Search results for "scape landscape architecture"

Placeholder Alt Text

Fieldworks

Office Kovacs, Kyle May, and MILLIØNS to lead desert design-build festival in California
In May 2019, Southern California’s “community in residence” design-build festival, Space Saloon, is returning to the desert highlands for its second incarnation. Titled Fieldworks, the elbow grease-fueled festival will take its inspiration from “cumulative methods of scientific field research—the approaches, techniques, and processes used to collect raw data outside of a laboratory setting” by staging a series of desert constructions that focus on imbuing quantified data with cultural meaning. The eight-day workshop is open to anyone age 18 or older and will cost between $1350 and $1500 to attend; the program price includes room and board, three meals a day, and all of the necessary construction materials. As with the previous iteration of the festival, organizers hope to draw an interdisciplinary group of students that will complement the diverse set of practitioners leading the project. Project leaders for this year include architects Andrew Kovacs (Office Kovacs), Zeina Koreitem and John May (MILLIØNS), Kyle May (KMA), as well as workshop leaders Alex Braidwood (Listening Instruments), Noémie Despland-Lichtert and Brendan Sullivan Shea (Roundhouse Platform), Lena Pozdnyakova and Eldar Tagi (the2vvo), among others. According to a press release, program participants will work to undermine the “constructs and apparatuses through which we perceive a place,” investigations that could include questioning how knowledge is produced, manipulating one’s perception of the desert landscape, and creating “new methods for presenting subjective realities.” The workshop joins an ever-increasing number of arts- and architecture-related events taking place across the desert regions surrounding Los Angeles, including the Desert X art biennial, the High Desert Test Sites program, and the Coachella Arts and Music festival. For a collection of last year’s projects, see the Space Saloon website. Applications for the program will be accepted through April with the workshops taking place in California’s Morongo Valley between May 25 and June 1, 2019.
Placeholder Alt Text

Aslan(y)'s Picks

ASLA-NY announces its 2019 Design Award winners
The New York chapter of the American Society of Landscape Architects (ASLA-NY) has announced its 2019 Design Award recipients, highlighting exemplary landscape projects from New York–based firms. The projects span a wide breadth, from the ever-popular industrial waterfront regeneration schemes, to mixed-use commercial developments, to residential suburban landscapes. This year, one Award of Excellence, 14 Honor awards, and 17 Merit awards were handed out. All of the winners will be fêted at an awards ceremony held at the Center for Architecture in lower Manhattan on April 11. Following that, all of the winning projects will be put on display in the Center through April as part of World Landscape Architecture Month. 2019 Award of Excellence James Corner Field Operations (JCFO) Domino Park Brooklyn, New York The revitalization of the 160-year-old industrial Williamsburg waterfront by JCFO deftly weaves the site’s history together with the park’s programming while simultaneously protecting it from future floods. The shoreline of the SHoP-master planned Domino Sugar Factory development is intended to draw in the greater community while serving as an amenity space for the adjacent residential and office towers. The park utilizes remnant pieces of the sugar refinery to line its Artifact Walk, including screw conveyors, signs, four 36-foot-tall syrup tanks, and 21 of the refinery’s original columns. A line of repurposed gantry cranes forms the basis of an elevated walkway and the roof of chef Danny Meyer’s Tacocina stand. By greening the coast and breaking up the hardscape that lined the esplanade previously, JCFO has also provided Williamsburg with another line of defense from natural disasters. Honor Awards CIVITAS + W Architecture and Landscape Architecture Julian B Lane River Center and Park Dirtworks Landscape Architecture Resilient Dunescape Future Green Studio Sections of the Anthropocene LaGuardia Design Group Bridgehampton Sculpture Garden HIP Landscape Architecture The Art of Collaboration: Bringing Landscape Architecture into the Classroom Studio Hollander Design Landscape Architects Dune House Hollander Design Landscape Architects Topping Farm Renee Byers Landscape Architect Hillside Haven SCAPE First Avenue Water Plaza SCAPE Public Sediment for Alameda Creek Jungles Studio, in collaboration with SiteWorks Landscape Architecture The Ford Foundation Center for Social Justice SWA/Balsley + WEISS/MANFREDI Hunter’s Point South Waterfront Park Phase II SWA/Balsley Naftzger Park Terrain NYC Landscape Architecture No Name Inlet at Greenpoint Merit Awards BIG-Bjarke Ingels Group Islais Hyper-Creek Doyle Herman Design Associates Ecological Connection Future Green Studio Brooklyn Children’s Museum Joanna Pertz Landscape Architecture Campos Plaza, NYCHA Housing Complex Joanna Pertz Landscape Architecture Stuart’s Garden LaGuardia Design Group A River Runs Through It Mathews Nielsen Landscape Architects Freeman Plaza NYC Parks Playground 52 RAFT Landscape Architecture Queens Boulevard Urban Design Plan Renee Byers Landscape Architect Village Sanctuary Sawyer|Berson Residences in Bridgehampton Sawyer|Berson Residence on Sagg Pond SCAPE Madison Avenue Plaza Steven Yavanian Landscape Architecture Dumbo Courtyard Terrain NYC Landscape Architecture Newswalk Entry Garden Terrain Work Broadway Bouquet W Architecture and Landscape Architecture Chouteau Greenway - The Valley Beeline
Placeholder Alt Text

