The 2019 Chicago Architecture Biennial, titled ...and other such stories, will present work that explores architecture as it relates to social, political, and environmental issues. Curators Yesomi Umolu, Sepake Angiama, and Paulo Tavares have invited more than 80 architects, artists, researchers, and activists from around the world to converge on the shores of Lake Michigan, where their multidisciplinary collaborations will show the public how design can transform lives. The curators want collaboration and dialogue to be at the center of this year’s event, which gives contributors the opportunity to “expand [their] inquiries by connecting practices to each other and to visitors during the biennial’s run,” said Umolu. The planned collaborative projects include local firm Borderless Studio working with the Istanbul-based Herkes İçin Mimarlık (Architecture For All), studioBASAR of Bucharest, and Berlin’s Zorka Wollny to develop inclusive strategies for repurposing civic spaces on the site of the historic Anthony Overton Elementary School, and Keleketla! Library of Johannesburg which, working with Chicago’s Stockyard Institute, will be creating a space to discuss the importance of heritage sites and public housing at the site of the National Public Housing Museum. The Chicago Architecture Biennial was founded in 2015 to bring the global architectural vanguard to a city celebrated for its legacy of architectural innovation, and to give the public an opportunity to engage with architecture in new ways. It’s a lot like the Venice Architecture Biennale, but instead of a drinking Prosecco in an impossible city built on marshy ground, attendees drink Goose Island 312 in an inevitable city built on railroads and stockyards (or so I’m told—I’ve never been). The inaugural event, The State of the Art of Architecture, was curated by Joseph Grima and Sarah Herda who challenged contributors to take on pressing cultural issues, and 2017’s MAKE NEW HISTORY, curated by Sharon Johnston and Mark Lee, which highlighted various modes of production from book to burg. This year’s event, …and other such stories, runs from September 19, 2019, through January 5, 2020. It is free and open to the public across all citywide locations. Without any further ado, here are your contributors to the 2019 Chicago Architecture Biennial:
Search results for "New York City"
Designer and engineer Nassia Inglessis creates responsive canopy
Today, most people live in cities—artificial structures that determine how we move through space and relate to others and the world around us. But, all too often these cities feel fixed, designed and determined by larger powers that shape a landscape that the average denizen has little direct influence over. So what would a responsive city, one that worked like a natural ecosystem and subsumed participants in its very fabric, look like? This is the question that Nassia Inglessis, founder of Studio INI, is provoking in her installation Urban Imprint, now on display in Brooklyn at A/D/O by MINI. A 340-square-foot pavilion, Urban Imprint invites visitors to move all over a field of brick-red, water-jet-cut rubber-concrete composite tiles that sinks slightly underneath one's feet, in turn deforming a hidden web of laser-cut steel below. Above, a web of that same brick-red material deforms upwards, rising in direct proportion to the weight of participants on the platform. The entire project was conceived and prototyped in just under six months, fabricated in Athens and then shipped to New York for its unveiling during New York Design Week. So often, Inglessis said, our cities are a “design that somebody has given us and we have to navigate.” From the grid of Manhattan to the walls of a building, “there is no imprint that you are leaving behind, no evidence that you've been there.” This lack of interaction leaves citizens feeling “muted,” Inglessis said, “you feel just part of somebody else's design, and we often feel that we are quite lonely in the city.” Urban Imprint is designed to resist this static notion of architecture. “It doesn't have a final form and it never will because the human element is what completes the design.” Plus, when more than one person steps on the surface, it reconfigures entirely how you relate to one another—your sightlines and ground shift and move, and the effect of other participants in this microcosm of urban space is quite palpable. You're all participating in remaking this "space." While “there are a lot of digital tools and fabrication and computational design that went into [Urban Imprint], the actual end result is completely analog,” Inglessis explained. A series of pulleys with cables hidden behind the red-hued mirrors, a color chosen to accentuate the brick facade of the former industrial space, operate the entire process. In function, Urban Imprint is like “a physical megaphone,” suggested Inglessis—taking the deformation of its participants and expanding it four times above their head, helping visitors imagine what it would be like to “have your urban environment give evidence of your presence.” Speaking on the choice of creating a analogue, mechanical final form, Inglessis reflected: “Although I had the knowledge and tools of all these amazing new capabilities that have opened up from computational design and digital fabrication tools [both of which were used to design and fabricate the steel and rubber-concrete components], I felt there was so much activity moving us towards living in a headset.” Instead, she said, “we should look at technology and the new digital tools as a means to an end, rather than an end itself.” So often, beyond just simulating the “real world” on screens and headsets, many new mixed-reality technologies just overlay digital elements onto a physical world that’s “still pretty static.” Instead of augmented reality, Inglessis proposes “augmented materiality,” a sort of “new analog” that blends old and new fabrication, production, and experiential tools to create new possibilities in our physical, urban world. In Urban Imprint, she says, “the material itself has the ability to transform, to be dynamic, to create interaction, and to be seamless.” Urban Imprint was realized by Inglessis with the help of Manos Vordonarakis and the Studio INI team. It will be on view at A/D/O in Greenpoint, Brooklyn, until September 2.
