, but its legacy will live on. As part of an effort to preserve and honor this iconic piece of history, Bethel Woods is seeking proposals from artists to transform the wood of the fallen tree into lasting works of art that celebrate its role in the 1969 festival and its significance in the cultural memory of Woodstock. These works will be exhibited as part of the Arts and Crafts of Woodstock at the Bethel Woods Museum in 2025. RFP Details:Project Scope: The selected artists will create sculptures, carvings, or other artistic works from the wood of the Message Tree. These pieces will be displayed at Bethel Woods Center for the Arts and may be used to further preserve and communicate the history of the Message Tree and the spirit of Woodstock.Artistic Vision: Artists are encouraged to draw inspiration from the Message Trees rich legacy as a symbol of free expression, unity, and the enduring impact of the Woodstock festival. The works will serve as both a tribute to the past and a tangible connection to the ideals of peace and togetherness that continue to resonate today.Eligibility: The RFP is open to artists and artisans with experience in wood-based art or sculpture. Local and regional artists are especially encouraged to apply, as are those who have a personal connection to the Woodstock community or the Message Tree itself.Submission Deadline: All proposals must be submitted by December 31, 2024, with selection notification on January 31, 2025. Works must be completed by June 30, 2025.Bethel Woods Center for the Arts is committed to building upon our rich history of peace and music by providing extraordinary experiences and access to the arts, said Dr. Neal V. Hitch, senior curator at Museum at Bethel Woods. This project is at the core of our mission, carrying on the legacy of the Message Tree by transforming its wood into works of art that will help future generations connect with Woodstock.(Ilene Levine/Bethel Woods Collection)In addition to the creation of artistic works, Bethel Woods is taking steps to propagate saplings from the original tree, ensuring that its legacy lives on in future generations. For more information on the RFP process and submission guidelines, please visit theBethel Woods website.About Bethel Woods Center for the ArtsBethel Woods Center for the Arts, located at the historic site of the 1969 Woodstock festival, is committed to building upon its rich history of peace and music by providing extraordinary experiences and access to the arts. With the belief that the world can be made better through the power of music and the arts, Bethel Woods makes music, visual, performing and creative arts programming available and accessible to the community, helping people of all ages discover and tap into their creative potential.Located 90 miles north of New York City in Bethel, New York, the lush 1,000-acre campus includes the Pavilion amphitheater with seating for 16,000, an intimate 422-seat indoor Event Gallery, a concert campground, and creative studios for arts education programming. The award-winning Museum at Bethel Woods carries on the history, spirit, and learnings of the 1960s and the Woodstock Music & Art Fair through the preservation and interpretation of the historic site. Bethel Woods is a not-for-profit organization that relies on the generous support of individuals, corporations, and foundations.0 Comments 0 Shares 8 Views
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WWW.ARCHPAPER.COMBest of 2024, the latest version of ANs annual awards issue, is out nowIf AN was to select a Glyph of the Year, 2024s answer would be obvious: The award would go to , the lowly but essential multiplication symbol. It is regularly used to indicate dimensionsand, therefore, to imply spaceand, far too often, is erased, replaced by its common substitute the letter x. These days, signals collaboration. The act seems to be everywhere. The use of to unite two brands together may have gotten its start in fashion circles, where emerging designers were invited to breathe new life into more established houses thirsty for virality. The trend has now spread to all corners of design culture.While past zeitgeists trafficked in the myth of the heroic single author, is a welcome addition to architectural discourse. This is, after all, a profession that relies on the collaboration of dozens (or hundreds, even thousands) of people for a single projectespecially the award winners.If AN was to select a Glyph of the Year, 2024s answer would be obvious: The award would go to , the lowly but essential multiplication symbolVerily: Architects join forces to co-lead practices; offices pair up to deliver co-designed competition entries; project teams include a whole host of professionals and consultants; and companies partner with designers to create new objects, advertisements, showrooms, pop-ups, and experiences. At its worst, the mark, composed of two crossed lines, can obscure the actual dynamics of the exchange, serving as a cheery distraction that masks a calculated business transaction, more like a shotgun marriage than true love. But at its best, the glyphs visibility is a welcome act of recognizing the ways that creative people work together. The results of successful collaborations can be superb, like when architects coordinate with a range of experts to elevate construction quality. This is what happened with the new terminal at the Portland International Airport, designed by ZGF, which secured ANs Project of the Year in addition to winning a Best of Design Award in the Infrastructure category. Beyond offering a pleasant travel experience, the mass timber building comes with an encouraging story about sourcing: According to wood advisor Sustainable Northwest, 100 percent of the wood for the roof and ceiling came from local forests within 300 miles of the airport, and 96 percent of the wood for the roof and ceiling came from sustainably managed forests. Following this recognition (and the four projects that were selected as finalists), be sure to check out the many winners, honorable mentions, and editors picks across our Design, Products, and Practice Awards.Across 2024, ANs coverage and events, often propelled by an interest in addressing the climate crisis, provided reminders about how architects interact with construction. We published stories about start-ups, city agencies, researchers, and designers working on circular economies; reviewed a book by theorist Sergio Ferro, who argues that architectures politics begin on the job site; and raised awareness about worker deaths in Saudi Arabiaall while delivering a near-constant flow of news, reviews, and case studies.Its a lot, but so much is happening so quickly. Stay tuned for more in 2025.0 Comments 0 Shares 9 Views
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WWW.ARCHPAPER.COMSasaki completes addition at Frederick Gunn School in ConnecticutStudents and faculty at Frederick Gunn School enjoy a stately milieu tucked away in Washington, Connecticut. The school was founded in 1850 and sits on a 220-acre campus. There, Sasaki recently completed an addition: The Lizzie and Jonathan Tisch Center for Innovation and Active Citizenship. The Tisch Center is smack dab in the heart of Gunn School, overlooking its historic quad. It houses the schools innovative science, math, engineering, entrepreneurship, and citizenship curriculum.The addition has three gabled roofs and sits on a masonry baseboth of these design features tie in nicely with Gunn Schools historic and idyllic environs. At Tisch Center, some elevations are opaque and others are lined in glass, suggesting a dynamic interplay between solids and voids.The addition has three gabled roofs. (Jeremy Bittermann)At certain sections, fins regulate daylight entering the volumes where natural lighting is optimal. The white elevations are punctured by large apertures with dark stone gray casements around them, breaking up the facade. All in all, the new addition is meant to function as an interdisciplinary active learning environment where multiple departments coalesce. The Tisch Center employed myriad sustainability techniques that demonstrate Gunn Schools commitment to going green.Fins regulate natural light. (Jeremy Bittermann)The building is organized around a vast, generous atrium. There, students enter and exit a multistory, light-filled volume awash with sunshine. Occupants have the option to either go right to class or enjoy break out spaces furnished with chairs and tables suitable for leisure activities.The building is organized around a central atrium. (Jeremy Bittermann)Windows at Tisch Center are thermal glazed; this helps maximize the buildings energy efficiency and provide greater insulation. Materials for its millwork and community seating areas were sourced from reclaimed trees, further offsetting its carbon footprint. Architects at Sasaki opted to use geothermal wells that generate energy directly from the earth for Tisch Centers heating and cooling sources. Tisch Center also has roof-mounted solar panels.Classrooms boast large windows (Jeremy Bittermann)Technology labs were designed for efficiency and collaboration. (Jeremy Bittermann)Jonathan Tisch, a Gunn School alum who bankrolled the eponymous addition, thanked Sasaki for the design. When youre on the outside looking in, you will see all of the various departments, you will see the classrooms and the students learning, Tisch noted, commenting on the additions porosity.And then when youre on the inside looking out, Tisch added, youve got a view on the campus that deserves to be embraced. Thats whats so amazing about the design.0 Comments 0 Shares 7 Views
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WWW.ARCHPAPER.COMRestless Architecture by DS+R is a meditation on movement at Romes MAXXIWhy should architecture sit still? This provocation is the point of departure for a current exhibition at Romes MAXXI, titled Restless Architecture, curated by Diller Scofidio + Renfro (DS+R). Restless Architecture delves into post-war visionaries like Cedric Price, Kisho Kurokawa, Hans Hollein, Maurizio Sacripanti, OMA, Archigram, Anish Kapoor, Arata Isozaki, and others who wanted to see buildings get up off the ground and move. Models of canonical works abound, both built and unbuilt.Architectural representation is not equipped to capture motion, DS+R said in an artistic statement. Therefore, DS+Rs exhibition design supplemented conventional architectural models, drawings and photographs with newly commissioned kinetic models, full scale mock-ups, experimental prototypes, and video installations.A scale model of Cedric Prices Fun Palace is on view. (Musacchio, Ianniello & Pasqualini/Courtesy Fondazione MAXXI)The show is organized around several key themes. Projects selected for exhibition represent a hybrid of qualities: They needed to be mobile, adaptive, and operable. These qualities were meant to stand in contrast with the three pillars of architecture Vitruvius presented centuries ago: Firmitas, utilitas, and venustasnamely firmitas, and the virtue of rootedness to the ground plane. A physical model of Fun Palace, Cedric Prices unbuilt dream from 1964, was reconstructed for the show. And so was a sliver of Nakagin Capsule Tower by Kisho Kurokawa. OMAs Prada Transformer from 2009, the Italian Pavilion at EXPO 70 by Maurizio Sacripanti, and The Shed by DS+R were also on view.A section of Nagakin was reconstructed. (Musacchio, Ianniello & Pasqualini/Courtesy Fondazione MAXXI)Other case studies by Jean Nouvel, Gilbert Lzenes, Pierre Soria, and Architecture Studio also manifest at Restless Architecture. Ferdinand Ludwig, Frantiek Libra, Ji Kan, and Vladimr Karfk also have cameos. All of this ephemera engages interestingly with MAXXIs architecture, a quintessential Zaha Hadid project that also ruminates on the idea of frozen movement as a concept. At certain intervals, DS+Rs design plugs into MAXXIs ceiling, namely its linear ceiling beams that hover over the gallery space. DS+R designed purpose-built mobile curtains that weave through the space, containing small video theaters that come and go, interrupting the exhibition to provide an additional layer of reflection on the theme of movement, the architects shared.Restless Architecture will run through March 16, 2025. (Vincenzo Labellarte/Courtesy Fondazione MAXXI)Restless Architecture opened on October 25 and will run through March 16, 2025.The project team at DS+R included Elizabeth Diller, Ricardo Scofidio, David Allin, AN contributor Phillip Denny, Bryce Suite, Daniel Landez, Alex Knezo, Charles Blanchard, and Tom Collins.0 Comments 0 Shares 7 Views
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WWW.ARCHPAPER.COMWall panels and partitions to creatively divide interior spacesA palette of materials, finishes, and surfaces for indoor excellence. (Courtesy Treefrog)Sottsass GreyTreefrogTreefrog has revamped its entire collection, adding 11 new FSC-certified prefinished woods, including seven new Designer Veneers. Designed by the late Ettore Sottsass, Sottsass Grey was recently reintroduced in more muted wood tones by Treefrogs Italian supplier.(Courtesy PK-30 System)PK30 Sliding Stacking SystemPK-30 SystemShown here in the Hafele New York showroom by Perkins&Wills New York studio. The PK30 12-foot-tall sliding stacking system requires no floor track for installation. The systems panels are made of wood, glass, and metal. (Courtesy Allsteel)12 Value Ladder PullAllsteelHardware for Allsteels Aspect and Beyond Walls has been updated to include a new 12 Value Ladder Pull that is visually consistent with other new ladder pulls.(Courtesy 3A Composites)Monarc Interior Composite Wall Panels3A CompositeThis new range of composite wall panels for contract interiors is available in 19 options across three collections inspired by raw materials, natural stone, and wood. Monarc is made from two sheets of .012 aluminum bonded to a fire-retardant mineral core in a continuous extrusion process, creating a rigid and durable aluminum-composite panel.(Courtesy 3form)Dreamscape Collection3formFor its first designer collection, 3form partnered with New Yorkbased design firm Ringo Studio to create a surfacing palette that includes seven combinations of materials, colors, patterns, and finishes. (Courtesy Molo)Petal Pink SoftwallMoloAt this years ICFF in New York City, Molo premiered its new limited-edition Petal Pink custom color for its freestanding textile Softwall partition system.0 Comments 0 Shares 9 Views
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WWW.ARCHPAPER.COMHKS names Heath May CEO, successor to Dan Noble who has led the firm since 2014HKS Architectsan 85-year-old firm with U.S. offices from coast to coast (and several abroad)announced today a change in leadership. CEO and chairman Dan Noble, who has worked at the firm for 42 years, will step down from his position and hand the baton to Heath May, another HKS veteran who has spent 20 years with the practice. The transition will take place over the course of 2025 with Noble and May working closely together to share knowledge on the firms operations, while ushering in a new chapter. Talks to name a successor for Noble began seven years ago when HKS launched a strategic plan geared at the firms continued evolvement, especially in terms of those leading it. To identify a successor, HKS developed a predictive index. From this, it was able to glean who internally at the firm was best suited and most competent to move the firm forward. This tactic demonstrates the firms commitment to thoughtfully developing leadership programs, training initiatives, and defining the role of CEO. The shortlist comprised seven individuals and was narrowed down to two, with May eventually named as Nobles successor.Since joining HKS, May has worked on a range of typologies, including sports venues such as SoFi Stadium. (Nic Lehoux)May started working at HKS in 2004. It was his second job out of school. Over 20 years at HKS, May recalled I practiced somewhat agnostically across different typologies. I had the opportunity to get a sense of what it was like to work with clients and think about the programming and the criteria for different building typesranging from small cafes to large hospitals to schools to stadiums and everything in between. In an interview with AN, Noble said Mays focus has always been firmly fixed on the future and where the next idea to help move the industry along can come from. He has deep expertise in parametric modeling, sustainable design, performance driven architecture. Hes always pushing the needle, Noble offered.Both Noble and May look forward to a future where architects are problem solvers, where technology like AI, machine learning, and automation can benefit communities. CMNTY Culture Campus in Los Angeles exemplifies Mays ability to merge cutting-edge technology with client-centered design. (Courtesy HKS Architects)Im incredibly excited about the idea that we get to be the authors of that future, May added. Specifically right now around machine learning, AI, and the use of data in our work, the most interesting and exciting thing is that no one has figured it out yet.When May fully takes the reins in January 2026, he will lead the firm from its Los Angeles office, where he currently works froma first for the Dallas-headquartered practice that could expand its sphere of influence.0 Comments 0 Shares 9 Views