Shine On

6a architects recalls Milton Keynes’s utopian vision with a shiny new gallery
Milton Keynes: Britain’s youngest, technically unofficial, "city" has a habit of making headlines for all the wrong reasons—routinely being laughed at for having fields populated with concrete cows and being a mecca for roundabouts. Yet the New Town was regarded with its grid road system as the avant-garde of planning upon its birth in 1968. Heroic ambitions cast aside, it has since been derided for embodying all the faults of top-down planning and for later becoming a developer-friendly business park. In 1999, a new cultural establishment, the MK Gallery, opened on the edges of Midsummer Boulevard, but it was never quite able to latch onto the spirit of a new Millennium. Milton Keynesians’ search for something new to shout about went on. And so arrives the extension and re-jig of the MK Gallery from British architects, 6a. It’s a box, much like most of the area’s buildings, but the gallery’s glimmering facade emerging from the surrounding greenery hints at something much more tantalizing. “We wanted to make a building that was utterly Milton Keynesian,” Tom Emerson, founding director of 6a architects, told The Architect’s Newspaper. “The prototypical building of Milton Keynes—from the shopping center to the [Milton Keynes Development Corporation] design offices—is the steel frame shed and its variations.” 6a employed polished steel to clad the new structure, folding it incrementally to reflect literally and metaphorically Milton Keynes’s grid plan. “Sometimes it kind of radiates light and color from the most unlikely sources. It is very much alive and dynamic,” added Emerson. Already the gallery has been nicknamed the "tumble dryer" by locals—such is the British predilection for giving new buildings colloquial monikers. The gallery hasn’t even opened yet, but the nickname suggests residents are warming to it already, eager to embrace it as an MK building. The nickname derives from a circular motif in the facade, which has been split horizontally to form a giant, semi-circular window. “The circle is the most explicit form used in the design of Campbell Park, which the gallery overlooks. There are circles and cones everywhere,” said Emerson. “As the gallery is the last building along Midsummer Boulevard, we wanted to make it a simple meeting of the two forms; the grid of the city meets the circle in the landscape.” Retaining the original structure, the architects have more than doubled the gallery’s initial size. Inside this becomes apparent through five new double-height galleries, the first reaching 30 feet high, the rest 20 feet, all coming together to provide more than 5,300 square feet of exhibition space. The new, re-energized MK Gallery, however, posits itself as more than just a space for hanging art. A new auditorium, known as the “Sky Room” will offer views over Campbell Park and double-up as an independent cinema. A new foyer, café, and garden have also been added. "The aim of the new gallery is essentially to appeal to a larger and wider audience," Emerson explained. "We realigned all the openings of the old gallery with the new ones in a continuous ‘enfilade.' The long axis through the building (with windows to the outside on either end) reflects within the building the spatial structure of the city itself." While it shimmers externally, inside, MK Gallery plunges visitors 30 years into the past with a color palette from a 1978 Habitat catalog. This is all thanks to artists Gareth Jones and Nils Norman, who worked with 6a on the scheme. It’s a bold move but one that emphatically pays off. Bands of greens, yellow, and browns form a lavish curtain lining, which partially engulfs the plywood-clad Sky Room; a fire escape spiral staircase has been painted bright red; internal stairs are yellow—minus the cigarette smoke stains from the ‘70s; bathrooms have been doused with maroon, brown, and emerald; and the white-walled café features a happy menagerie of hanging light spheres, red beams, yellow chairs, and pipework—a literal throwback to Milton Keynes’s now-defunct architecture department, once nicknamed the “Custard Factory” due to Norman Foster’s design. Nostalgic recollections of the past can often be saccharine, but not here. MK Gallery is an example of how to work with the recent past, celebrating it visually and marrying it with an exciting program, all of which has been packed into an architecture that reflects Milton Keynes today, while also priming it for tomorrow. MK Gallery opens to the public on Saturday, March 16.
Placeholder Alt Text