Bento Boxes & John Cage
Sister City brings unpretentious hospitality to New York’s Lower East Side
"Distilled" is the operative word when describing the new Sister City hotel. The latest offering from the Ace Hotel empire, this new lodging takes on a sober and functional yet comfortable aesthetic that harkens back to simpler times; a welcomed respite from the hustle and bustle of the gritty Lower East Side neighborhood that surrounds it. Though the design of this new boutique hotel draws inspiration from as varied a source as Finnish saunas, Japanese bento boxes, prehistoric rock-cut cliff dwellings, and deconstructivist musician John Cage's seminal and silent 4'33" composition, Sister City's use of lattice-wood wall structures, planes, and build-it furniture pulls it all together. Sharp terrazzo, geometric tile, indoor plants, and white-wall accents make for a striking mise-en-scene. For the full story, head over to our new interiors site, aninteriormag.com.
Amazon reveals first rendering of its HQ2 in Arlington, Virginia
Amazon has released the first visual for its upcoming second home, or HQ2, in "National Landing," featuring a design by ZGF Architects. Located in Arlington, Virginia, HQ2 will include two new energy-efficient office buildings with room for community space and neighborhood retail. Spanning 2.1 million square feet, the ground-up construction is being developed by JBG Smith and will mark phase one of the online retail giant’s plan to construct a large campus fit for its 25,000 incoming employees. The entire project will be placed within Crystal City’s new mixed-use redevelopment zone, Metropolitan Park, which encompasses 16 acres of unused warehouses and empty parking lots. Not much information on the design has been released so far but, according to Amazon, the first pair of buildings at HQ2 will be LEED Gold certified and will include 50,000 square feet of shops, restaurants, and an eventual daycare center, as well as green outdoor terraces. Phase one will also feature the transformation of the Metropolitan Park area with 1.1 acres of new public open space—think a recreational park, room for farmers markets, a dog park, and more. Additionally, HQ2 will house an on-site facility for 600 bikes and an underground parking garage. Amazon says it also has future plans to construct a bike path that would connect to Arlington’s existing bike cycling infrastructure. Located in downtown Cyrstal City, an urban subset of southeast Arlington, the tech hub will also be close to existing public transportation including the D.C. Metro, Virginia’s commuter rail line, and bus lines. Over the next decade, Amazon plans to complete upwards of 6 million square feet of office space for its new Northern Virginia home. Amazon's Crystal City design comes after last year's competition in which hundreds of cities across the U.S. and Canada vied to house the tech giant's second headquarters. After Amazon decided to bring the project to both Arlington and New York City, residents and politicians in the Big Apple protested against the negotiated arrangement between the city and the corporation, leading Amazon to back out of New York and focus on its Virginia plans.