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WWW.ARCHPAPER.COMWhat a visit to Taliesin taught me about the state of American architecture todayIn September, I had the privilege of being invited by the Frank Lloyd Wright Foundation to screen a film of my 2004 play,Private Jokes, Public Places,at the newly renovated Hillside Theater at Taliesin, Wisconsin. Before the presentation, I was shown to my quarters for the night, which, to my surprise, were in Frank Lloyd Wrights actual house where he had lived with his third wife, Olgavanna Lloyd Wright, and their daughter, Iovanna. Youll be staying in his daughters room, I was told as I was led up a set of narrow stairs, through a secret door (embedded in a row of six false doors), before finding myself in what might be described as a separate one-bedroom loft apartment, complete with small kitchen, bathroom, reading area, living room, and bedroom. There were also two terraces, facing east and west, which, given the houses siting on the propertys highest point, offered spectacular views over the rolling green Wisconsin hills. It took some time to fully digest my surroundings. Like a great work of drama, the subtleties of the space reveal themselves slowly, unfolding as day turns into night. Every windows location, each slant of the roof, or choice of material born out of a real purpose. For example, the surface around the two fireplaces is laid in stone, which preserves heat longer than wood and avoids sparks setting the wood floor on fire. Floor levels are at different heights, sometimes by just an inch, which emphasizes the separation of spaces. The living area faces west and is enclosed with an entire wall of mullioned glass, enabling an unobstructed sunset view. In the morning, I thought the light in the bathroom was on, only to discover that Wright placed a tiny window high above the toilet where a sloping shaft draws in the sun and showers the bathroom in a glow of light. (The walls are painted yellow to enhance the effect.) To my eyes, every gesture and each detailincluding the furniture was designed with an acute sense of functionality. The overall effect was stimulating: I felt I was transposed into a different world.Wright deliberately used the spatial tactic of compression and release. (Courtesy Oren Safdie)I was the only occupant of the house, so I decided to go exploring. Right outside my door, I discovered a strategically placed cubby door set in the wall. Upon opening it, I found myself looking down over Frank Lloyd Wrights bed. This likely was for when Iovanna needed to communicate with her father, saving her a trip down the stairs or yelling at the top of her lungs.Downstairs, Wrights commitment to function was evident at every turn. A guided tour was unnecessary, because the house answered every question with a responding gesture. Wandering through a hallway that is the length of a small bowling alley, I began to wonder whether people of that era were indeed much shorter because the ceiling was so low, but then I was spit out into a larger space and realized that Wright was deliberately using the spatial tactic of compression and release to augment the dramatic effect of being thrust into these more public double-height spaces. The sense is enhanced when compared with an exterior horizontal best captured by the Prairie-style roof that makes inhabitants feel like they are actually out in the landscape.For most architects, what Im describing is nothing new. Despite being born in 1867, Frank Lloyd Wright is still a household name and prominent figure in architectural discussions. (His large model for Broadacre City is even currently on view at MoMA in New York.) In practice, however, the lessons of his work seem absent from the contemporary American architecture scene.Wrights daughters room is located up a set of narrow stairs, through a secret door embedded in a row of six false doors. (Courtesy Oren Safdie)Maybe by now its clear to say that rather than taking up the American stylings offered by Wright and his mentor, Louis Sullivan, much of what we see as the architecture of our time takes its roots from various flavors of European modernism and Bauhaus adherents, with a spattering of Russian constructivist precedent and a nod to various theoretical and technological anxieties. The organic Americana homegrown by Wright and Sullivan seems to have been tossed in the trash can of the 20th century, along with so much else. In the first quarter of this 21st century, architects have made progress in creating architecture that is more environmentally conscious and people friendly rather than being focused on the fantastical, like some of the high-wire starchitect acts of the early 2000s. But at its core, American architecture continues to remain fixated on form rather than function: A buildings shape primarily originates from outside constraints rather than internal occupation. This follows in how our cities have taken shape, with little concern for occupants and activities who are overlooked to focus on appearance and market performance. Looking at some of whats being proposed, it feels like there has been little advancement from the problematic International Style of the 1950s and 60s. Just take a look at Hudson Yards or a dozen other similar projects that have recently been built across our countrys cities. This is progress?!A Prairie-style roof makes inhabitants feel like they are actually out in the landscape. (Courtesy Oren Safdie)Sure, we now have more skylights and glass roofs that bring in natural light, and some architects have attempted to integrate nature by covering facades in succulents or planting a garden on the roof, but it all feels symbolic and lacks any deeper meaning. Likewise, new technologies have gone into producing some incredibly impressive structures but whether it is a symptom of scale, speed, capitalism, cheap developers, strict buildings codes, or just the fast-paced world we live in, it often lands as soulless. Were too busy to pay attention to the art of craft, which used to be an important element of architecture.It feels like architects are under so much pressure that they often cant sweat the small stuff. If you scan through what is being published lately, its almost like details dont matter. After spending a weekend in Frank Lloyd Wrights house, I beg to differ.Oren Safdie is a playwright, screenwriter, and teaches at Interlochen Center for the Arts.0 Comments 0 Shares 6 Views
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WWW.ARCHPAPER.COMSaunders Architecture completes Tekkpimk Contact Station, a visitor center located in Northern MaineIn remote Northern Maine, Norway-based Saunders Architecture has designed Tekkpimk Contact Station, a new visitor center that will serve the Katahdin Woods and Waters National Monument, a nearly 90,000-acre nature preserve that was donated to the National Park Service by Roxanne Quimby, a cofounder of Burts Bees. Saunders Architects collaborated with the Wabanaki Tribe, a local Indigenous community, and New Englandbased landscape architects Reed Hilderbrand on the design of the visitor center, delivering a series of dramatic cantilevered forms that respond to the natural slope of the site and were constructed using carbon-sequestering timber. The Tekkpimk Contact Station will serve as a public entry point to Katahdin Woods and Waters National Monument. (James Florio)Perched atop Lookout Mountain, one of the parks many natural peaks, the center offers sweeping views of the Penobscot River and Mount Katahdin, the tallest mountain in Maine. These stunning views are what afforded the project its name, Tekkpimk (pronounced deh gah-gah bee mook), which translates to as far as one can see in the Penobscot language. The Penobscot tribe, a member of the larger Wabanki Nation, has inhabited the region for more than 11,000 years. Out of respect for the National Monuments Indigenous history, the design team and client worked closely with the Wabanaki Advisory Board to develop a scheme for the visitor center that would center the groups identity and unique cultural perspective. This included specific input into the massing and layout of the structure. To provide a physical sense of the design prior to construction, the architects staked out a life-sized floor plan of the building on the site. From this exercise, as well as other discussions, a series of beveled corners were implemented to better situate the wings of the building, each of which looks out toward a different direction.We wrote off all of the work that had gone before, said Todd Saunders, founder of Saunders Architecture. For if we were really serious that this project was to be a partnership and not an imposition, a genuine product of and celebration of Wabanaki culture both then and now, we needed to start again, to learn to carry only what was needed, wanted, and wished for.An exhibition within the building was designed with input from local Indigenous groups. (James Florio)Inside, an exhibition illustrates the ecological features of the park. It was carefully constructed to present this information from a Wabanaki perspective. Project elements and exhibition content related to the Wabanaki, including its intellectual property and cultural knowledge, is owned outright by the Nation.Jennifer Neptune of the Penobscot tribe, who wrote the displays text, said of the exhibition, I hope that Wabanaki tribal members are able to see themselves reflected in the exhibits and be proud of who they are and the culture that our ancestors saved for us. I hope that all visitors come away with a deeper understanding, respect, and relationship to these woods and waters and to the places they call home, she added.Locally sourced cedar shingles wrap the exterior envelope. (James Florio)Tekkpimk Contact Station is designed to meet extremely rigorous sustainability standards. The building is almost entirely composed of timber, from its Maine cedar shingle cladding to the large Douglas fir glulam columns that comprise its structure. Situated on a slope, the center is upheld by rock anchors in the hillside, allowing the timber corridors to cantilever over the site. In addition, the building operates completely off-grid, relying on solar and thermal power for its energy needs. Passive design strategies were implemented throughout the project to lower energy use, including radiant floor heating, a Trombe wall heat capture system, a reduced glazing ratio through the use of selective punched windows, and an air-source heat pump.All of the materials used in the sites landscape and trail design were repurposed from the construction of the building. For example, rip rap removed from demolitions on the site were used to build trails and displaced soil was redistributed nearby.Tekkpimk Contact Stationis highly efficient in terms of energy use and embodied carbon. (James Florio)Elliotsville Foundation, the nonprofit that operates the center, anticipates that the completion of the project will bring renewed economic investment to the region by attracting tourists to the National Monument. By involving the Wabanaki Advisory Board, the organization has taken important steps to make sure that the groups centuries-old culture and history is not forgotten and is rather a focal point within the park.0 Comments 0 Shares 6 Views
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Deborah Berke awarded 2025 AIA Gold MedalThe Gold Medal is the AIAs highest annual honor. Since 1907, its been bestowed upon architects who demonstrate excellence in multifaceted ways, whether through practice, social good, or scholarship. This years recipient is Deborah Berke, founding principal of TenBerke (formerly Deborah Berke Partners) and the Yale School of Architectures (SoA) dean. Jurors recognized Berke for combining design excellence, academic leadership, and a commitment to social and environmental responsibility. Berke was also commended for serving as Yale SoAs first female dean, and the strives shes taken toward making architecture education more equitable and accessible, efforts which earned her the AIA/ACSA Topaz Medallionthe highest honor for architectural education.Today, TenBerkes portfolio is chock full of education projects, further demonstrating Berkes commitment to pedagogical excellence. Recent additions include a forthcoming building constructed with mass timber for Smith College and buildings at Yale, to name but a few.The panel also pointed to Berkes efforts as an author, having edited important books like The Architecture of the Everyday in 1997. The advisory jury was chaired by Anne Hicks Harney of Long Green Specs, a New Jersey practice. It included Kjell M. Anderson, Ung-Joo Scott Lee, Amy Slattery, Megumi Tamanaha, Roderic Walton, Korey White, and Taryn Williams. Throughout her career, Berke has exemplified the power of architecture to transform lives and communities, AIA said in a statement. Her work, teaching, and advocacy collectively underscore a profound belief in design as a tool for social good, leaving an indelible mark on the field and inspiring a more inclusive and sustainable architectural future.Last years AIA Gold Medal winners were David Lake and Ted Flato of Lake|Flato, and Chicago architect Carol Ross Barney was 2023s awardee. In years past, Denise Scott Brown was given the honor, as were Marlon Blackwelland Angela Brooks and Lawrence Scarpa.0 Comments 0 Shares 12 Views
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WWW.ARCHPAPER.COMLPA Design Studios takes home 2025 AIA Architecture Firm AwardSplit between six offices in California and Texas, LPA Design Studios is known for delivering thoughtful institutional buildings often on limited and inflexible budgets, among other impressive accolades. The firm is the recipient of the 2025 AIA Architecture Firm Award. Since 1965, LPA has cultivated a reputation for having a keen sensitivity to design research. This often translates to thoughtful, innovative, and sustainable designs. The office has its own wing, Sustainability + Applied Research (S+AR) team, dedicated to such affairs.Some projects that demonstrate the firms ethos and sustainability commitment include Environmental Nature Center and Preschool, the first Living Building Challenge Petal Certified building in southern California; and the CSU San Bernardino Center for Global Innovation, to name but a few.LPA has six offices spread throughout California and Texas. (Courtesy AIA)Equity and inclusivity are central to LPAs philosophy, AIA said in a statement. The firm has implemented initiatives like the Diversity in Design Scholarship and the Developing Future Project Leaders program to support underrepresented voices in the design industry. AIA continued: Additionally, LPA has reimagined traditional career paths to create opportunities for individuals from nontraditional educational backgrounds, exemplified by their Digital Design pathway. Internally, LPA fosters a culture of mentorship and shared leadership, with a majority of its principals and associates having started their careers at the firm.The jurors who chose LPA were the same bunch who bestowed upon Deborah Berke this years AIA Gold Medal. That panel was chaired by Anne Hicks Harney of Long Green Specs, a New Jersey practice. It included Kjell M. Anderson, Ung-Joo Scott Lee, Amy Slattery, Megumi Tamanaha, Roderic Walton, Korey White, and Taryn Williams.Last years AIA Architecture Firm Award went to Quinn Evans.0 Comments 0 Shares 9 Views