Only the Bestor

Bestor Architecture and Jamie Bush + Co. bring an unfinished Lautner into the 21st century
In 2013, Bestor Architecture, interior designer Jamie Bush + Co., and landscape architects Studio-MLA were tapped to restore and complete the Silvertop Residence, a domed, cave-like home designed by John Lautner in 1956 for industrialist-inventor Kenneth Reiner. “Big chunks of the house weren’t finished,” Barbara Bestor of Bestor Architecture explained as she described the ad hoc kitchen and bathroom spaces she initially found in the home. “But we tried to bring a 21st-century idea of what progressive architecture might be in this context.” The Los Angeles home represents Lautner’s own attempts to create a progressive architectural vision for domestic life and includes his first spanning concrete shell structure as well as movable glass walls and interior finishes that can conveniently snap off for maintenance and replacement. Within a T-shaped composition of intersecting semicircles in plan, the home is divided into sleeping, kitchen, and living zones that frame opposing outdoor spaces, including a pool patio and a tree-filled courtyard. Bestor explained that Lautner and Reiner had infused the home with a spirit of material inventiveness that included Portuguese cork ceiling tiles, thin-shell concrete finishes, and other factory-produced elements. It was an ethos that Bestor sought to channel, but rather than imposing a new order on the home, her restoration is instead geared toward reviving and perfecting many of Lautner’s original ideas. For example, the architect replaced rudimentary mechanical systems for a movable window wall with a state-of-the-art motorized pulley concealed by scalloped concrete edging and an upturned swoop of terrazzo flooring. She also perfected the home’s master bathroom through the addition of a fully retractable 20-ton glass partition that disappears into the floor. Coupled with a disappearing skylight system, the shower is now a completely outdoor experience that is more true to the original intent for the space than 1950s-era technology allowed. Bestor’s hand also worked silently below the floors and within the walls of the house, where transformative HVAC, digital, lighting, and sound systems were added. In the master bedroom, an original moonroof above the bed has been redesigned to completely disappear. Fully concealed by dummy ceiling panels when closed, the opening is one of several precisely designed and exactly located operable windows around the house. The home’s kitchen received some of the most dramatic transformations of the project. Tucked into a low block between the entry and the space-age living room, the new kitchen is wrapped in vertical bands of thin cypress slats and is lit from above by square-shaped skylights. Glimmering stainless appliances designed by Jamie Bush fill out the space, while overhead, restored and original pieces of cork ceiling intermingle and conceal technological equipment. The stealthy and informed approach, according to Bestor, allowed her team to “think aloud through forms and ideas” in a way that mirrored Lautner’s original work while still remaining respectful to those designs. Today, the home lives on as it was always meant to: completed, occupied, and at least for now, technologically up-to-date.
Placeholder Alt Text

Coming Soon

Theaster Gates, MASS Design Group among list of Chicago Architecture Biennial contributors
Theaster Gates, MASS Design Group, Wolff Architects, as well as Forensic Architecture and Invisible Institute are among the first wave of contributors announced for this fall’s 2019 Chicago Architecture Biennial. The show, titled ...and other such storieswill be an expansive look into global projects that delve into how architecture relates to land, memory, rights, and civic participation. The initial list of participants, announced last week, features 51 artists, collectives, architects, and researches from 19 countries—only half of the soon-to-be full lineup of participants. According to Biennial Board Chairman Jack Guthman, the international showcase will have something for everyone, designers and Chicagoans alike. “The participants who will explore the significant issues raised by our curators will both challenge and entertain the Biennial’s audiences,” he said. Artistic Director Yesomi Umolu noted the broad range of contributors have backgrounds and projects that “resonate deeply” with the four curatorial areas previously laid out by the organization: “No Land Beyond,” “Appearances and Erasures,” “Rights and Reclamations,” and “Common Ground.” Capetown-based firm Wolff Architects, as well as local Chicago artist Theaster Gates, will present “reflections on landscapes of belonging,” while CAMP from Mumbai and New York’s Center for Spatial Research will uncover the political controversies behind contested spaces of memory. RMA Architects and DAAR, the studio helmed by Sandi Hilal and Alessandro Petti, will think about how architecture can act as a site of advocacy. Lastly, Construct Lab from Berlin and Adrian Blackwell of Toronto will “explore methodologies for intervening” in public space. Works on these topics and more will allow visitors the chance to interpret their own opinions about the ways in which architects advances or inhibits global stories of culture and history. The projects will be placed in the main exhibition at the Chicago Architecture Biennial, housed in the Chicago Cultural Center. The programming also includes broader, city-wide events and talks. You can read the full list of initial participants here.
Placeholder Alt Text