I.M. Pei passes away at 102
Legendary architect, founder of Pei Cobb Freed & Partners (originally I.M. Pei & Associates), and 1983 Pritzker Prize winner I.M. Pei reportedly passed away last night at age 102. Pei’s influence could be felt all over the world, from the National Gallery of Art, East Building, in Washington, D.C., to the iconic pyramidal glass entrance to the Louvre in Paris, to the Bank of China Tower in Hong Kong. Pei’s lesser recognized, but still no less impressive, Brutalist museums like the 1968 Everson Museum of Art in Syracuse, New York, or the 1973 Herbert F. Johnson Museum of Art in Ithaca, New York, reflected Pei’s relationships with modernists like Walter Gropius and Marcel Breuer and their work, and introduced groundbreaking modern architecture to smaller cities. Not all of Pei’s most notable work still stands, and some of his grandest designs stayed on the page. Sunning Plaza in Hong Kong was demolished in 2013, Terminal 6, the Sundrome of New York’s JFK International Airport was pulled down in 2011, and the 102-story, nuclear bomb-resistant Grand Central replacement, the Hyperboloid, never got off the ground (but was later immortalized in Never Built New York). Pei, originally born in Guangzhou, China, in 1917, moved to the United States in 1935 to attend architecture school at the University of Pennsylvania. Pei was unsatisfied and eventually left for MIT, before graduating and later attending the Harvard Graduate School of Design. AN will follow this announcement with a longer obituary.
Two Brooklyn-based construction entrepreneurs began their business with a simple observation: steel rebar, used in concrete construction throughout the world, isn't always easy to work with. Ian Cohen and Daniel Blank noticed this when they were watching wind turbines being erected. “Watching the process of people manually moving these huge, heavy objects looked dangerous and difficult,” Cohen explained. Often made from scrap metal, rebar is a “really sharp, dirty material for humans to interact with.” They pivoted their URBAN-X accelerated startup, Toggle, which they founded two-and-a-half years ago with a focus on renewable energy, to the even more fundamental work of making the production of reinforced concrete faster and safer through automation. Rebar steel is “traditionally manually picked up and erected into cages and shaped to hold reinforced concrete structures in place,” explained Cohen. These cages may be as long as 50 feet. That’s hard work for humans but is exactly the kind of job robots are suited for: taking very heavy things and moving them precisely. Using customized industrial robots, Toggle made modifications that allow the automated arms to “achieve bespoke movements.” The design-to-build process is also streamlined, with custom software that takes a design file, evaluates types of cages needed, then derives a build sequence, and goes straight into digital fabrication. Currently, Toggle, which is in the early stages of its technology, is using a “cooperative process”—a human and robot working side by side. The robot does the dangerous work and heavy lifting, picking up and manipulating the bars, while the human does just the final wire tying. Toggle is in the process of automating this step as well, aiming to increase productivity over all-human rebar processing by as much as five times while halving the cost. The two also plan on adding a linear track that would allow the robot to produce larger meshes, though currently, they are operating at a fairly substantial maximum of 20 feet. No mere experiment, the robot is currently being put to work, fabricating rebar for projects in New York City and the surrounding area. Part of the plan is to develop a system that works something like vertical farming, Cohen explained, where production happens close to where there is need, minimizing the logistical demands and long-distance transportation and “allowing civil infrastructure to be developed and constructed in the societies that need them most.” New York, of course, is a perfect testing ground with its constant construction. Currently, global labor shortages, including in the U.S., make infrastructure construction expensive according to Cohen. Toggle’s goal is to “reduce cost and accelerate construction projects around the world, all while maximizing safety.” The intent, Cohen says, is not about getting rid of human labor but about “taking work away from humans that is not suited for them and putting them in jobs that are better for humans.”