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WWW.ARCHPAPER.COMThe interior of New York Bagel Co., designed by Frank Gehry, is under immediate threatOne of Frank Gehrys most uniqueand unknownprojects is under immediate threat in Los Angeles. New York Bagel Co., a 1990 eatery inside a Brentwood strip mall called Town & Country, features classic Gehry touches like shifting surfaces of laminated plywood, sheet metal, and concrete. Its signature is a 30-foot-long, galvanized steel model of the Chrysler Building that appears to be crashing through the ceiling. The restaurants owners said the landlord, Los Angelesbased Anderson Real Estate, have refused to renew its lease, so they must vacate the premises by the end of the month. They will start moving out on December 16. They didnt ask us if we could pay more rent, Patra Kittichanthira, who owns the restaurant with her husband, Ted Cichowski, told AN. We told them we would do whatever it would take to stay. They just wanted something else. New York Bagels lease ended this summer, added Kittichanthira and Cichowski, and in October they received a notice to vacate by the end of this month. Asked if they think the landlord knew the store was designed by Gehry, Kittichanthira said, I dont know if they know, and I dont think they care.Efforts to reach Anderson Real Estate have thus far been unsuccessful.Frank Gehrys napkin sketch of New York Bagel Co. (Courtesy Patra Kittichanthira and Ted Cichowski)The couple bought the eatery in 2003 from its original owner, the famously curmudgeonly David Rosen, who was a good friend of Gehrys. The architect originally sketched the design for him on a napkin. More of the shops unique details incorporate classic deli elements into Gehrys ebullient, not-so-precious vernacular: Theres a subtle pop-out of the dining space, which extends the interior toward the parking lot; long raised mirrors to help reflect the Chrysler Building model; a 12-foot-wide galvanized steel wall cut with the words New York in glass on both sides; mixed-material parquet flooring; red banquette seating edged in laminated plywood; a vintage New York stainless steel counter; and slightly overlapped earthquake tiles that evoke, like much of Gehrys work, fish scales. When it first opened, the restaurant appeared on the cover of Interior Design magazine, and was featured in the Los Angeles Times under the headline Frank Gehry Designs for Bagels. The owners have made small changes, like replacing a sit-down counter near the entry, but most of the original design remains intact.When it first opened, the restaurant appeared on the cover of Interior Design magazine. (Courtesy George Smart)This is an important place in terms of talking about Frank Gehry and his connection between art and architecture, said Adrian Scott Fine, president of the Los Angeles Conservancy, the citys major preservation advocacy group. Its using art to evoke an architectural icon in a very creative wayyoure experiencing a little bit of New York. It tells a very interesting story about what was happening then. Fine added that while interiors can be protected in the city, the process of doing so would most likely take too long to be completed in time for the landlords deadline. Any possible halt, he added, would have to originate from the local city council office; the area is represented by councilmember Traci Park.There is no culture of how to protect these kinds of spaces that are not monumental, noted Maristella Casciato, curator of architecture at the Getty Research Institute, which acquired Gehrys archive in 2017. They present important components of the culture of the city. When they disappear, the whole spirit disappears. She called the project a work of love, wondering at Gehrys attention to details that you dont expect, and the many variations on how to use and maximize this tiny little space. She added: Its creative invention for something that could otherwise be considered very banal He had this three-dimensional idea of how to make the space more attractive.A model of the Chrysler Building lies horizontally across the ceiling in the shop. (Gil Garcetti)Architect Kevin Daly, who in 1990 was working at Gehrys firm, said he carried out most of the technical drawings along with longtime Gehry partner Greg Walsh. Fabrication of the stores elements, including the riveted Chrysler model, was performed by longtime firm collaborator Tomas Osinski. It had an improvisational character and informality and personal connection that is hard to achieve in buildings right now, said Daly. It points to Franks creative intensity. There was an immediacy and clarity to what he wanted to achieve.Over the years the restaurant has built a loyal following that includes stars like Adam Sandler, Benicio Del Toro, L.A. Laker legend Norm Nixon, and Gehry himself, who, at 95 has been ordering takeout a lot lately, the owners said. On a wall just inside the entryway the owners have posted large sheets of paper for customers to leave their emails. So far theyve had to add three sheets. Theres a level of comfort. You know the food is going to be outstanding and the atmosphere is going to be extra friendly, said Gil Garcetti, another regular who was, famously, the district attorney during the O.J. Simpson trial. (His son Eric is the former mayor of L.A.) A patron for the last 30 years, Garcetti was in the restaurant taking pictures of the space. The first few times I went into it I didnt even notice what was above me, said Garcetti, who didnt find out it was a Frank Gehry design until years later. Once I saw it, I remember sitting down and saying this is very, very cool. I appreciated the artwork and the willingness of the owner to do it.New York Bagel Co.s home, Brentwood Town & Country, is a red-tiled, rural-themed strip mall on Brentwoods busy San Vincente Boulevard; its stucco and cinder-block core is dressed in places with dark timber cladding. It has been renting to increasingly high-end tenants in recent years, such as the restaurants Sugarfish and A.O.C. Its safe to say most visitors have no idea that Gehry designed the corner bagel shop here. A recent story in the Santa Monica Mirror about New York Bagels closing listed the architect as Fred Gehry.The owners said Gehry, has offered to store the contents of the restaurant in one of his warehouses until they find a new location. (Gil Garcetti)In preparation for their departure, the owners recently reached out to Gehry, who they say has offered to store the contents of the restaurant in one of his warehouses until they find a new location. Hes also offered to design that potential new location, they said.Fine noted that if its installed in a similar manner it could connect to his intent and still be considered historic. Meanwhile the Gettys Casciato wondered if Gehry could potentially update the existing space if given the chance. She implores the preservation community to be a little more granular. To look at the tiny things that still speak of the architecture of the city and of Gehry or any other architect. Meanwhile words of appreciationand distresskeep pouring in. Ive talked to so many people about it, and theyre really disheartened, said Robb Rothman, a regular who has had a house account here for years. He talks about the Saturday morning breakfast club and the families who pack inside every weekend. They just couldnt be nicer, he remarked.Its so easy for things to get undone, said Daly. The power of indifference is so devastating.Sam Lubell is editor at large at Metropolis and has written more than ten books about architecture for Phaidon, Rizzoli, Monacelli Press, and Artbook D.A.P.0 Comments 0 Shares 9 Views
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WWW.ARCHPAPER.COMMASS Design Group and Marble Fairbanks Architects to redesign library in Brooklyn on site of African American burial groundOn New Lots Avenue in Brooklyns East New York, the communitys library is located on land used as an African American burial ground during the Revolutionary War. Drawing from this history, MASS Design Group and Marble Fairbanks Architects have conceived a new library and community hub for the site centered on learning and reconciliation. The library sits on a historic burial ground for enslaved and free African Americans from the Revolutionary War era. In 2017, fragments of human bone, pieces of tombstones were found, suggesting the burials beneath the site. The redesign honors this legacy, integrating the African Burial Ground into the librarys identity while creating a meaningful community space that fosters dialogue centered on reconciliation.New childrens area with inspiration from traditional African palaver concepts. (Courtesy MASS Design Group and Marble Fairbanks Architects)Its our job as designers to incorporate history into the future of place and try to acknowledge and heal the past, creating a new and shared future that benefits the community, said Jonathan Evans, principal at MASS Design Group. Growing up in New York, I saw architectures potential, and its complicity, in controlling the narrative and priorities of those in power. Being able to deliver change through the reformation of New Lots Library is a clear demonstration of change to honestly reflect history and celebrate the people and community the library serves. The 25,000-square-foot design draws inspiration from traditional African gathering spaces, shaped through extensive community input. The concept of palaveror dialoguetranslates in the design through radial, branch-like beams that extend outward to define reading areas and the childrens and teen zones. Large windows flood light into the open-plan space where collaborative workstations, computers, and flexible seating options will be available. When it opens, new technology will support childrens digital learning and foster creativity. As one of seven projects in the inaugural NYC Mass Timber Studio cohort, the library also showcases timber as a sustainable building material model.The facade recalls themes of Sanford Biggerss Lifting the Veil. (Courtesy MASS Design Group and Marble Fairbanks Architects)The new librarys distinct facade does away with its current, tired and dated concrete predecessora single brick building, with no distinct facade or outdoor gathering spaces. MASS Design Group and Marble Fairbanks Architectss design was influenced by the themes in Sanford Biggerss 2023 Lifting the Veil. In this work, Abraham Lincoln is seated as the ignorant man being led to enlightenment by the standing Frederick Douglass. The sculpture seeks to recontextualize Frederick Douglass in history, giving him the wisdom, power, and foresight. The themes of Lifting the Veil resonate with the New Lots Library project and its complex history. The timber panels, arranged in a crisscross, woven pattern, add dynamism, while reinforcing the designs connection to the sites history. In this way, the design connects past struggles with a vision for the future, offering a space for reflection and growth. Beyond shelves and books and a collection of media resources East New Yorks New Lots Avenue Library will also house a heritage center and continue the communitys ongoing work for reconciliation. Past work in the area has included, in 2013 renaming the block to African Burial Ground, and creating of a Remembrance Plaza and Reflection Circle to connect the burial ground, library, and Sankofa Parka neighboring site renamed to honor African Americans who endured enslavement in East New Yorks history.The new third-floor terraces and surrounding landscaped plaza will offer expanded community space. Outdoor seating on the terraces will provide sweeping views of the plaza, as well as a connection to the broader city landscape.New third floor terrace with views of the Brooklyn and Manhattan Skyline (Courtesy MASS Design Group and Marble Fairbanks Architects)New Lots Library is expected to close in fall 2025 when construction on the new library begins.0 Comments 0 Shares 25 Views
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WWW.ARCHPAPER.COMNYCHA residents, SS9, The Illuminator, and More Art leverage Manhattan building in protest against Fulton Elliott-Chelsea PlanPortable projectors have been a common instrument in protest art for some time now. In 2020, Artists for Workers and The Illuminator lit up Guggenheim New Yorks facade with messages of solidarity for museum personnel on strike. Trustees to Workers: Drop Dead, Open for Racism, and Open for Exploitation, were some of the phrases the artist-activist groups cast onto the rotundas exterior, to name but a few, not unlike Jenny Holzers provocation last May. This week in Manhattan, on December 10, protesters again leaned upon the medium to express collective outrage against a demolition and privatization plan for NYCHA Fulton and Elliott-Chelsea (FEC) Houses. The demonstration was organized by The Illuminator; Save Section 9 (SS9); residents of Fulton and Elliott-Chelsea Houses; and More Art, a local arts nonprofit. It was directed toward Related Companies, Essence Development, and NYCHA, and also the architects behind the project: PAU, COOKFOX, and ILA. Politicians like Eric Bottcher, Mark Levine, Brad Hoylman, Eric Adams, Kathy Hochul, and others were also thrown shade for supporting the FEC plan.The art piece was meant to spread awareness about threats to public housing in New York today. (Avery J. Savage)Phrases like STOP THE DEMOLITION OF OUR HOMES, RELATED PLANS TO DEMOLISH 2,056 HOMES, and PRIVATIZED PUBLIC HOUSING=DISPLACED FAMILIES got straight to the point for passersby shuttling through Chelsea that evening. Some of the most poignant slides cast quotes from NYCHA residents: I WILL CHAIN MYSELF TO THE BUILDING BEFORE I LET THEM DEMOLISH MY HOME. While the slides were played, SS9 founder Ramona Ferreyra and Renee Keitt of Elliott-Chelsea Houses fielded questions on the sidewalk from curious observers about the protest, the FEC plan, and why people are against it.This event allowed us to tell the city that theyre wrong about Section 9, Ferreyra told AN. The quotes and statistics surprised many. But its time that New Yorkers stop avoiding the projects and instead start applying for a home where their rent is capped at 30 percent of their income, and 10 percent make more than 100k a year, while only 12 percent, like me, are on public assistance. We represent the best of the city and they should be jealous.The slides had personal testimonies from public housing residents. (Avery J. Savage)Madison Markham is More Arts community engagement coordinator. For the past year, More Arts community partner has been SS9, and the two organizations have held other protests and conducted teach-ins to spread awareness about imminent threats to public housing in New York today. One of the most creative stunts to date was when More Art invited the Yes Men, a famous culture jamming activist group, and the Good Liars to infiltrate a gala dressed up as Related executives. Markham affirmed for AN that the installation was a very collaborative effort between SS9, More Art, and The Illuminator. Over the last six or so months, Markham continued, we worked with tenants from SS9 at every step to shape what the day would look like and what message they wanted to share. And The Illuminator helped us actualize that intention and guided us on how to best get our message across to the public.One slide compared the development team with the Grinch. (Avery J. Savage)More Art and SS9 have also held film screenings of Katja Essons documentary, Razing Liberty Square, which was about how Related Companies demolished public housing in Miami, and replaced it with condos, much like whats underway in Manhattan today. Together, More Art and SS9 do much to combat misinformation, Markham told AN. I have always followed The Illuminators work and really enjoyed what they do, Markham said. We thought it would be great to work with them and somehow have SS9s message, and testimonies from tenants, projected somewhere in Chelsea. This came to fruition when Markham, Ferreyra, Keitt, and others set up a projector from a sidewalk on Manhattans west side, and illuminated the night sky with anti-demolition messages.(Avery J. Savage)Earlier that day, public housing residents and allies symbolically chained themselves to Fulton Houses with paper chains. This was inspired, Markham said, by an elderly woman who told More Art that she would chain herself to her radiator before she lets [Related] demolish her building. So with that, Markham continued, we started gathering more testimonies from tenants describing what they love about public housing, and what public housing has made possible for them and their family. These testimonies made up about 60 percent of what we projected onto the building.Public housing residents and allies symbolically chained themselves to Fulton Houses with paper chains. (Avery J. Savage)For Markham, the provocation was an important story to tell in Chelsea, but it has national implications. It was a local piece, Markham said, but we hope its a starting point for a larger conversation about Section 9, and why public housing needs to be reinvested in and refunded.0 Comments 0 Shares 24 Views