It's the Pitts

Pittsburgh’s City Council leans against saving historic Venturi Scott Brown–designed home
In a preliminary vote held on March 12, Pittsburgh’s City Council voted against designating the Venturi Scott Brown–designed Abrams House as a historic landmark according to the Pittsburgh Post-Gazette. While the official vote on the house’s fate will be held this coming Tuesday, the six-to-one mock vote (two members abstained) doesn’t bode well for the house’s future. As AN first reported in August of last year, the home, commissioned by Irving and Betty Abrams and finished in 1979, had been purchased by neighbors William and Patricia Snyder. It was at first thought that the Snyders, owners of the adjacent Giovannitti House designed by Richard Meier, might act to preserve the Venturi Scott Brown-designed home, but instead began preparing the building for demolition in secret. The demolition of the Abrams house was part and parcel with the exterior renovation of the Giovannitti House, as the owners want to turn the lot into a landscape complementing Meier’s building. The two-bed, two-and-a-half bath had already been partially gutted before the nonprofit Pittsburgh History and Landmarks Foundation mounted a campaign to recognize the building as a protected landmark. As the Post-Gazette notes, the City Council’s vote is in contrast to the recommendations of both the Pittsburgh Historic Review Commission and the city’s Planning Commission. The council cited the house’s state of disrepair, the hurdles in accessing the building, and the wishes of the owners as reasons they voted against the request. “There is black mold in the walls,” said Erika Strassburger, the councilwoman who represents the district where the Abrams House is located. “There is a risk for persistent water damage. No one has actually come forward to put up the money to restore the house. It is a house that needs an infusion of significant financial resources to restore it to a livable condition.” Other than the deteriorating physical conditions, the house is located on Woodland Road, a private street, and visitors would need to cross the Snyders’ driveway, meaning the Abrams House is only (legally) visible from the street. Without the possibility of another buyer stepping in—the Snyders picked up the house for $1.1 million when it went to market last year—it seems likely that the City Council will vote against landmark designation next week. If no action is taken, it looks like this rare example of Postmodernism in Pittsburgh could soon be razed.
Placeholder Alt Text