John Edwin Temple van Duyl died at home on Friday, May 10, 2019, two months after being diagnosed with pancreatic cancer. He was 67 years old. John was born in Sharon, Connecticut, on October 2, 1951. John’s mother, Winifred “Wini” van Duyl, was an accomplished violinist and painter. She was born in Indonesia to Dutch parents and grew up in Java, in California (for a year as a young girl), in Holland, and in Germany where she studied music and taught violin in Berlin. She spent World War II with her partner, Ellen von Stackelberg, in southeastern Germany after which she emigrated with Ellen to northwestern Connecticut, where they lived on a farm outside Salisbury. After parting ways with Ellen, Wini and John settled in Salisbury, living in the apartment above Thornhill, the unique flower shop that Wini owned and operated for many years. John went to Rumsey Hall School and Salisbury School, studied at Pratt and Vassar, and received his degree in architecture from the University of California, Berkeley. He created and developed a highly successful career with his own public relations firm, Media Sky, promoting architects and interior designers to get their work published. He established productive working relationships with much of the print media for architecture and interior design, and he produced a book, Natural Houses, with Princeton Architectural Press for one of his clients. John was passionate about writing and attended a number of workshops where he began work on a memoir about his mother and his impressions of the remarkable life she and he lived, a life that had a profound effect on him. In his late teens, John learned that his father was Werner von Kuegelgen, an Estonian aristocrat descended from Russian royalty who had been best friends with Ellen Biddle von Stackelberg’s husband. John had an amazing eye for design and art and collected many exquisite paintings and drawings, a number of which were by his mother. John loved classic cars of the 1950s and ‘60s, in particular, American station wagons. He had a collection of original brochures and would incorporate the grand-sounding names of these cars into passwords for his online accounts. He loved jazz, R&B, and folk, and was a serious connoisseur of high-quality audio equipment. John lived in Berkeley, California, for over 40 years before moving to Los Angeles in 2015. He loved his life in California, and he also had a deep fondness for the Northeast, in particular for his home town of Salisbury. Every year he would spend time visiting friends in New York City, the Hamptons, and Connecticut; he often thought about moving back to Salisbury. John shared warm memories about growing up there and of the influential families in his youth. He inherited his intellect, curiosity, and creativity from his mother; his education was in large part made possible by the generosity of families in Salisbury who had great regard for his mother and who recognized John’s potential. John traveled frequently both for business and for his own pleasure; Australia was a favorite destination. A lightning storm early in his childhood launched his life-long fascination with weather and storms. Over a 10-year period, he went on at least a dozen professionally organized storm-chasing tours in the Midwest and witnessed, from a reasonably safe distance, the power of Mother Nature. A legion of friends and business associates will miss John’s spirited engagement in life, his curiosity about the world, his easy generosity, his impeccable courtesy, his great sense of humor, and his deep loyalty to those around him. Through the years John had several serious and important personal relationships. Ken Alan who survives him was a kind, dedicated, and loving partner for John’s time in Los Angeles, and was a tireless caregiver in the last months of John’s life. Friends will organize events celebrating John in the next several months. If you wish to honor him you are encouraged to do so by donating to a cause or charity important to you.
OMA and KOO Architecture have won the competition to design a new Center for the Arts building for the University of Illinois at Chicago. The duo bested 35 other teams and two other finalist entries from Morphosis and STL Architects, and Johnston Marklee and UrbanWorks. The new complex is intended by the school to have both public and academic functions. It will house the School of Theatre and Music along with two theaters, a café-jazz club, and an exhibition space in a new 88,000-square-foot building. Sitting at the northwestern corner of the east side of UIC Chicago's campus, the university wants the building to link the school to the surrounding community. OMA and KOO Architecture's design features several volumes collected under a translucent roof dotted with embedded photovoltaic panels. The two main theaters are clad in reddish-orange and green materials so that they will distinctly visible through the curtain-like skin. Two mid-rise "towers" seem to hold the roof aloft—one tower faces the campus and is dedicated to student use while the other is dedicated to public programming and faces the city. According to Shohei Shigematsu, the partner in charge of OMA's New York office, the building is inspired by Walter Netsch's late modernist designs for UIC Chicago's campus, a mix of mat buildings and brutalist forms, not all of which have survived to the present day. The University of Illinois at Chicago has not announced a target completion date for the project and is currently raising the $94.5 million expected to be needed to complete construction. The project will not be OMA's first academic project in the Second City—the firm's IIT building was finished in 2003. KOO Architecture has completed a variety of projects around the region.