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WWW.ARCHPAPER.COMHere are the 11 winners of AIA Brooklyns 2024 Brooklyn Design AwardsThe Brooklyn Chapter of the American Institute of Architects (AIA Brooklyn) has recognized 11 offices for exceptional contributions to design, innovation, environmental responsiveness, technical skill, and social impact. Each of these 11 firms is the recipient of 2024 Brooklyn Design Awards. There were two overarching eligibility requirements: Brooklyn-based offices could apply and offices from elsewhere could also submit projects they had completed in Kings County. Everything between small-scale architectural interventions and expansive urban interventions were included.About 75 percent of winning projects were built in Brooklyn, while the remaining quarter hail from Staten Island, Long Island, and New Jersey, albeit by Brooklyn-based architects. Brooklyn is unlike any other urban environmenta place where architecture and design are as distinctive as the extraordinary people creating them, said Jason Boutin, 2024 Brooklyn Design Awards Committee Chair and partner at The Brooklyn Studio.Covenant House New York, a Manhattan homeless shelter designed by FXCollaborative, earned a prize. (Chris Cooper/Courtesy BKDA)We congratulate all the winners and extend our gratitude to AIA Brooklyn for its dedication to advancing high-performance, sustainable design, Boutin continued. Lets continue to raise the bar for innovation and excellence in architecture. Last years winners included Studio Gang, Only If, FXCollaborative, David Cunningham Architecture Planning, Studio Modh Architecture, Schiller Projects, and other outstanding firms. This year again had familiar names: FXCollaborative, David Cunningham Architecture Planning, and Studio Modh Architecture were recognized for their work.The jury awarded projects in Excellence, Merit, and Commendation categories. Below are the eleven winners:EXCELLENCEFXCollaborativeDowntown Brooklynbased FXCollaborative took home two Excellence Awards. David Rockefeller Creative Arts Centera cultural center in Westchester County, New Yorkwon the Best in Competition Award. Not to be outdone, Covenant House New York, a Manhattan homeless shelter, also earned a prize.David Rockefeller Creative Arts Center (David Sundberg/Courtesy BKDA)Brent Buck ArchitectsWilliamsburg Townhouse, a restored heritage home, also took home an Excellence Award. AIA Brooklyn recognized Brent Buck Architects for the projects adaptive reuse merits.Williamsburg Townhouse (Christopher Sturman/Courtesy BKDA)MERITDavid Cunningham Architecture PlanningHerkimer Homes admirably delivered 78 units of affordable housing in Bedford-Stuyvesant. The multifamily building, designed by Brooklyn-based David Cunningham Architecture Planning, was built across several city lots.Interior view of Herkimer Houses (Ines Leong/Courtesy BKDA) AMMOROn Long Island, AMMOR restored a half cape house for modern needs. The Brooklyn office also designed a new addition just across from the half cape house, a juxtaposition between old and new. The project, titled, A Tale of Two Houses, took home a Merit Award.A Tale of Two Houses (Roderick Cruz/Courtesy BKDA)Garrison ArchitectsStaten Island Animal Care Center provided a humane and controlled environment for animals awaiting adoption, designed by Garrison Architects. The ensemble was made of economical and attractive materials: Stone, glass, with splashes of yellow here and there.Staten Island Animal Care Center (Eduard Huber/Courtesy BKDA)COMMENDATIONStudio Modh ArchitectureCrown Heights-based Studio Modh Architecture was recognized by AIA Brooklyn for new work space the office designed at Princeton University, namely for the engineering department.Princo Canteen (Devon Banks Photography/Courtesy BKDA) The Brooklyn StudioIn Clinton Hill, The Brooklyn Studio gave a 4-story Italianate town house new life in a project called Clinton Hill Italianate. The renovation added another story to a 3-story house from 1874 in the Clinton Hill Historic District.Clinton Hill Italianate (Kevin Kunstadt/Courtesy BKDA)CircularCorona 3K Center is a new, polychromatic school in Corona, Queens. The project delivered warm, inviting, and sustainable Pre-K classrooms for a fast growing neighborhood.Corona 3K (Frank Oudeman/Courtesy BKDA)Alloy Development505 State Street is the first all-electric skyscraper in New York City. That feat warranted a Commendation Award for Alloy Development, a design-build firm, by AIA Brooklyn. The project also neighbors a new school building by Architecture Research Office, New Yorks first passive house school.505 State Street (Pavel Bendov/Courtesy BKDA) Kelvin C. LeeIn the Red Hook section of Brooklyn, Kelvin C. Lee posited a new future for a defunct grain terminal as a student at Columbia GSAPP. That project, titled Corktopia: Reuse of the Red Hook Grain Terminal, earned Lee a Commendation Award in the student category.Corktopia (Kelvin C. Lee/Courtesy BKDA)0 Comments 0 Shares 26 Views
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WWW.ARCHPAPER.COMAfter two-year closure for renovation, the Belle Isle Conservatory in Detroit reopensAfter a two-year closure for renovation, the 120-year old Albert Kahndesigned Anna Scripps WhitcombConservatory, known locally as just the Belle Isle Conservatory, reopened its glass doors to the public, earlier this month. Visitors were again welcomed to view the notable collection of rare plants, and experience the grandeur of the glass dome. Its long glass corridors recall the architectural grandeur of the Crystal Palace (A Healthier Michigan /Flickr/CC BY-SA 2.0)Though the 13-acre conservatory is located within Belle Isle Park in Detroit, Michigan, its architecture and materiality is reminiscent of Londons iconic Crystal Palace. Its long illuminated corridors clearly remain a technological marvel as seen with the Belle Isle Conservatory and similarly at the recently completed West Conservatory at Longwood Gardens. Known for housing the largest municipally owned orchid collectiona gift from Anna Scripps Whitcombthe conservatory was named for Anna Scripps Whitcomb who donated 600 orchids. Amid the extensive collection of orchids, the conservatory also features a collection of rare plants from around the world, seasonal flora beds, and a lily-koi pond.Ideal Contracting was called on by State officials to oversee the project as the general contractor alongside architectural consultant, Forbes Associates Architects, and glasshouse design and preservation consultant, Montgomery Smith.The newly renovated dome viewed from inside the conservatory (Jake Chamberlin)With over $10 million, addressing structural components, the roof, and glazing. Most notable was the replacement of 1,500 glass panes on the conservatorys upper dome. These new panels allow for improved light control and solar heat gainboth integral to plant life. Other significant renovations included repair of steel trusses, new concrete flooring and planter walls, new ceiling and ceiling fans, and updated exterior limestone panels.Funding for renovation was brought forth as part of the American Rescue Plan Act of 2021, helping to address infrastructure needs in Michigan state parks.0 Comments 0 Shares 27 Views
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WWW.ARCHPAPER.COMWork Program Architects on why designers and builders cant afford to treat community engagement as an afterthoughtWhen a new building or development is planned in a neighborhood, it is only natural that emotions run high. A new project doesnt just change the skyline and sightlines, after all; it alters the fabric of communities in a way that can be unnerving for even the most open-minded resident. In our practice, Work Program Architects (WPA), we work on civic-oriented projects, which often get some pushback from residents and other stakeholders. Each project is different, but collectively they have provided us with valuable insights about complexities of community dynamics and the value of a well-run community engagement plan.It may be tempting to regard this part of the process as another box to check, but designers and builders cant afford to treat community engagement as an afterthought. Done wrong, this critical part of the design process can lead to mistrust, opposition, and polarization.A community board meeting for a new school in Virginia held on June 27, 2024 (Courtesy WPA)Done right, it can foster genuine dialogue, build trust, and empower communities to shape their own futures. The rewards are significant: Projects that are embraced rather than opposed, smoother development processes, and, most importantly, more effective design that is influenced by the people who will be living with it.Heres how weve made it work, and why designers and builders need to take community engagement more seriously.Building Trust Before Sharing InformationWe learned early on that real engagement doesnt happen overnight. Most attendees are skeptical, afraid, and wary of change. We understand that this is a normal human reaction. To get everybody to a place where they trust that their voice is being heard, we schedule at least three separate public meetings. In the first of these meetings, our two primary goals are to listen and build trust. We ask attendees to share their impressions of the project and we transcribe what is said. Then we share an engagement summary with the community for final review, guaranteeing that their words are officially on record without alteration. This transparency sets the tone for future conversations, helping us move toward constructive dialogue. Without this foundation, the rest of the engagement process is futile.Atop this foundation built on trust, we hold a second meeting where we encourage the residents to open up, air their grievances, and express their worst fears. We listen and record, and then we reconsider our plans and approach with all of these thoughts and fears in mind. By the third meeting, most people have let go of their anxieties and are ready to find common ground. This structured approach allows people to move from fear to collaboration, creating a much smoother path toward consensus.(Courtesy WPA)Sometimes we need to go even further to earn a communitys trust. This is what happened while working on a residential housing project in the Olde Huntersville neighborhood in Norfolk, Virginia. Instead of showing up only when tensions were high, we attended community meetings early on, simply listening and observing, putting in the time to understand the residents concerns about preserving their neighborhoods identity and addressing housing needs.Eventually, after seeing our commitment and respect for their autonomy, they invited us in to help address specific planning needsparticularly around housing redevelopment and infrastructure improvements. This trust didnt develop overnightit was the result of showing consistent dedication to their vision before we proposed any designs.Engaging With Emotions, Not Just FactsIts easy to get bogged down in facts and figuresdemographics, traffic patterns, zoning regulationsbut raw data alone rarely changes minds. One of the most critical lessons weve learned is the importance of emotional engagement. For people to buy into change, they need to see how it connects to their personal stories and values. We dont just present hard facts; we ask personal questions, like: Could you imagine a future where your kids or grandkids might want or need to live in a place like this? This empathetic approach encourages people to connect their families futures with the proposed changes, helping them see the value of the project beyond the immediate disruption.By integrating both the factual and emotional dimensions, we get a more comprehensive picture of the communitys concerns and desires. This human-centered approach has been instrumental in moving the needle on even the most contentious projects.Rethinking and Flexing the FormatTraditional meeting formats often hinder productive dialogue. Picture this: Rows of chairs facing a presentation screen, followed by a Q&A session. Its a perfect recipe for one or two individuals to dominate the conversation with a highly contentious agenda. These formats rarely allow for genuine, collaborative problem-solving.(Courtesy WPA)Instead, we opt for round tables, small group discussions and interactive exercises. We force groups with opposing views to sit together and collaborate. In one particularly contentious meeting, we assigned community members leadership roles, giving them ownership over the discussion. As soon as people realize they are in charge of the conversation, they begin to see the project as theirs, not something imposed on them. This subtle shift makes all the difference.Of course, community engagement is not a one-size-fits-all strategy, and designers and builders need to embrace adaptability and responsiveness rather than rigidly adhering to preset plans. Early in our work, we thought we could tackle everything in one meeting, but quickly realized that was not enough. In one public meeting in Virginia Beach, we had planned to discuss several topics before getting to the issue of a public park. When an elderly man stood up and demanded to discuss the park immediately, we adapted on the spot. By reorganizing the agenda and addressing his concern first, we salvaged the meeting and gained the trust of the attendees, showing them that we were willing to listen and adjust.Inspiring Community Ownership of the ProcessThe ultimate marker of a successful community engagement process is when our role becomes invisible. When the project is no longer about us as designers or facilitators, but about the community taking ownership, we know weve done our job. When we hear phrases like my plan or our project, we know the process is working. When people start to see the development as something theyve created, not something being imposed on them, the project becomes a true reflection of the communitys values.One of the most rewarding outcomes weve experienced in our work is watching communities become educated on complex topics like zoning and demographic shifts. Initially, many community members oppose any change because they dont understand the larger forces at play. But once we take the time to bring them up to speedsometimes over multiple meetingsthey often begin to come around. The most memorable example happened during our community engagement process for a controversial multifamily project in the Poplar Halls neighborhood in Norfolk, Virginia. We hosted a series of workshops aimed at educating residents about zoning and demographic changes with many residents who were opposed to any form of new housing in their neighborhood.Using a kit that includes parts of housing and amenity types, we had residents work in groups to design their own neighborhood of the future and present it to the whole room. By the end of the process, one property owner who had been adamantly against the change suggested rezoning her own property for multifamily housing. This shift happened because we provided residents with the tools and knowledge to make informed decisions and trusted them to do so.Mel Price is CEO and cofounder of Work Program Architects, an architecture and urban design practice located in Norfolk, Virginia.Peter Johnston is the director of urban design at Work Program Architects.0 Comments 0 Shares 26 Views