Mindful Memorials

Svigals+Partners on designing for 21st-century loss and gun violence
Memorial projects seem to be coming online at a faster pace than ever before due to the fatal events our country has experienced in the last three years. Such rapid production of commemorative architectural spaces appears to immediately bring healing and hope back to the communities and victims where these tragedies have occurred. While it’s more important than ever to honor the countless lives lost from social violence, terrorism, and natural disasters, to Svigals+Partners, the process of memorial creation, sometimes slow and complicated, exposes the heart of the design. The firm recently released renderings of a new memorial garden dedicated to victims of gun violence in New Haven, Connecticut. Led by the company’s Director of Art Integration Marissa Mead and Associate Principal Julia McFadden, the (tentatively-named) Healing Memorial Garden will soon be built at the base of West Rock, a monumental boulder that bounds New Haven. Born from the vision of Marlene Miller Pratt, a school teacher whose son was shot and killed over 20 years ago, the landscape is the result of her many years spent advocating for a communal place to remember her child’s life. She connected Yale University's Urban Resources Initiative and other mothers who’ve suffered similar losses to jumpstart her long-awaited vision. After countless hours of community engagement, Mead and McFadden, the latter of whom was responsible for the redesign of Sandy Hook Elementary School in Newtown, Connecticut, discovered that this particular memorial effort has further embedded into them the value of listening. AN spoke with the architects about modern monument design and why they herald conversation and collaboration as the foundation of memorial creation. AN: What drew you both to get involved in this project? Julia McFadden: When this came our way, I was working on a side project—a competition entry for the Sandy Hook Memorial, a tragedy that also resulted from an act of gun violence. I believe experiential design and public art define what a memorial is today, two things Marissa and I specialize in, so this, along with our personal interests, was important to us. I’m also particularly attracted to social justice issues and concerned about the allocation of resources that create economic segregation in neighborhoods, such as unequal community policing. That method was actually born in New Haven and then dropped nationwide, which led to more disproportionate levels of communities of color being sent to jail. Marissa Mead: I’m also interested in creating meaningful environments for people by engaging them in the process and helping to tell stories. As director of art here at Svigals, I aim to create places where we want to be and places where we’re inspired. This has been an ongoing process of raising awareness in the area both about the memorial and education on gun violence. AN: Prior to rethinking designing for school safety at Sandy Hook, had either of you been involved in projects that were birthed out of community tragedy? MM: No, but at our firm, we’ve developed over time a very inclusive and collaborative process for the early stages of our building projects. That’s been hugely successful in school projects. We learned we have to get people together to listen to each other from the start. They need to feel heard and comfortable to share opinions. That’s how we get them to hone in on most important aspirations for the school. AN: What do you both think are the challenges of designing memorials for 21st-century loss? JM: Our impulse to memorialize is a very human kind of thing we’ve seen throughout history. We want to recognize and pay our respects to losses that have occurred by leaving teddy bears and heart balloons at the site of car accidents and house fires. I’m not sure we as a society fully understand what that impulse is all about, but the history of commemorating death is obviously evident with cemeteries and grave sites, which are static tributes. Nowadays, we see through working with people like Marlene that people want these memorials to be interactive.   Today’s memorials dedicated to these types of loss are different than say, memorials around war. Those are typically planned as we expect death from war. I think historically Maya Lin’s Vietnam War Memorial shifted the purpose of what a memorial could serve since the deaths exceeded what was initially projected. The challenges of designing around tragic events today are that we’re constantly trying to balance transitory commemoration versus more permanent sculptures set in place. To me, what leads us to build a permanent memorial is the communal need to remember something for a longer period of time. There must be a recognition that there’s a lesson to be had for current and future generation in memorializing this subject. It must find greater purpose and promote a larger message that has meaning for a broad range of people to tap into some larger universal themes. AN: What about designing memorials that honor America's harsh past years after the fact? MM: A hurdle in highlighting more historic issues is that perceptions may be challenged. People should be encouraged to recognize that the history they’ve learned may be incomplete. It takes some time to get past the layers of defensiveness and/or shame and arrive at acknowledgment. Acknowledging the past is a mechanism that helps us more fully understand the present, so we can begin collectively to heal from painful, even catastrophic, events. In the case of the Newport Middle Passage Port Marker Project, which I’m helping with, a driving reason to create a memorial is to bring stories to light which have been previously hidden. Newport, along with nearly all other major ports in the eastern U.S., has not publicly acknowledged how the city built its staggering wealth. Rhode Island alone participated in the trafficking of over 100,000 enslaved individuals, and the proud historic buildings of Newport were made possible by the trade of human beings. But these truths are not at all evident in the city. It’s an incomplete history, which leads to an incomplete understanding of the continuing impact that slavery has on our communities. A theme repeated in the visioning workshop I helped lead for the Middle Passage committee is that injustice is not was. There is work to be done. AN: We’ve noticed many memorial projects announced in the last year, some of which have fast-paced construction goals. What do you think about this newfound attention to both memorial commissions and competitions? JM: To me, the process is and can often be the point of memorial making. If a project moves too fast or doesn’t get the right input, you’re going to miss some major opportunities and the memorial will have a stifled response that isn’t fully formed. The best memorials create a visceral bodily experience that doesn’t depend on reading a plaque. You feel something because your senses are engaged, and I think it takes a long-term input process to solicit the needs of the community you’re designing for. With the Healing Memorial Garden, we’ve been really conscious about what you’d see, hear, feel, and smell on the site. Through a variety of design components, we want people to connect to the memorial through both their head and their heart. MM: That’s not easily achieved if we don’t know the emotions people want to be expressed through the design. If the design happens in a vacuum, it’s the wrong design. It’s short-changing that front end of memorial making which really is so critical. I truly believe grief compels people into action—they want to be involved. While the final, completed memorial might be the ultimate goal, the journey to get there is healing in its own way. That’s why I think when a memorial project comes online, the commissioning team would start a qualifications-based solicitation process of designers, instead of a full-fledged competition. That way designers are chosen based on their merits and experience, as well as their knowledge of a community, and willingness to truly understand what those people are going through.
Placeholder Alt Text