Brooklyn-based concrete artist Fernando Mastrangelo is no stranger to casting delicately colored, intricately-layered furniture and panels in experimental materials. During the 2019 New York Design Week, Fernando Mastrangelo Studio (FM/S) has cast TINY HOUSE, and will exhibit the micro-space in Times Square until May 22. The 175-square-foot structure was designed with sustainability in mind. The exterior walls, which transition from black at the base to a delicate gray at the gabled tip, were cast from recycled plastic. Once past the narrow threshold, the “house” is delineated into three zones—the first is austere and made from cast-off scrap glass. A blue space (the Terra Room) with cladding the texture of volcanic rock and matching shag carpet follows. Past that, visitors can climb through an oculus to a semi-enclosed courtyard garden for a moment of quiet reflection before leaving the house—though in practice, it was being used as a selfie location when AN toured the installation. TINY HOUSE was optimized to integrate a multitude of fine touches to create an oasis-like feel. The landscaping from Brook Landscape, which also designed the courtyard garden, was curated to frame views of the city while also holding the surrounding chaos of Times Square at bay. FM/S worked closely with Anne-Laure Pingreoun, curator at Alter-Projects, and Steve Lastro, CTO of technology designer 6Sides to select its partners. Delos donated a DARWIN system to monitor and respond to the conditions inside by purifying the air and providing dynamic, circadian sound and lighting. Givaudan and Karen Flinn Creative created the custom scents that waft throughout each zone. TINY HOUSE will be on display in the Times Square Pedestrian Plaza, on Broadway between West 45th and West 46th Streets, until May 22.
Women in Facades
Leading women working in facade design address industry’s challenges
We surveyed the leading women in the facade design and manufacturing industry and asked: What do you find most interesting about facade innovation today? What are you working on now and what do you think we will see in five years? Their responses, organized into six categories, offer an informal cross section of the challenges facing the facade industry—climate change, security—and of a coming multi-material revolution in facade design.Emilie Hagan Associate Director, Atelier Ten Climate change is the greatest challenge of our time and facade innovation presents an exciting way to take action. Over the next 12 years, we need to make big changes to reduce global emissions worldwide and within the built environment. Implementing innovative designs that balance embodied carbon reduction, energy performance, and life cycle is one way to make a difference. We are now testing the global warming potential of facade options by comparing pairings of cladding material and insulation that offer the same thermal performance. We’re looking at materials like polyiso, spray foam, and mineral wool, as well as ceramic tile, terra-cotta tile, and GFRC tile, which all vary greatly in terms of their life span, global warming potential, resource depletion, and acidification. Nicole Dosso Technical Director, Skidmore, Owings & Merrill Beyond materiality, our 35 Hudson Yards project is emblematic of a collective process between the architect, developer, fabricator, and supplier. New Hudson Facades and Franken-Schotter, who quarried, supplied, and fabricated the Jura limestone used in the facade, helped to drive improved energy performance as well as optimize the geometry, manufacturing, and material selection. The return of materiality to the facade is a departure from the monolithic slick glass facades that have dominated the image of the super tall tower for the last two decades. The approach of combining materials pays homage to the historic fabric of New York City facades, which predominantly fancied the use of stone, brick, and terra-cotta. Doriana Mandrelli Fuksas Partner, Studio Fuksas The quality of projects over the last 20 years has grown a lot, and nobody and nothing prevents us from thinking that the creation can continue to expand. I have a positive vision of the future, a future made up of large infrastructures: of museums, of innovative workplaces, of spaces dedicated to new technologies, of spaces where people can meet. The Shenzhen Airport has the skin of a honeycomb-shaped beehive. No one knows where it comes from, but clearly it is variable from every point of view and changes with every change of light, internal or external. Imagining a facade seems too simple, but complicated, too. I let it arrive as the last stage or last section, from the center to the outside. At the end of a path inside the building, of a cinematographic montage that leads to discover what you want to see, the facade arrives. Unexpected, scandalously irreverent. Pam Campbell Partner, COOKFOX Architects One of our projects, One South First in Williamsburg, Brooklyn, uses large-scale, 3-D-printed molds to create pre-cast