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WWW.ARCHPAPER.COMIn Los Angeles, NHM Commons by Frederick Fisher and Partners opens to the publicNHM Commons, the recently completed addition to the Natural History Museum of Los Angeles County by Frederick Fisher and Partners, is now one of the quietest architectural expressions in Exposition Park, a 160-acre cultural campus that, as Alissa Walker recently noted, will be a centerpiece of the 2028 Olympics. A straightforward glass structure set beneath a faintly undulating metal scrim, the 75,000-square-foot designappears far less hungry for attention than, say, Frank Gehrys California Aerospace Museum on the opposite side of the park, or the fortress-like Los Angeles Memorial Coliseum plonked at its center. Sited across from the Lucas Museum of Narrative Art, MAD Architectures extraterrestrial design expected to open by the end of next year, NHM Commons may even be experienced as less of an architectural statement than a mere extension of the park floor.Glass and natural light are integral to the design of the NHM Commons lobby. ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)That is because, when its glass doors are swung open, NHM Commons adds a crucial fourth entrance to a museum at its southwest that was previously a collage of civic architectural styles more formidable than inviting. The east entrance, an imposing Beaux Arts composition completed in 1913, centers on a geometrically precise rose garden, while the blank midcentury wall of the south entrance seems to drive visitors away. The Otis Booth Pavilion that marks the north entrance, an Apple Storelike cube displaying a suspended whale skeleton from its ceiling, can only be reached by crossing a suspended bridge. NHM Commons is a significant departure from the museums former attempts at signaling to the public that it is, in fact, their museum. This type of unambiguous messaging especially matters for a city-funded cultural institution in south Los Angeles, a portion of the city that has historically experienced its share of harm from urban development. Fred Fisher, founding partner of Frederick Fisher and Partners, said: Our philosophy from the start was that the building itself is not the content, but rather a framework to allow NHM and the community to make it their own.Around the addition are native plants, the landscape scheme was designed by Studio-MLA. ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)The singular gesture from the very beginning was to connect the new museum commons and entry to its surrounding context of Exposition Park, and let the park flow into the museum, Fisher said. Speakers during the opening ceremony frequently alluded to the addition as a new front porcha design concept made explicit by the inclusion of Spanish steps and a smattering of native plants provided by landscape architecture firm Studio-MLA. The new addition, completed to the tune of $75 million, is open to the public without the cost of admission, meaning that the average wanderer can now see plenty without making a financial commitment to the dinos and dioramas beyond. Walk past the cafe and theatre on the ground floor, which will no doubt draw visitors in on overly hot or rainy days, and youll find a public restrooma true rarity in Exposition Park, let alone Los Angeles!A large theater is located inside the museum ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)The complimentary offerings continue up the escalator, from which a panorama comes into focus of Exposition Park. (This view is presently made unremarkable by a large patchy lawn that will, no doubt, be updated before the Olympics commence). At the top is the Judith Perlstein Welcome Center, a long room filled with piecemeal architectural flourishes responding to its permanent installations. A look at the Judith Perlstein Welcome Center ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)On one side is Gnatalie, a green sauropod skeletal mount foregrounding a wall of wooden slats that continue the undulating motif from the facade indoors to suggest a recently unearthed excavation. On the other is Barbara Carrascos L.A. History: A Mexican Perspective (1981), an 80-foot composition of locally significant figures and events (including everything from the 1932 Olympic Games to Rick James), which benefits greatly from digital touchscreens that encourage visitors to pull even more information from an already jam-packed mural.Gnatalie, the green dinosaur presides on a white plinth. ( Benny Chan/Courtesy Natural History Museums of Los Angeles County)Though the only thing in common between the mural and the dinosaur is their length, they nonetheless form a memorable entryway to the ticketed portion of the museum, from which the heavy old wood and marble of the original structure is faintly visible.Shane Reiner-Roth curates images of the built environment on the Instagram page @everyverything.0 Comments 0 Shares 26 Views
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The Female Design Council announces third edition of its FDC GrantThe Female Design Council is proud to announce the third edition of The Female Design Council Grant. With the generous support of 1stDibs and NICOLEHOLLIS, the FDC Grant will award $20,000 in unrestricted funding to an exemplary woman of color in interior design. Applications will open on January 7, 2025, and the winner will be announced on March 25, 2025, in celebration of Womens History Month. In addition to financial support, the grant will include a 12-month membership in the Female Design Council, the premier professional network for women in design, and one-on-one mentorship from Nicole Hollis, founder of NICOLEHOLLIS and a 1stDibs 50 and AD100 interior designer. The winner will also be welcomed as a member of the 1stDibs Trade 1st program, where they enjoy a suite of benefits, including net price discounts and exclusive marketing opportunities.Two finalists will also be named, and will each receive a 12-month membership in the Female Design Council. 2024-2025 marks the third edition of the Female Design Council Grant, a biennial open competition created by the FDC as part of its mission to advocate for equity and inclusivity in the design industries. The FDC Grant is open to Black, Indigenous, Latina, and Asian American Pacific Islander female-identified designers based in the United States. Beyond a cash prize, the opportunity for industry recognition and high-level mentorship has been a game-changer for a historically under recognized group in design. Winners of previous cycles have gone on to gallery representation, high-level brand collaborations, major commercial commissions, and press accolades. Little Wing Lee, founder of Studio & Projects interior design firm and winner of the 20222023 FDC Grant, noted, I was truly honored to be the recipient of the Female Design Council Grant. Receiving incredible support and recognition was a wonderful investment in my studio. We were at an inflection point, and the FDC Grant gave me the opportunity and momentum to build and invest in future projects.The 20242025 edition of the Female Design Council is presented by 1stDibs and NICOLEHOLLIS, both longtime corporate supporters of the FDC. Nicole Hollis, founder of NICOLEHOLLIS, previously underwrote the 202223 cycle and served as a professional mentor to the winner, and 1stDibs has partnered with the FDC on numerous initiatives to support women in design since 2018. 1stDibs is proud to support a grant that empowers women by celebrating their achievements and providing resources to fuel creativity and drive their success in the design industry, said Karen Silveira, creative director, 1stDibs. This initiative reflects our commitment to fostering diversity and shaping a more inclusive future in design.JuryEach cycle of the FDC Grant has historically been juried by an outstanding group of design industry stars, from architects to editors to artists. True to form, the 20242025 FDC Grant will be juried by six icons in the industry: Lora Appleton, founder of the Female Design Council Elizabeth Graziolo, founder and principal, Yellow House Architects Nicole Hollis, founder, NICOLEHOLLIS Gabriella Khalil, creative director and cofounder, Palm Heights, and creative director, Water Street Projects WSA Camille Okhio, senior design writer, Elle Decor Karen Silveira, creative director, 1stDibs AboutAbout the Female Design Council:Founded in 2018 by Lora Appleton, the Female Design Council is the premier professional membership network and advocacy organization for women in architecture, design, and the applied arts. The FDC offers professional development opportunities, live and digital programming, and a vast collaborative network for its hundreds of members throughout the U.S. and Canada. As part of its mission to make the design industry more equitable and inclusive, the FDC continues to create important initiatives for the design community, including a free and open-to-all mentorship program, a robust exhibitions schedule, and an acclaimed grant program for Black, Latina, Indigenous, and AAPI designers. Each year, the FDC gifts 25 free memberships to emerging designers of color.About 1stDibs:1stDibs is a leading online marketplace connecting design lovers with highly coveted sellers and makers of vintage, antique, and contemporary furniture, home dcor, art, fine jewelry, watches, and fashion.About NICOLEHOLLIS:NICOLEHOLLIS conceives timeless interiors that elevate the human spirit. This award-winning collective of designers is led by creative director and principal Nicole Hollis in partnership with her husband, CEO Lewis Heathcote. NICOLEHOLLIS has been featured in Architectural Digest, The New York Times, The Wall Street Journal, GQ, Elle Decor, The World of Interiors, Wallpaper*, Surface, 1stDibs Introspective, and many other publications. The firm has received numerous prestigious awards including Elle Decor A-List, 1stDibs 50, HD Gold Key Awards, Interior Design Magazines Best of Year Awards, the 2023 ASID Designer of the Year Award, the 2024 Hospitality Design Designer of the Year, and has been named to Architectural Digests AD100.History of the FDC GrantIn 20202021, the Female Design Council launched the FDC Grant to recognize and reward two Black female designers, and, with the support of InCollect and BZippy, disbursed funds specifically to support a product designer or artist to bring a design prototype to market. The inaugural grant was awarded to furniture designer and sculptor Luam Melake and leather artisan Mia Wright-Ross. Since winning the grant, Melake is now represented by design gallery R&Co and has launched a collection with CB2, and Wright-Ross has been an Artist Fellow at the Museum of Art and Design and a faculty member at Parsons School of Design. In 20222023, the second edition of the FDC Grant, presented by NICOLEHOLLIS, focused on selecting an interior design studio founded by a woman of color, and the prize expanded to include both a cash award and mentorship by grant underwriter Nicole Hollis. The jury included Michael Chen, founder of Design Advocates, Tiana Webb Evans, founder of the Jamaica Arts Society, and Alison Levasseur, editor at Architectural Digest. Since winning the FDC Grant, awardee Little Wing Lee of Studio & Projects has been awarded the commission for the interior redesign of the National Black Theater of Harlem and launched a collection with RBW Lighting.For full eligibility and information on how to apply, visit https://www.femaledesigncouncil.org/grant.0 Comments 0 Shares 26 Views
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Lakisha Woods will step down from her role as AIA EVP/CEO in February 2025Lakisha Woods, EVP/CEO of AIA, announced today that she will step down from her role effective February 2025, according to an AIA press statement. Stephen Ayers, 11th Architect of the Capitol, will serve as interim EVP/CEO until Woodss successor is identified. In the announcement of Woodss departure, AIA touted her passion for empowering women and minority leaders. AIA also pointed to the major accomplishments Woods earned during her tenure as EVP/CEO of the AIA. Woods has served in the role since January 2022.Woods was the first person of color and second woman to hold the title. Woods helped boost AIA membership to over 100,000 members for the first time in the organizations 167-year history, among other benchmarks. And today, more than a quarter of AIAs members are now women, another first for the institution.It has been an honor to serve as CEO of AIA working alongside such talented and dedicated professionals and members, Woods said. I am proud of the accomplishments we have achieved together, and I am confident that AIA will continue to evolve in the years to come. Ive witnessed firsthand the transformative impact of diverse perspectives and experiences in shaping organizations and communities.AIA is losing an incredible talent in EVP/CEO Woods, but we were so fortunate to have benefited from her leadership for three years, added Kimberly Dowdell, 2024 AIA President. In that short time, she has led with integrity, tenacity, and ingenuity, Dowdell continued. She is a leader among leaders, and those who have had the opportunity to collaborate with her understand how much of a loss this is to our organization and the profession of architecture. Woods leaves AIA in a stronger financial position than when she started, and we appreciate her expertise and fortitude in achieving this goal. The choice to step down by Woods came in the months after a series of controversies at AIA, and rebukes of her leadership, as reported by AN. Last summer, 23 former AIA presidents signed a letter addressed to AIA Board of Directors expressing their concerns related to finances and management, as well as potential misspending, nepotism, cronyism, and the pursuit of personal gain within AIA leadership.The AIA Board of Directors responded by saying that there was a coordinated campaign to publicly discredit Woodss leadership, without going into specifics or disclosing names. Then, AIA hired an independent law firm, Miller & Chevalier, to investigate the misconduct claims. Miller & Chevalier found no evidence of wrongdoing by Woods, and she was subsequently vindicated. In June, Terrence Ona, former AIA general counsel, filed a lawsuit against the AIA. Ona is suing for $2 million, claiming both economic damages and mental anguish due to his termination in April. Looking ahead, Woods said that she will dedicate herself to workforce development, with a specific focus on improving innovation and revenue growth in companies through equity for all in the workforce, with a specific focus on improving innovation andrevenue growth in companies through equity for all in the workforce.[Woods] is passionate about continuing to break down barriers, challenging the status quo, and creating a more equitable future for all, AIA continued. For the first time ever, women account for over a quarter of AIAs total membership. By promoting inclusive environments and providing opportunities for underrepresented voices, we can unlock the full potential of our society. We wish her well in all of her future endeavors.0 Comments 0 Shares 26 Views