Font of Creativity

Angela Danadjieva remains an unsung luminary of landscape architecture
In 1967, Angela Danadjieva, a Bulgarian-born architect, found herself working in the San Francisco office of the celebrated landscape architect Lawrence Halprin. From 1967 to 1976, she worked on 20 urban design and city planning projects at Halprin’s office, driving design on some of the office’s best-known projects. Her work was integral to the office’s output, but today, Halprin is remembered in histories of landscape architecture while Danadjieva is almost forgotten. In 2019, when we’re increasingly cognizant about the vital positions of women and natural resources, it seems timely to bring attention to Danadjieva. She was enabled by the socialist privilege of women’s rights in her native Bulgaria, and Halprin’s devotion to the profession. Halprin was a giant in the landscaping field, walking in the footsteps of Frederick Law Olmsted and having learned from Marcel Breuer and Walter Gropius. Danadjieva won a competition while living in Paris in 1966, which brought her to San Francisco where she met Halprin. Freeway Park, which covers interstate I-5 in Seattle is their best-known project. For Halprin, it was the poetic outcome of his 1966 book Freeways and was another manifestation of his appreciation of waterfalls, while for Danadjieva, it was an opportunity to shine in Halprin’s eyes and fulfill her design ambitions. However much Danadjieva contributed as a designer, Halprin’s lead as landscape architect made him the architect in charge. But her participation in the Seattle park design can be seen as an object lesson in who gets credit for projects, particularly when one of the designers is a woman. Danadjieva was born in 1931 and was brought up in Sofia, the capital of Bulgaria. Lofty ancient architecture adorned Sofia’s broad cobblestone boulevards, and greenery surrounded the city. But the political background for Danadjieva was highly unsettling. After a period of neutrality, the country was eventually thrust into the theater of World War II, caught between the Nazis, the Soviets, and the Allied Forces, which bombed Sofia in 1941. In 1944, the city was captured by the Soviets, and the subsequent socialist regime seems to have eased the way for Danadjieva. Women made inroads in Bulgarian culture, and the state-supported university helped to cement Danadjieva’s abilities. She studied environmental design and received a degree in architecture. In 1963 she paired off with Ivan Tzvetin to work on a Cuban urban project; they won second prize for it and she was awarded the prize by Fidel Castro. Not fully satisfied with her university education, Danadjieva chose to leave Bulgaria and attend Paris’s Ecole des Beaux-Arts between 1964 and 1966, which seems to have imprinted on her an appreciation for forms from the past. While in Paris she was employed by Denieul-Marty-Paoll. Danadjieva first became a set designer for a state film company—winning a Golden Rose (the Bulgarian equivalent to an Oscar) for The Captured Squadron—and then won the competition that landed her on the West Coast and eventually in Halprin’s office. Halprin and Danadjieva reached common agreement that she would have a creative role in his firm, and as project architect she worked on both the Freeway Park and the Auditorium Fourcourt (now Ira Keller) Fountain in Portland, Oregon. Danadjieva made clay models for the fountains’ concrete forms. Both the Ira Keller and Freeway Park fountains are exciting to the senses. When operative, primal water gushes over primordial masses that resemble brutalist waterfalls. The Ira Fountain, engineered by Richard Chaix, is built on a declivity in the road whereas Freeway Park builds over a tear in the city. Ada Louise Huxtable considered Freeway Park equal to European masterpieces. When the fountains are running crowds of people are drawn to them. There has been danger in Freeway Park—a 2005 murder—which has precipitated adding amusement structures like bandshell and food vendors. The structures around Freeway Park are not that humanistic—large metal and glass buildings like the overbearing Convention Center (which Danadjieva worked on) dwarf the park—but amid the stepped and zigzagging walkways and terraces, the rushing waterworks, and the sylvan plantings, the park is a superb haven. Both Halprin and Danadjieva claim authorship of Freeway Park. Legally, it can be assumed that it was Halprin’s design—it came from his office. While Danadjieva did make the clay models of the brutalist stonework, Halprin’s hand came into play earlier. His Portland Lovejoy Fountain of 1967, which is similar and was inspired by his Sierra watercourse drawings from 1964. And the epitome of the office’s rock and water play comes somewhat later: the Washington, D.C., Roosevelt Monument designed in 1974 but not constructed until the 1990s. Also, it was Halprin’s call at the studio to make models before drawings for the Freeway fountain. But Danadjieva’s hand seems secure at the Ira Keller and Freeway fountains because the bursting water flows over those large bold idiosyncratic forms that seem characteristic of her hand. Danadjieva said in an oral history done by Michael Apostolos in February 2010, the year after Halprin’s death:
At a few occasions he left on my board thank you notes about my work…Walking through the office at lunchtime Larry came to my desk looking at what I was modeling out of clay. Seeing my concept for Seattle’s Freeway Park he turned around and disappeared—saying nothing. I went outside for lunch. We faced each other around the block and he told me: “Angela, I am so excited seeing your Freeway Park design concept. Sorry even could not speak, needed to get some fresh air,” and at that time I saw tears in his eyes. This is how I like to remember Larry Halprin, one of the greatest appreciators of my design work.
Danadjieva is still active, working with her partner, Thomas Koenig. Her work has received numerous awards, including an Honor Award in Design from the American Society of Landscape Architects. One of their projects was an addition to the Freeway Park (a monumental endeavor, including work on the Washington State Convention Center). She and Koenig are responsible for large-scale projects such as White River State Park in Indianapolis, Indiana, and James River Park System in Richmond, Virginia, and have earned a reputation in urban development. The pair live and work in Tiburon, outside San Francisco. She is reportedly a modern woman with old world aristocratic, courtier traits. She is elusive—very difficult to locate and interview and could not be contacted for this article.
Placeholder Alt Text