facade panels. We designed several variations of panels to respond to specific solar orientations; beyond the facade’s shape, the finish and crisp edges were particularly important, creating an interplay of reflection and shadow on the building’s surface. Odile Decq Founder, Odile Decq Studio Glass is a material that can solve in one all the questions an architect faces when designing a facade today: lighting outside and inside, protection from too much solar heating, isolation from the cold, providing a multiplicity of aspects, colors, textures, inclusion, and more. I’ve always said: if steel was the material for building innovation at the end of the 19th century, glass is the material for the end of the 20th century. From the beginning of my career I have been fascinated by glass evolution and the way facades have been modified thanks to this fantastic material. Its various qualities, its treatment, and its plasticity are what I am searching for in terms of innovation today. My research today is oriented toward sensible facades that can be joyful and sensual at the same time. Elena Manferdini Founder, Atelier Manferdini In particular, our office proposes an alternative language for traditional facades, based on vibrant color schemes and geometric patterns, along with augmented reality applications, whose aim is to engage new subjectivities. Passivity is the dominant state of today’s subject, who, conditioned to consume images, confuses them with reality; but our work suggests that a new breed of reactionary subjectivities is now possible. These imaginative facades become a political space for nuance and personal participation. Facades, even when buildings are privately owned, are important for the city at large because they are inevitably the background of our public imagination. Any facade language strategy is by default political because it negotiates how the privacy of human interactions comes to terms with a surrounding social and cultural context. Andrea Love Principal and Director of Building Science, Payette I am working on a tool to look at the impact glazing has on summer comfort to complement the Glazing and Winter Comfort tool we developed a few years ago. We’re also doing life cycle assessment of the typical facade systems we use to understand their embodied environmental impact. We are continuing to explore new ways to leverage simulation tools to understand performance and drive design on several projects across our office. The thing I find most interesting about facades today is the increase in attention paid toward their role in building performance and occupant comfort. Whether it is a high-performance facade for passive survivability for resiliency or consideration of the embodied carbon impact, I find it exciting to see how we as an industry are embracing the important role that facades play. Jennifer Marchesani Director of Sales and Marketing, Shildan Group When Shildan introduced terra-cotta rainscreen to the United States market 20 years ago, the panels were red, small, and flat. Now our capabilities are amazing. We just completed the Sentry Insurance Building in Steven’s Point, Wisconsin, designed by Flad Architects, with the largest terra-cotta rainscreen panels in the world (10 feet long). We are seeing a trend toward complex terra-cotta shapes unitized in curtain walls on high-rise buildings. Custom 3-D shapes and curved terra-cotta elements are gracing more buildings, adding a complexity in production and systems, but resulting in unique, one-of-a-kind facades. Stacey Hooper Principal, NBBJ This is a time of revolutionary technology and digital fabrication, which is propelling imaginative industry partnerships to realize more complex, efficient, and high-performance building facades, built faster than ever before. This sea change will be pushed along by stricter codes, accountable system performance, and reduced market shares for curtain wall systems that don’t pursue meaningful change. Valerie L. Block Architectural Marketing Consultant, Kuraray America, Inc. I have seen more laminated glass used in facades over the past 20 years. There are several reasons for this, including building code requirements for impact protection of openings; blast and security requirements for exterior glazing in certain building types and locations; and a desire to incorporate minimally supported glass systems, where a concern for post-breakage glass retention has led to the specification of laminated glass. I have seen a growing concern over security. Architects working on K-12 and higher education projects are designing facades to resist intrusion, and in some cases, to provide ballistics resistance in the event of an active shooter. Tali Mejicovsky Associate, Facade Engineering and Building Physics, Arup I am most interested in designing for net zero energy and innovations that push for best performance. Some ideas include the use of FRP framing, thin glass in conventional assemblies, and designing for disassembly and recycling.