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WWW.ARCHPAPER.COMNotre-Dame Cathedral reopens in Paris after renovation by Philippe Villeneuve, Rmi Fromont, Pascal Prunet, and many othersNotre-Dame Cathedral formally reopened this weekend in Paris. Foreign dignitaries attended the reopening of the famed cathedral, following its devastating fire in 2019. Those in attendance included France President Emmanuel Macron and Paris Archbishop Laurent Ulrich, as well as President-elect Donald Trump, who sat next to Jill Biden. Togo President Faure Gnassingb, Ukraine President Volodymyr Zelenskyy, and Prince William. Politicians and celebrities took photos outside the building before it reopened the evening of December 7, and then Archbishop Ulrich symbolically knocked on the front door using a bespoke crosier carved from fire-scorched beams sourced from the original structure.Notre-Dames nave the evening of December 7 (Francesco Ammendola/Wikimedia Commons/Public Domain)Archbishop Ulrich subsequently shepherded his flock into their seats so the show could officially begin. Afterward, the world was afforded a view of Notre-Dames nave that hadt been seen in several centuries. All of the seats inside the Cathedral werent fixed to the ground, echoing the way the space was arranged after its completion in 1163 AD. It took roughly 2,000 craftspeople to restore the landmark, and many more contributed, including Philippe Villeneuve, Rmi Fromont, and Pascal Prunetarchitects who oversaw Notre-Dames restoration. The Global MomentCertainly, the December 7 opening was a confluence where multiple streams conjoined. Political foes and friends gathered to celebrate years of hard word by the renovation team who got the job done on time, and within budget. The renovation team consisted of well known French architects, but also carpenters from New York and Boston.On the heels of the official reopening, on November 21, Diana Darke published a new bookIslamesque: The Forgotten Craftsmen Who Built Europes Medieval Monumentswhich told the story of how Arab Muslims contributed to Notre-Dames completion, and European Medieval Christian architecture more broadly. Darkes book spoke to the multihyphenate character and composition of the team who rebuilt Notre-Dame in 2024. Atelier de la Grande Oye, a construction firm founded by Paul Zahnd, a French Muslim, was responsible for building the new wooden frames to support Notre-Dames new roof, for instance.What an irony that across Europe, Darke wrote in Middle East Eye, there are increasingly loud calls from far-right parties to rid their country of immigrants, especially Muslims, in order to save the purity of their own race and culture, evidently unaware that their very civilisation was built on the superior skill of immigrants.Giving KudosFrench architects Philippe Villeneuve, Rmi Fromont, and Pascal Prunet led the project team. Rebtir Notre-Dame de Paris Public Authority awarded the tenders to companies interested in participating in Notre-Dames construction.All in all, more than 200 architecture, engineering, and construction firms participated in Notre-Dames refurbishment, like Paul Zahnd. Bureau Bas Smets, a Belgian landscape architecture firm, is devising a planfor greening the site, its work will concentrate on sustainability and resiliency.Artist Flavie Vincent-Petit was hired by Archbishop Ulrich to replace Notre-Dames original stained glass windows with new ones. (Xinhua/Alamy Stock Photo)Mapei, together with Lefvre and CCR, was put in charge of restoring the central nave, namely its choir, vaulted ceilings, and two of the transepts wings. Asselina French windows, doors, and wood paneling distributorworked with multiple entities to rebuild the spire. That firm partnered with U.S. carpenters Jackson Dubois of New York and Boston-based Michael Burrey on the spires reconstruction. Carpenters Without Borders and Goosewing Timberworks, a Vermont company, also partook. In the weeks following the fire, there was a design competition to rebuild the conical structure. In the end, the oak spire was replaced with an identical replica of what once stood. Limestone walls and the decorative vaulting inside the church were destroyed by the flames. While the French quarries used centuries ago to complete the cathedral are no longer active, new stone was again sourced locally, this time in the region of Oise in northern France. Salvageable limestone surfaces covered in ash and grime from the collapsed roof were painstakingly cleaned and restored to look new too. Wood latticework, supporting the newly rebuilt roof, used oak from 1,500 trees, each around 150 years old.Architect Jean-Marie Duthilleul was tapped to rethink Notre-Dames liturgical layout. Stphane Bern, a high-profile heritage advocate, worked closely with General Georgelin on the high-profile project. Artist Flavie Vincent-Petit was hired by Archbishop Ulrich to replace Notre-Dames original stained glass windows with new ones even though the originals werent damaged in the 2019 fire, a decision that was met with stiff pushback at first.All of these architects, artisans, and politicians followed in the footsteps of past builders who brought Notre-Dame to life. In the Middle Ages, Notre-Dame was conceived by Jean de Chelles, Pierre de Montreuil, and Pierre de Chelles. Then, centuries later, Notre-Dame had a massive overhaul between 1844 and 1864 by Jean-Baptiste Lassus and Eugne-Emmanuel Viollet-le-Duc.0 Comments 0 Shares 32 Views
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WWW.ARCHPAPER.COMMichael Hsu Office of Architecture completes supportive housing for people living with HIV and AIDS in AustinToday, Project Transitions is the one and only direct provider of housing for people living with HIV and AIDS in central Texas. The Austin-based nonprofit, shepherded by interim executive director Matthew Glazer, was founded in 1988 by Barbara Davis at the height of the HIV/AIDS epidemic. Its predicated on the firm belief that access to good housing is paramount to the treatment and recovery process. Michael Hsu Office of Architecture (MHOA) partnered recently with the local nonprofit to build affordable housing in Austin for people living with HIV and AIDS. Burnet Place opened this winter, offering 61 units contained within a midrise building centered by a courtyard.Burnet Place has comprehensive support services, recuperative care, and hospice in compassionate and caring environments. Community gardens, outdoor seating, and leisurely walkways ideated by Nudge Design are spread throughout the site.The units face a shared courtyard. (Kristian Alveo)Our primary design goal was to provide a safe space for community and healing that supports the incredible programming of Project Transitions, Maija Kreishman, MHOA principal, said in a statement. At the heart is a warm and welcoming courtyard with a sunlit porch, community garden and quiet walking paths. We hope that weve created a home where residents can feel comforted and supported, and where they can thrive. By the numbers, 11 of Burnet Places 61 units are fully ADA accessible, and the remaining units can be easily retrofitted to support accessibility. Wood and other biophilic materials were selected to deliver a warm, residential feel, the architects continued.A mix of materials was used throughout the project, including tilework. (Kristian Alveo)A medley of materials and textures were used on the housing; each set of buildings features a volume clad in black and another faced white paneling. The bottom half of these structures adopt a more natural color palette, that introduces tile and wood to the project. The buildings are connected via a series of staircases and terrace spaces constructed using metal grates.Staircase and terraces allow residents an outdoor-indoor living experience. (Kristian Alveo)The ground floor has an abundance of resources for people in recovery. There, social services, telemedicine consultations, community events, and shared dining facilities are located. Theres also a porch connected to a treehouse on site that provides panoramic views of the neighborhood.In a lounge area a wood paneled wall is complemented by side tables crafted from wood logs. (Kristian Alveo)Outdoor spaces are faced with metal grates painted in an array of soothing, pastel shades. (Kristian Alveo)Were filled with gratitude to see this residence come to life, added Matthew Glazer, interim executive director of Project Transitions. When our neighbors with HIV have stable housing, their health improves, medical costs go down and the further spread of HIV is prevented. The Burnet Place partnership with Michael Hsu Office of Architecture will directly improve individual outcomes and our communitys health.Amenities inside the complex, include a shared dining facility for residents. (Kristian Alveo)For MHOA, the project is in line with other altruistic ones the office completed recently. Past MHOA clients include Austins Habitat for Humanity chapter, Austin Angels, and The Womens Home in Houston.0 Comments 0 Shares 44 Views
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WWW.ARCHPAPER.COMNew York City Council passes City of Yes, potentially paving the way for 82,000 new homes by 2040Yesterday, New York City Council adopted City of Yes: Zoning for Housing Opportunity, what the Mayor Eric Adams administration is calling a historic city wide zoning reform.The bill was initiated by the Department of City Planning and modified by the City Council. City of Yes, in short, minimizes parking requirements, opening up more built area for housing instead of cars. It also allows for new flats to be built atop single-story buildings in neighborhoods where previous zoning protocols didnt allow for such a thing.Language pertaining to apartments in basements and ADUs will also be included in city building codes after yesterdays vote. There will also be new tax abatements to support the maintenance and preservation of affordable residential buildings, with an emphasis on older adults aging in place. All of this is meant to encourage affordable housing construction, the Mayor said.Sketch of ADU construction in New York City (Courtesy New York City Department of City Planning)Adams first expressed interest in building ADUs in New York in 2023, as reported by AN, outlined in his Plus One ADU program. If everything goes according to plan, City of Yes stands to deliver 82,000 new homes in the next 15 years. This will happen thanks to a $5 billion pledge from New York City Council. From that $5 billion pool, $2 billion will go toward affordable housing, $2 billion will go toward infrastructure projects (i.e. updating flood maps and sewer maintenance plans), and $1 billion will bet set aside for public housing, vouchers, and tenant protections.The Mayors City of Yes program will upzone areas designated for single-story development. (Courtesy New York City Department of City Planning)For Council Member Pierina Sanchez of the Bronx, City of Yes was about recognizing how many New Yorkers already live, and codifying into place protections for them.New Yorkers already live in ancillary dwelling units, including basement apartments and garages, and they deserve safe and dignified housing, Sanchez said in a statement. Alongside zoning changes that the Council is voting on today, [Introductions] 1127 and 1128 will provide the necessary building code updates to ensure ADUs are safe for existing and future residents. Regulating these units addresses a range of potential risks including fires, carbon monoxide poisoning, and with the growing consequences of climate change, flooding. These bills will bring existing and future ADUs up to code by assuring they have proper heating, ventilation, electrical, gas, and emergency service systems, Sanchez continued. Together with the modified ADU proposal in City of Yes for Housing Opportunity, and financial support for homeowners who wish to add an ADU in the Councils City for All plan, these bills mark a crucial step toward preserving and creating safe, affordable housing options throughout New York City.The plan would also build on vacant parking lots. (Courtesy New York City Department of City Planning)Jumaane Williams, Public Advocate for the City of New York, supported City of Yes while maintaining a critical distance. The housing and homelessness crisis impacts New Yorkers across our city, and every community must be a part of combatting it. With todays vote and the months of negotiations that preceded it, the City Council has taken a significant step forward to increase housing production, and should be applauded for it, Williams said in a statement. At the same time, Williams continued, we cannot simply build our way out of the affordability crisis. Todays plan, and the City for All investments paired with it, must be part of an overall strategy that includes preservation, voucher expansion, tenant protections, and more. I look forward to working with partners in government and advocacy to ensure that deeply affordable, truly accessible housing is the priority as the City of Yes is realized.The vote comes not long after New York City Council adopted the FARE Act, which did away with brokers fees for renters, instead shifting that burden onto property owners. Mayor Adams, however, still hasnt signed that bill into effect, which many say is due to pressure from the Real Estate Board of New York.0 Comments 0 Shares 39 Views
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Rothko Chapel to reopen on December 17 after Hurricane Beryl shuttered itIn July, Hurricane Beryl rocked Houston. The natural disaster shuttered the Rothko Chapel indefinitely, warranting repairs to the 1971 building by Howard Barnstone and Eugene Aubry. The buildings roof was damaged, its ceiling and several walls had water leaks, and some of the paintings were even affected. Rothko Chapel, home to 14 paintings by artist Mark Rothko, was subsequently closed to the public for repairs, and the affected paintings were moved off site for remediation. But alas, the Rothko Chapel is set to reopen to the public on December 17, museum officials shared. Whitten & Proctor Fine Art Conservation, an industry leading art-conservation firm, lead the conservation analysis and assessment. The walls, roof, and ceiling damage have been restored. This is all happening amid a major renovationat Rothko Chapels campus by Architecture Research Office (ARO) and Nelson Byrd Woltz Landscape Architects (NBW).Since the storm, our focus has been on the complete repair of the building, the restoration of the damaged panels, and on the reopening of theChapel so the public once again has access to this beloved space for contemplation and meditation, David Leslie, Rothko Chapel executive director, said in a statement. The reopening, as Leslie noted, comes just in time for the holiday season. Getting to this point, Leslie added, has been a true community effort involving an amazing team of art conservators, scientists, art handlers, volunteers, community partners, and Chapel staff, and we are very excited to reopen in time for the holidays.Moving forward, the four Rothko paintings partially damaged are now at a remote facility undergoing repairs.Those will return to Rothko Chapel once the work is complete.0 Comments 0 Shares 43 Views