Empty Vessel

Hudson Yards and its Vessel open to the public
As throngs of tourists and New York City residents descend on Manhattan’s far west side for the opening of Hudson Yards’ first phase, AN joined the first tour of the Thomas Heatherwick–designed Vessel (interested visitors can reserve free tickets). Bill Pedersen, founding partner of Kohn Pedersen Fox (KPF), Thomas Woltz of landscape architecture studio Nelson Byrd Woltz, representatives from Heatherwick Studio, and Related Companies chairman Stephen Ross, who paid to construct the Vessel out of his own pocket, were also on hand to dive into the design behind the development. With the first phase of Hudson Yards opening to the public today, plenty of ink has already been spilled over the new neighborhood’s “fortress-like” nature, the accusations that it intentionally and discordantly stands apart from the street grid and city as a whole, and that the development is a playground for the one-percent financed through $6 billion in tax breaks (though some might passionately dispute that characterization). Those points have been argued elsewhere. What is definitely true is that the 11-million-square-foot, $16-billion first phase of Hudson Yards is now mainly open, or will open shortly, and it’s likely to draw shoppers, tourists, and High Line hikers to what was formerly an open-air staging area for the Long Island Railroad. The second phase of the megaproject over the still-uncovered western railyard will hold five more residential towers and a commercial project from architectural heavy hitters like Herzog & de Meuron, Frank Gehry, Santiago Calatrava, and Robert A.M. Stern. Related expects that infrastructure work on the second phase will begin next year before the site is decked over. Vessel, Heatherwick’s $150 million not-quite-a-sculpture, not-quite-a-building sits at the center of Hudson Yards’ Public Square and Gardens. The climbable installation is made up of 154 flights of stairs connected to 80 landings, and it balloons up to 150-feet-wide at its 150-foot-tall summit. As project architect Stuart Wood explained, Vessel (explicitly not “the Vessel”—although Related will rename the structure later, anyway) was designed to be open in its programming while not “jamming up” the plaza. “The project was built entirely from staircases and landings. They're public, publicly accessible, free to use spaces. It's non-prescriptive. That was absolutely our intent from the outset. This should be a project that is open to interpretation. It's open to different natures of use.” The underside of the piece is clad in warm, reflective metal paneling that distorts the glass towers around it and brings a sense of liveliness to the “sculpture” as more visitors gather at its base. As visitors scale Vessel, climbers see themselves reflected overhead as the panels act as mirrored ceilings; that interactivity is intentional. On the topside, Heatherwick has used wood railings, darkened steel, and stone for the steps and landings in reference to the site's industrial heritage. With a form so often compared to a beehive or garbage can by outside observers, actually entering Vessel produces an unusual effect. Standing in the sculpture’s base feels akin to entering a towering atrium, with the glass handrails resembling windows. Climbing the structure’s numerous staircases, at least when devoid of the crowds that will surely descend on it after the official opening, felt slightly dangerous. The view of Hudson Yards, the Shed, shops and dining areas, and across the Hudson River, open up towards the top, and might induce the same sense of vertigo found on construction sites. For mobility impaired visitors, Heatherwick Studio has added a glass elevator that travels along a curving track along Vessel’s inside rim, though it only stops at one landing per story. The plaza in which Vessel sits is elliptical and gently spirals out to each of the buildings on the site, a decision that Nelson Byrd Woltz came to in tandem with Heatherwick Studio. As such, it serves as the epicenter of Hudson Yards’ public space, and its central location in the neighborhood’s main plaza visually cements that status. Vessel, for better or for worse, is intrinsically at home in Hudson Yards and wouldn’t fit anywhere else in the world. And even if it wasn’t, as Wood explained, Related has copyrighted the design.
Placeholder Alt Text