Michael Van Valkenburgh Associates reveals vision for new Buffalo waterfront park
Michael Van Valkenburgh (MVVA)’s vision for Buffalo’s expansive new waterfront park has finally been unveiled. Stretching 92 acres along the shore of Lake Erie, the Ralph C. Wilson, Jr. Centennial Park will be a verdant hub of cultural and recreational activity that connects downtown Buffalo to the city’s Lakeview neighborhood. Designed in collaboration with the Ralph C. Wilson, Jr. Foundation, the organization that donated $50 million towards the project, the park is a major beautification effort for the City of Buffalo. The foundation worked alongside MVVA, the city government, as well as the University at Buffalo Regional Institute over the last two years to engage different communities surrounding the existing 77-acre LaSalle Park—the landscape that the new project will overtake—to create a new and dynamic playspace for the lakeside city. MVVA’s initial aerial renderings reveal multiple shifts in the topography throughout the site, which, as it exists today, is fairly flat to accommodate straight views as well as room for sports. In a former interview, Van Valkenburgh told AN that this flatness would generally remain in the firm’s design proposal because “there’s a kind of wonderful, almost magical concept of playing at the edge of a lake,” he said. “At the same time, we’ll likely want to add some topography to the landscape to allow people to get to a higher level over the water to see Buffalo’s famous sunsets.” In keeping with the original functions of LaSalle Park, the upgraded landscape will include many baseball and soccer fields, as well as pools, playgrounds, and promenades with those uninhibited views of Lake Erie. Large-scale lawns, reminiscent of those found in Brooklyn Bridge Park, will also be integrated into the design so that families can picnic, play frisbee, or go sledding during Buffalo’s snowy winter. In addition, the design team has proposed what appears to be a peninsula built of terraced rocks where Buffalo residents can connect directly with the water—something the old park was lacking according to Van Valkenburgh. While this first set of visuals showcases the size and scope of the park project, it doesn’t yet include details on where or how these topographic changes will occur. However, a key component of the plan is that the Ralph C. Wilson, Jr. Centennial Park will enhance the landscape directly surrounding the city’s historic pumping station (to the northwest of the park), as well as extend a branch of parkland across Interstate I-90, connecting into Lakeview. Van Valkenburgh said he plans to create some sort of noise buffer around the roadway to keep a peaceful tone within the landscape. Right now, a large-scale model of the landscape design is touring the city and locals can view the vision up close. On Thursday, it’s heading to the LaSalle Park Pool Building.
Not Throwing Away His Shot
AN interviews Hamilton set designer David Korins about the show’s exhibition
It has already been a busy year for creative director and set designer David Korins. Hamilton: The Exhibition, which Korins served as creative director of, opened on April 27, bringing an immersive 18-room exhibition to Chicago’s Northerly Island; that same week, the stage adaptation of Tim Burton’s Beetlejuice, with sets designed by Korins, opened in New York on Broadway. Hamilton: The Exhibition dives much deeper into the life and history of Alexander Hamilton, the person, than the stage show (which Korins also designed the set for) and expands on topics that were overlooked in the musical, such as slavery and Hamilton’s legacy after his death. To help guide fans through the exhibition, an audio guide narrated by original cast members Lin-Manuel Miranda (Alexander Hamilton), Phillipa Soo (Elizabeth Schuyler), and Christopher Jackson (George Washington). The show, which is currently staged in a 35,000-square-foot black “hangar,” was designed to be mobile and will eventually pack up and leave for other cities after an undetermined run time in Chicago. The $13.5 million exhibition actually cost $1 million more to open than the musical it’s based on, but much of that owes to the show’s high level of technological integration and attention to detail. Guests can take an interactive tour through famous scenes from Hamilton’s life, engage with games, and even watch a 3D version of the musical’s opening as it was performed in Washington, D.C., with Miranda at the helm. Tickets for Hamilton: The Exhibition are $39.50 for adults and $25 for children. Korins also served as the creative director of Treasures from Chatsworth, a show at the renovated Sotheby’s New York headquarters that will run from June 28 through September 18. Art from the Chatsworth House in England, owned by the Duke and Duchess of Devonshire, will be juxtaposed against supersized versions of minute details from the home that could easily be overlooked. AN recently caught up with Korins and asked him to break down how he was able to realize his two most recent projects. This interview has been condensed and edited for clarity. How did you go about translating a show that works around one set into an exhibit with 18 full exhibition rooms with branching paths and interactive multimedia? David Korins: Well, it was harrowing. Although, the Hamilton exhibition is decidedly not Hamilton, the show. We had way more content to deal with. In a way, using Hamilton, the man, as our through-line and as our lens into early America was helpful because it helps crystallize the story that we're telling. There's enough information about the founding of early America that we could have made an exhibition just on George Washington, or Thomas Jefferson, or James Madison, or anyone. In a way, the stage show, which obviously spans