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WWW.ARCHPAPER.COMPantone announces Mocha Mousse as the 2025 Color of the YearColor stans eagerly await the annual announcement of Pantones Color of the Year. It serves as a vibe check or prescription for the year ahead. In the age of heightened political anxiety, the never-ending search for a work-life balance, and wellness kicks, Pantone seems to have identified a color trend that captures this spirit: Mocha Mousse. As its name suggests, the color is soft, smooth, and most of all, sweet. Leatrice Eiseman, executive director at Pantone Color Institute, said in a statement Underpinned by our desire for every day pleasures, PANTONE 17-1230 Mocha Mousse expresses a level of thoughtful indulgence.If not a color, Mocha Mousse is a reminder about the virtues of self-care, to treat yo self, and most of all to indulge. In an interview with USA Today, Pantone Color Institute vice president Laurie Pressman said the color recalls little treat culture. In other words, it is the latte you devoured yesterday (and the day before), its curling up on the couch, its a new makeup palette. Its finding a me moment. Beyond its visual element, Mocha Mousse elicits other sensorial qualities, such as touch and smell. (Courtesy Pantone)To this end, there is a heightened sensorial quality to the color, much like with 2024s Peach Fuzz. Mocha Mousse is not just visual; it elicits smells such as that of rich chocolate stirred with robust espresso, and promotes touch in its suave texture. A launch event in New York created these experiences in the Altman Building with mousse served on silver trays and the aroma of cocoa wafting in the air.While chosen as the color of the year for 2025, Mocha Mousse has a noted timeless quality to it. Its dark, slightly golden hues imply an element of luxe that designers have already picked up on. Here at AN, weve observed in it OMA and DJ Harveys Bali nightclub collab, but also in the material palette curated by Rockwell Group for restaurant Din Tai Fung, and in an Aesop store on Wall Street that glistens with art deco elements.On social media, some cheeky spectators, including Dori Tunstall, weighed in on the choice, drawing comparison between the color and Pantones imagery, and the . What does that say about our upcoming year?0 Comments 0 Shares 44 Views
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WWW.ARCHPAPER.COMNorman Kelley transforms the architecture and design galleries at the Art Institute of Chicago with a modular systemAt the Art Institute of Chicago, Norman Kelley has thoughtfully designed a dynamic modular system of walls and columns, transforming the museums architecture and design galleries to offer greater flexibility and enhancing the cultural experience of one of Chicagos most beloved cultural landmarks. Norman Kelleys system of modular walls and columns allows for endless reconfigurations of the gallery space, allowing curators to display works in various interpretations, while also inviting guests to a multitude of pathways through the displays. The design of the gallery is fitting, integrating architectural elements into function: The columns can be repurposed as display mounts, while the white walls provide a neutral backdrop that highlights the work on display.The walls and columns are white, adding to the flexibility of the display. (Courtesy Art Institute of Chicago)The modular wall system, features rectangular archways that enhance the visitor experience by guiding movement and framing the objects on view. Stout metal legs support the flexible structures, and the addition of track lighting is a standout feature to accommodate strategic staging, making the space adaptable for various exhibitions. Among the standout objects on view in the revamped galleries are pieces from Daniel Burnhams visionary Plan of Chicago and Charles Harrisons iconic View-Master, alongside newly acquired works by celebrated artists and architects such as Tatiana Bilbao, Andrs Jaque, Jonathan Muecke, and others.Stout metal legs support the movable partitions. (Courtesy Art Institute of Chicago)Earlier this year, the Art Institute of Chicago received its largest financial gift in its history, a $75 million donation that will be used to realize a comprehensive master plan of the institution. The vision will be designed by Barozzi Veiga. Norman Kelley previously worked with the Art Institute of Chicago, alongside Spencer McNeil, to realize the exhibition space for a permanent display of custom-designed architectural pieces from illustrious architects, including Frank Lloyd Wright, Louis Sullivan, and others.0 Comments 0 Shares 31 Views
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WWW.ARCHPAPER.COMThe 4th Annual Urban Tech Summit at Cornell Tech examines the climate crisis as it relates to urban technologyIn the face of climate challenges, urban technology isnt just about futuristic gadgetsits about the hard work of making cities more resilient and adaptable.Michael Samuelian, founding director, Urban Tech Hub at Cornell TechCornell Tech hosted its 4th Annual Urban Tech Summit on November 1920. Organized by the Urban Tech Hub at the Jacobs Institute, the summit highlighted the role of AI in crafting resilient cities. Topics ranged from extreme heat and flooding to building systems, energy, transit and clean data. The setting on Roosevelt Island, accessible via tram, added novelty to the event, flashing the theme of innovation from a location in which, as Samuelian aptly put it, everything feels new. The summit addressed the climate crisis with an urgency that resonated across an audience of policymakers, technologists, academics, planners, futurists, and community advocates. The two-day event was structured around two themes: Day 1 emphasized Hazards, Impacts, and Technology Solutions, while Day 2 focused on Building Resilient Urban Systems.The summit was held on Roosevelt Island, accessible via tram. (Courtesy Urban Tech Hub)Greg Morrisett, dean and vice provost of Cornell Tech, opened the summit with a call for cross-sector collaboration to address the future of cities. This sentiment was echoed by New York City Department of Environmental Protection Commissioner Rohit Aggarwala in the opening keynote, where he proposed urban density as a climate solution. Aggarwala further emphasized upzoning, mass transit, green energy, and the potential of AI to drive change, urging an increased metabolism for change. The first panel Extreme Heat, moderated by Chethan Sarabu, director of Clinical Innovation within the Health Tech Hub at Cornell Tech, echoed an urgent tone. Speakers, including Mehdi Heris, Katie MacDonald, Anna Bershteyn, and Siqi Zhu, addressed heats disproportionate impacts on vulnerable populations, highlighting tools and strategies for understanding and mitigating its effects. BetaNYCs Ashley Louie introduced FloodGen, an AI-powered tool that generates visuals to raise flood risk awareness and build community through advocacy. With over 1.3 million residents living in New York Citys floodplain, the ability to make climate risk feel tangible is critical. Discussions also explored AIs role in synthesizing diverse data to address urban heat islands, emphasizing its potential to enable equity-driven solutions at a community level.Among the topics discussed were how to deal with flooding and build with resiliency. (Courtesy Urban Tech Hub)The early afternoon panel, Flooding, moderated by Anushree Sreedhar, director of Innovation Programs at the Partnership Fund for New York City, explored the use of digital twins and generative AI to model and mitigate risks. Digital Twins, a panel moderated by Anthony Townsend, senior research associate at the Urban Tech Hub, elaborated on experiments, ethical challenges, and the state of harnessing digital twins for resilience. The day concluded with a keynote by Elijah Hutchinson, executive director of New York City Mayors Office of Climate and Environmental Justice. Hutchinson challenged attendees to broaden the conversation to include issues like noise and air quality, stressing that AI-powered tools can further improve government efficiency and collaboration through greater transparency. The second day shifted focus to building systems, energy, logistics, and land use; showcasing how AI, robotics, and automation can drive a resilient future as a partner. Panels on building, energy, and transit systems explored how these technologies are revolutionizing construction, maintenance, and urban planning to meet the demands of adaptation. Workshops and pitches throughout the day stressed the importance of innovation in energy systems and logistics, bringing in new topics like urban freight.One of the best product pitches of the conference, Vision-Based Automated Pavement Inspection Technologies for Bike Lanes, delivered by C2SMARTERs assistant director of research, Jannie Gao, employs the use of computer vision in a multi-sensor bike kit designed to promote rider safety. Added emphasis on electrification, new charging infrastructure, grid modernization and streamlined approaches to permitting further described economic imperatives on Day 2. Jamie Torres-Springer, president of MTA Construction & Development, delivered the summits final keynote, leaving attendees with an expanded notion of resilience in terms of critical infrastructure improvements.Jamie Torres-Springer, president of MTA Construction & Development, delivered the summits final keynote. (Courtesy Urban Tech Hub)Across both days, discussions emphasized the need for practical, scalable solutions. Whether it was AI-generated flood visuals or the application of robotics in construction, the recurring message was clear: Data literacy and innovative tools are empowering communities and encouraging informed decision-making. Ultimately, the summit presented an ecosystem of change-makers. It was provocative and left attendees with a sense of urgency, leaving lots to consider on a more hopeful tram ride backfrom a parallel universe where solutions to our biggest problems are rolling out.Allan Horton is a Brooklyn-based architect and regular contributor to AN.0 Comments 0 Shares 32 Views
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WWW.ARCHPAPER.COMA new addition by PRO at Wesleyan University both holds precious works of art and connects two McKim, Mead, and White buildingsWesleyan Universitys campus, tucked away in Middletown, Connecticut, is a stately one. Many of its brick buildings predate World War II, such as those by McKim, Mead, and White. The last major addition there was a complex by Kevin Roche and John Dinkeloo, finished in 1973. Now, Peterson Rich Office (PRO) has completed the first new arts building at Wesleyan in more than 50 years. Pruzan Art Center is the new, 8,500-square-foot home for Wesleyan Universitys prestigious Davison Arts Collectiona robust, internationally renowned collection of works on paper.The Pruzan Art Center is a transformative addition to Wesleyan University, offering a space where art, history, and academic inquiry come together, PRO cofounder Miriam Peterson said in a statement. Our vision was to create a gallery that not only protects delicate works of art but also encourages connection between people, disciplines, and the campus itself.The gallery space was designed to exhibit and protect precious works of art on paper. ( Rafael Gamo/Courtesy PRO)Construction on the new addition broke ground in 2021. Today, Davison Arts Collection is sandwiched between two monumental campus buildings: Olin Memorial Library and the Public Affairs Center (PAC). Both Olin Memorial Library and PAC were designed by McKim, Mead, and White. Pruzan Art Center can be understood as a thoroughfare between the McKim, Mead, and White buildings. It simultaneously serves however as a space for respite, where visitors can spend time with the priceless works of art on paper.Inside, the space is defined by its roofs underbelly, and its sweeping but subtle curvature. In plan, the building is informed by a string north-south axes. This creates sight lines between galleries that call to mind the Sainsbury Wing in London by Robert Venturi and Denise Scott Brown.Wood lines the entryways into the galleries. ( Rafael Gamo/Courtesy PRO)The Center is broken into two volumes. The first is where the entrance is sited. This partmade of steel, glass, and woodcontains the lobby, which connects to the adjacent structures. The second, climate-controlled volume holds print and teaching galleries. To protect the art works, this volume has highly-insulated walls and no natural light, entombed in thick, stone walls. Outside, a forecourt dotted with a fountain provides visual splendor that pairs nicely with the McKim, Mead, and White buildings. This forecourt is the new main ADA accessible entrance to the campus library complex.One elevation faces a stately forecourt. ( Rafael Gamo/Courtesy PRO)Wesleyan is one of our great institutions of culture and inquiry, added Nathan Rich, PRO cofounder. Were honored to take part in this bold investment in the liberal arts.The opening at Wesleyan University comes amid an ongoing project by PRO at The Met in New York. At The Met, PRO will design a new special exhibition gallery andreimagine the Museums dining and retail spaces, along with its street-level entrance at 83rd Street and Fifth Avenue, as reported by AN.0 Comments 0 Shares 29 Views
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Tulane launches new Center on Climate Change and UrbanismTulane Universitys School of Architecture has established the Center on Climate Change and Urbanism (CCU) to enhance understanding of the built environments role in mitigating this issue by focusing on research, curriculum development, and innovation across disciplines. The center will support research among faculty and students, drive public programming on how climate change is shaping the Gulf Coast, Latin America, and the Caribbean, and will serve as the host for the National Academies of Sciences, Engineering and Medicines multi-year Gulf Coast Climate Futures Project, led by assistant professor Liz Camuti with professor Margarita Jover. The latter effort considers the legacies of energy extraction across the Gulf Coast, the tensions between current climate mitigation and adaptation efforts in Louisiana and Texas, and post-carbon futures that reimagine energy infrastructure and extraction sites.In addition, the CCU has launched the Tulane Prize for Climate Change Curriculum in the Built Environment to recognize innovative course development by faculty across the world. Nominations are being accepted until January 31, 2025, with $10,000 in awards available for selected winners. We recognize that climate change is an opportunity to redesign our built environment in a manner that advances affordability, accessibility and environmental sustainability, while also breaking down barriers to segregation, isolation and carbon-intensive ways of life that have constrained our quality of life, said Jesse M. Keenan, the centers director.Keenan, the School of Architectures Favrot II Associate Professor of Sustainable Real Estate and Urban Planning, emphasized the importance of everything from measuring the carbon footprint of each building to evaluating physical risks in urban planning projects.By bridging teaching and research in climate change, we are preparing our students with the cutting-edge skills that they need to address some of our planets most pressing social and environmental challenges, he said.One of the centers initial supported projects includes the Carbon Budget Zero studio led by assistant professor Sonsoles Vela Navarro, which focuses on designing low-carbon housing and infrastructure in Florida, New York, and California. By targeting these diverse regions, theres opportunity to explore new ways of retrofitting existing buildings in New York to improve energy efficiency while simultaneously looking at water conservation solutions in California or the use of solar energy in Florida. The center has also launched climatesyllabus.org, a searchable repository for climate-related syllabi in fields such as urban planning, architecture, and landscape architecture. The repository is designed to be a resource for faculty who are seeking to bridge the centers focus with their current areas of expertise.Adam Marcus, the CCUs research director and associate professor of architecture, highlighted the critical mass of scholars at Tulanes School of Architecture already engaged in innovative approaches addressing climate change and plans for more.The School of Architecture and CCU are uniquely positioned to support and lead new interdisciplinary collaborations for engaging these challenges in novel and critical ways, Marcus said.The CCU has just launched its first round of research grants for faculty and students, with applications that were due by November 15. This support is designed to inspire exploratory research and facilitate collaborative efforts with local stakeholders, particularly in North America, Latin America, and the Caribbean. Catherine Sckerl, CCUs managing director and professor of practice in architecture, will build the centers infrastructure to support student and faculty research projects and field-based research studios, to deliver programming and events that promote cross-disciplinary dialogue and knowledge-sharing, and to facilitate intra- and inter-institutional initiatives.The impacts of climate change are accelerating, and there is no one who is not impacted, Sckerl said. We cant continue to ignore it or be passive about including climate adaptations and mitigations in our work. It must be front and center.0 Comments 0 Shares 28 Views
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WWW.ARCHPAPER.COMRevealing the winners of ANs 2024 Best of Design AwardsANs Best of Design Awards were created to honor the outstanding work, both built and unbuilt, happening in the architecture and design community. This year, the 12th edition is proud to befor the first timeeligible to firms and projects worldwide. Perhaps its no coincidence than that this year Best of Design received the highest amount of applications than years previous. The jury, which also went larger and more international for 2024, carefully analyzed the rigor and context of entries to arrive at editors picks, honorable mentions, winners, and the Project of the Year, whose announcement is forthcoming. Decisions were not taken lightly. Unique approaches, consideration of the land, the projects footprint, bold visions, community responses and more factors were considered during deliberation. Below quotes from these conversations are attributed for each winner and reflect why or how a project was awarded. Here are the 51 winners of ANs Best of Design Awards.JuryAlexandra LangeDesign CriticAdaptive ReuseCommercial(Jason Keen)The Shepherd Gallery and Arts CenterPeterson Rich OfficeDetroitThis has sectional simplicity. I like that they showed how they were thinking. The insertion is very clear and clever.Walter HoodAdaptive ReuseEducation(Dan Schwalm)Omaha Public Library Downtown BranchHDR +TACKarchitects Omaha, NebraskaI thought this was a seductive library with its black ductwork and lounge furniture. Instead of an old and stuffy library, this felt very welcoming, but a bit sexy.Katherine DarnstadtAdaptive ReuseHospitality(doublespace photography)Royal AnnexGiannone Petricone AssociatesPrince Edward County, OntarioThe ability of the Royal Annex to make a subdued yet memorable statement inside and out made this project a clear winner.Emily Conklin Adaptive ReuseResidential(Michael Vahrenwald/ESTO)66 MonitorGRT ArchitectsJersey City, New JerseyThis densifies an urban condition, using one simple language over isolated, smaller buildings to increase capacity in the city. Thats meaningful.Li HuArchitectural Lighting(Sean Davidson)The Pinky RingYabu PushelbergLas VegasIts really hard to do architectural lighting, but this shows the craft of lighting really well.Mnica RiveraBuilding RenovationCommercial(Marcus Bredt)AlsterschwimmhallegmpHamburg, GermanyI love the quality of light in this project. Its such an elegant space that doesnt subtract from what was existing.Omar GandhiBuilding RenovationEducation(Scott Norsworthy)Weldon Library RevitalizationPerkins&Will+Cornerstone ArchitectureLondon, OntarioThey managed to make all that concrete feel fresh and warm with a very spare material intervention. Its a well restrained hand that went through this renovation.Katherine Darnstadt Building RenovationHospitality(Pablo Enriquez)The Barrel HallWest of WestAmity, OregonLooking at this space, its immediately palpable how I would move through it, yet the deeply designed shadows maintain a feeling of mystery.Emily ConklinBuilding RenovationResidential(Christopher Sturman)Clinton Hill TownhouseBrent Buck ArchitectsNew YorkThe design is glossy. Its a beautiful, interesting house.David PowellCivic(Nic Lehoux)tmsewtx Aquatic and Community Centrehcma architecture + designNew Westminster, British ColumbiaTheres a scale to it that has a certain eminence. But then inside, it touches the ground and moves out into the horizon. These two scales really work.Walter Hood CommercialHospitality(Dan Ryan Studio)Los Milics Vineyard Tasting RoomChen Suchart StudioElgin, ArizonaThis was an obvious first choiceI love this project.David PowellCommercialOffice (Large)(Csar Bjar)Ferrocarril de Cuernavaca 780HEMAAMexico CityRealized on an overlooked plot, this flatiron-shaped office project is well detailed and striking for its Miesian clarity.Jack MurphyCommercialOffice (Small)(Anton Grassl)38 Newbury - 7th Floor InteriorsTouloukian TouloukianBostonIts difficult to bring such harmony to a single floor of a larger whole, and 38 Newbury executes at the highest level.Emily Conklin CommercialRetail(Rafael Gamo)Blu Dot ShowroomPeterson Rich OfficeNew YorkThe Blu Dot showroom is such a clear winner in this category. The sensibility and taste of the design shines through.Li HuCommercialSports & Entertainment(Edmund Sumner)Academia AtlasSordo MadalenoJalisco, MexicoThe sheer scale of this space is impressive, but it surpasses expectation with its lush and intentional material choices.Emily ConklinCultural(Iwan Baan)Richard Gilder Center for Science, Education, and Innovation at the American Museum of Natural HistoryStudio GangNew YorkNew York is in part defined by great public halls: Think Penn Station or the Guggenheim. The Gilder Center is the latest of these and wows with its cave-like shotcrete atrium.Jack MurphyDigital Fabrication(Benny Chen)Grand StaircaseM|R WallsLos AngelesI think theres quite a bit of complexity, and it comes together in an elegant way. Nothing is over the top, but it still achieves something quite elegant.Omar Gandhi EducationKindergarten, Primary & High School(Tim Hursley)Thaden PerformanceMarlon Blackwell ArchitectsBentonville, ArkansasIt takes on site, exterior, creative courtyards, daylight and air, and its very strategic on the construction side and methodology.Joshua AidlinEmerging Architects Project Award(Timothy Hursley)House In A GardenAtelier MeyMiamiThis projects move toward being light on the land is refreshing and unconventional. Its encouraging that emerging architects are considering aspects of building like minimal footings and site sensitivity.Mnica RiveraExhibition Design(Jeremy Bittermann)Africa FashionLEVER ArchitecturePortland, OregonThe choice of color and the way were encouraged to circulate through the exhibition stands out, as does the subject matter.Li HuFacades(Anton Grassl)Coolidge Corner Theatre ExpansionHweler + Yoon ArchitectureBostonHeres a facade thats brick that has a sort of narrative reference to what the building is actually aboutand it just looks like its super well executed.Alexandra Lange Healthcare(Here and Now Agency)Kaiser Watts Learning and Health PavilionPerkins&WillLos AngelesThe choice to fully wash spaces in color makes them feel alive yet calm, which is so important for a healing space. Im not hit over the head with loud patterns but rather awash in hues.Emily ConklinHigher EducationInstructional(Dave Burk SOM)Massachusetts Institute of Technology Stephen A. Schwarzman College of ComputingSOMCambridge, MassachusettsThe shingled glass facade is impressive, but behind it, the buildings interior is superbly finished to offer a cutting-edge environment for computer science.Jack MurphyHigher EducationRecreation & Leisure(Scott Norsworthy)McMaster University Student Activity Building and Fitness CentreMJMA Architecture & DesignHamilton, OntarioI appreciate the sectional exploration, the clean interior, and the clear exterior expression. The building seems well-equipped to handle whatever student life throws at it.Jack MurphyHigher EducationResidential(Jason ORear)Kresge College Residential BuildingStudio GangSanta Cruz, CaliforniaI like that this complex is responsive to the surrounding redwood forest and the existing campus architecture and is woody both in structure and cladding.Jack MurphyInfrastructure(Ema Peter)Portland International Airport, Main Terminal ExpansionZGF ArchitectsPortland, OregonSustainability, biophilia, tectonics, composition, material usage, space-making, architecture: the Portland airport hits every single category of creating a soulful building for human beings.Michelle Franco InteriorHealthcare(Maxime Brouillet)Clinique MonklandAtelier chelleMontreal, QuebecEverything about the ethos of modern wellness is on full display here. This is a holistic project that feels like a complete and total design.Emily ConklinInteriorInstitutional(Scott Norsworthy)Weldon Library Revitalization Perkins&Will+Cornerstone ArchitectureLondon, OntarioThe ability to break down the scale of the building and respect its original bones makes the Weldon Library standout.Emily ConklinInteriorResidential (Renovation)(Eric Petschek)Carroll Gardens TownhouseStarling Architecture+Emily Lindberg DesignNew YorkThe simplicity of the design and the tangible connection to the material palette throughout make this a standout submission.Emily Conklin InteriorRestaurant & Bar(Matthew Millman)The Caff by Mr. Espressojones | hayduOakland, CaliforniaIts new, its simple, and its fresh. And it does this all at a large scale that lends an airy generosity to the space.Mnica RiveraInteriorRetail(Eric Petschek)Veja WilliamsburgOffice JDYNew YorkThis feels like Williamsburg. Its raw and strong.Li HuInteriorWorkplace (Large)(Laura Peters)The MillCannonDesignAtlantaI think that the execution is pretty amazing. They had a really acute eye when it came to furniture, and even the texture overlay.Omar GandhiInteriorWorkplace (Small)(Bess Friday)Goodwater CollectiveAtelier Cho ThompsonSan FranciscoI appreciate this projects third-space approach and hospitality-like atmosphere, complete with a variety of seating and gathering options.Jack Murphy Landscape(Pavel Bendov/ArchExplorer)Presidio Tunnel TopsField OperationsSan FranciscoThis is a really hard project, especially infrastructurally. They have to cover up the main access to the Golden Gate Bridge, and it extends the Presidio down to the beach. I thought it was pretty amazingand it gets a lot of use. People love it.Walter HoodLibrary(Jeff Goldberg/Esto)Far Rockaway LibrarySnhettaNew YorkI love that this is a library that thinks about light and the way light can be used to define zones in a space. They integrated the artwork into the actual building itself, versus a feature art wall. The building becomes the artwork.Katherine DarnstadtResidentialMixed-use(Tim Hursley)PS1200Marlon Blackwell ArchitectsFort Worth, TexasWhat a cool idea, and the execution seems so sharp. Wouldnt we all like to live in this kind of artist community?Alexandra LangeResidentialMulti-unit(Jason Keen)City Modern - Carriage HomesMerge ArchitectsDetroitThe unique massing and mixing of materials inside and out presents City Modern as a contemporary vision for multi-family housing.Emily Conklin ResidentialSingle-unit(Rafael Gamo)Santa Mara del OroMCxA GroupNayarit, MexicoI think this hits so many different areas, from sustainability, integrating into the land, respecting the existing forested hillside to innovative form wrapping around all these trees.Joshua AidlinRestoration & Preservation(Douglas Friedman)La Casa DragonesMeyer DavisSan Miguel de Allende, MexicoThis combines restoration and interior design: how you furnish and create a modern experience in a building of antiquity. I think they did a stellar job.Joshua AidlinSocial Impact(Peio Erroteta)Cleveland FoundationS9 ArchitectureCleveland, OhioThis is one of the roughest areas of the Midwest. Can you imagine walking into this community building to engage in gathering? What an amazing gift.Joshua Aidlin Student Work(Matt Weigand)Vandal Healing Garden and MemorialIdaho Design Build, University of IdahoMoscow, IdahoThis project is designed for the full experience: from day to night, and from first visual encounter to an intimate tactile one.Emily ConklinTemporary Installation(Samuel Engelking & Mila Bright Zlatanovic)Staging GroundsThe Bentway ConservancyTorontoStaging Grounds works well during the day but also at night. It acknowledges that temporality as a temporary installation. It addresses both moments.Mnica RiveraUnbuiltCommercial(Courtesy ARCHITECTUREFIRM)Agricultural Retreat ARCHITECTUREFIRMShenandoah Valley, VirginiaHow do you subtly innovate on an agricultural vernacular? I think theyre doing some really interesting things with the tectonics of barn building and then combining that with more spiritual, almost sacred spaces.Joshua Aidlin UnbuiltConceptual(Courtesy STUDIO ENE)Parkland 17 MemorialSTUDIO ENE +Klopfer Martin Design GroupParkland, FloridaThere are distinct parts of this design: how it meets the ground and then how it differentiates a space at the ground for people. These transitions make a sacred space.Katherine DarnstadtUnbuiltCultural & Civic(Courtesy FORMA)PlayscapesFORMAStamford, ConnecticutI liked the cartoon-y nature of the roof and that each pavilion had an inside and then its own yard. Im always happy to see playgrounds and playscapes done in an elevated wayAlexandra LangeUnbuiltEducation(Tom Takata)lelo Hawaii CampusStrawn SierraltaHawaiiThis project ambitiously attempts a full campus for learning in the indigenous language of Hawaii. It is culturally important and architecturally interesting.Jack Murphy UnbuiltLandscape, Urban Design & Master Plan(Courtesy UltraBarrio)Do Buses Dream of Urban LifeUltraBarrioHoustonIts trying to think about the bus as another infrastructural piece, which is really interesting.Walter HoodUnbuiltResidentialMulti-unit(Courtesy University of Arkansas Community Design Center)GrowLofts: A PrototypeUniversity of Arkansas Community Design CenterI feel like this is a complete idea and executionand its really interesting. Its really unique. This project dreams bigger than what we typically see.David PowellUnbuiltResidentialSingle-unit(Courtesy NEMESTUDIO)Hempo Longhouse and Other StoriesNEMESTUDIOCaliforniaI appreciate the thorough documentation of this project, from plan drawing to models and material mockups. This isnt just paper architecture, its ready to make much-needed change in real world housing discourse.Emily ConklinUrban Design & Master Plan(Bloom Images)Stanton Yards Cultural Waterfront Master PlanOSDDetroitI like this one because it felt low-key and a little bit industrial, so it had a very different language than so many of the waterfront urban parks that were seeing. It felt like they were trying to preserve some ethos of what was already there.Alexandra Lange0 Comments 0 Shares 38 Views
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