about thirty years across countless locations was one thing. But we had to use a whole bunch of artistic compression in order to make that show a dramatic piece of theater. What we wanted to do with the exhibition museum was to really able to go in to deeper and wider into the entire story of America and really kind of right the wrongs of the dramatic lives that we tried to mimic in the show. It's easy conceptually to say, "let's expand this thing into 18 or 20 galleries" because there's just so much more information. It was nearly an impossible task artistically to try and actually execute it because a stage show has no ceiling on it, there's no fourth wall, there's no wall between the audience and the performers. In this exhibition, every one of these things is a complete room. I know it's more about Hamilton the man, but it does seem like some of the rooms, this writing desk room for instance, tie into songs from the show. How did you balance how much of the musical should be in the exhibition versus how much should focus on history and Hamilton's life? DK: First of all, we're not trying to distance ourselves from the show. We, in fact, have a completely remastered, re-orchestrated, rerecorded score in every one of the galleries. I think if you look at the New York City gallery, it is very reminiscent of the architecture that I designed the stage show with. I would say that much of the spaces employ the use of very abstract, theatrical design, visual vocabulary. Part of that is because I'm the one designing it, creating it. A part of that is because you can't realistically recreate all these historical locations. Nor do I think that that would be necessarily interesting. I think one of the things that we told ourselves in the very beginning of this process was to try and do what only we can do. And then there are moments that are wildly abstract where there are swirling pieces of parchment paper floating up into a work cloud over your head. So we tried all that we could do, and I thought for two years about what I want each one of these rooms to feel like and what story we are trying to tell. Changing gears to Beetlejuice—that's a movie where the scenery is constantly shifting around. Looking at the photos from the set, it seems like you had to reinvent the same stage multiple times during the show. How did you translate Tim Burton's aesthetic for the stage without reusing it wholesale? It doesn't exactly match the house in the movie, but I see there are references to his other work sort of scattered around. DK: As far as technical difficulty, I will agree with what you said, and I will tell you that the show is by far the most technically challenging thing I have ever done, and it's by far the most technically challenging show I've ever seen. If the Hamilton exhibition was the biggest and most ambitious project I have ever worked on, which it certainly was by a lot, Beetlejuice was the most complicated one. That show, every single piece of scenery has a light in it, a special effect, a magic trick, a puppet pole, a speaker. Some crazy thing going on inside of it. How do we incorporate the world of Tim Burton? I think that Tim Burton is one of the great visual artists of our time. I think when you are asked to do a Tim Burton project you have to honor it and acknowledge it and try to keep up. Beetlejuice the musical is very different than Beetlejuice the movie. The thing about it is we have a whole bunch of different physical parameters, so we have to take those into consideration as opposed to making a movie. First of all, the play runs eight times a week and we can't cut away, we can't dissolve, we can't have a puppeteer just out of frame or anything like that. We have to make this thing work seamlessly for a bunch of live people in a room. Beyond that, I thought that it would be interesting to honor Tim Burton's kind of overall visual aesthetic, not just the Beetlejuice one. You have Edward Scissorhands, The Nightmare Before Christmas, Coraline—we have tons of references. So we’re storytelling in a very different way. You can't have an actor be in a different costume every single scene. We're telling the story at a much broader, more muscular gesture. How did you design a set that would be so easy to shift in such shorter amounts of time? DK: I guess the short answer is: we're geniuses. Just kidding! I think it was very important that the Maitland's home felt different aesthetically than the Deetz's home. And that the Deetz's home felt different than the Beetlejuice home. So we had to ask ourselves, what could we possibly change in six minutes of stage time, or ten minutes of stage time? And how do we do that? We came up with a really ingenious wall system that we would be able to sub out. The changing of the furniture and the mantles and the window frames and the light fixtures is exactly as you would imagine it. A lot of manpower is back there doing these, like schlepping stuff on and off in a perfectly choreographed ballet move backstage. The wall systems are similar. There are prefabricated sections of wall that click in on top of or below other sections. And they literally have to go in and every single section of wall gets changed out. I see a lot of detail went into even just the small touches in the wallpaper, sculptures, sconces, and all of that. DK: Every single piece of scenery, every single wallpaper, every single piece of furniture, every single graphic was hand-drawn. And I don't mean “hand-drawn” like drafted. I mean, literally hand-drawn, even what we drafted with architectural drawings so that they could build them and engineer them. We then went in and we hand-drew all the wallpaper. We hand-drew all the etching and the lines on all the molding so that everything single thing had a really homemade kind of quality to it.