High Desert Test Sites

Another arts festival returns to the Southern California desert
It’s getting rather busy in California’s High Desert these days. With an ever-expanding set of art-related events, programs, and biennials taking place across the region, High Desert Test Sites (HDTS), a long-running artist showcase in the area, has announced its 2020 return. The event, titled HDTS2020 and conceived of as a “free-roving” art exposition, aims to revisit a 1972 slideshow lecture given by American land artist Robert Smithson titled Hotel Palenque via a series of new public artworks and events. The lecture, given by Smithson to his students at the University of Utah after a trip through Mexico in 1969, centers on an “eccentrically built hotel…simultaneously undergoing decay and renovation” that Smithson encountered while on his travels. Smithson considered the hotel a “de-architecturalized” space that existed both as a ruin and a site of reconstruction in keeping with the artist’s interests in fragmented landscapes and simultaneous states of being. The work, according to the Guggenheim website, was developed in tandem with a photographic series titled Yucatan Mirror Displacements (1–9) that Smithson created by photographing dispersed sites that had been augmented with the installation of 12-inch, square-shaped mirrors. For the 2020 run, HDTS has brought on guest curator Iwona Blazwick from the Whitechapel Gallery in London. The series will feature the work of eight artists, including Alice Channer, Gerald Clarke, Jr., Dineo Seshee Bopape, Erkan Özgen, Dana Sherwood, Paloma Varga Weisz, and Rachel Whiteread. Smithson will also be included in the showcase, which will focus on creating “a poetic narrative on the geometry of ruin, the entropic play of nature, and the ghosts of cultures both ancient and modern.” The artists are slated to create or place their works across the High Desert region, both in urbanized areas and within the desert landscapes. HDTS, a non-profit organization founded by artist Andrea Zittel, Los Angeles gallerist Shaun Caley Regen, and others in 2003, aims to “support immersive experiences and exchanges between artists, critical thinkers, and general audiences—challenging all to expand their definition of art to take on new areas of relevancy,” according to Zittel’s website. HDTS2020 will include a public discussion titled Desert as Situation on April 7 hosted by the Palm Springs Art Museum (PSAM) and moderated by Brooke Hodge, director of architecture and design at PSAM. The exhibition series itself runs from April 18 through May 9, 2020.
Placeholder Alt Text

Mall of America

The Hirshhorn Museum’s Sculpture Garden set for a Hiroshi Sugimoto overhaul
A year after the Japanese artist and architect Hiroshi Sugimoto completed his renovation of the Hirshhorn Museum and Sculpture Garden lobby in Washington, D.C., the museum has approved a sweeping redevelopment of the sculpture garden. A unanimous vote by the museum’s board of trustees this morning to advance the renovation was the culmination of two years of design studies on how the space could be better utilized. Sugimoto and his design team, the Tokyo-based New Material Research Laboratory Co., Ltd, and Brooklyn’s Yun Architecture have proposed further opening up the Gordon Bunshaft–designed garden to the National Mall. The sunken sculpture garden is currently difficult to see from the outside and receives little shade. Bunshaft had originally designed a larger, sprawling garden that followed the width of the Mall and featured a larger reflecting pool, but his ambitious design was cut down. The garden was originally opened in 1974 and was last updated following a 1981 renovation courtesy landscape architect Lester Collins. In the revised scheme for the garden, Sugimoto has proposed replacing the garden’s central patch of lawn with a reflecting pool. New trees, the aforementioned Mall entrance, and a reopening of the underground passage to the Hirshhorn’s plaza (part of Bunshaft’s original design) have also been included. “This project creates a ‘front door’ for the Hirshhorn on the National Mall,” said Hirshhorn board chair Dan Sallick. “I can think of no better way to expand our mission than by creating a 21st-century outdoor space for sculpture and performance that will become a beacon for many more visitors.” The Washington, D.C.–based Quinn Evans Architects will serve as the executive architect, and Rhodeside & Harwell Inc. in Alexandria, Virginia, will act as landscape architects. A public consultation meeting, where the museum will further update the public on the project’s finer details, will be scheduled for some time in the near future. After that, the garden renovation must pass muster with the National Capital Planning Commission and the Commission on Fine Arts. No timetable or budget for the garden’s overhaul have been made public yet.
Placeholder Alt Text

SAVE THE EGG

Historic Oklahoma City “Egg Church” is in danger of being demolished
The Egg Church. The Church of Tomorrow. An “honest architecture” that’s forever contemporary. Since its opening around Christmas in 1956, these are a few phrases that have been used to describe First Christian Church, a historic, organic modernist building in Oklahoma City. Designed by the then-young local firm, Conner & Pojezny, the 32-acre project quickly became a state treasure and was lauded as a major engineering feat by Life Magazine, Newsweek, and Architectural Record. The dramatic, concrete domed church—which has a mid-century Jetsons look—is newly in danger as its current owners aim to sell it to a buyer with plans to demolish the community icon. Oklahoma’s News 4 reported that dozens of demonstrators crowded outside First Christian Church last week in protest. Those in attendance included the executive director of Preservation Oklahoma and members of Okie Mod Squad, a group led by one of the church's architect's granddaughters, Lynne Rostochil. Representatives told News 4 they’re worried the building might be knocked down once it's successfully sold; the property went on the market in 2016 and only recently snagged attention from buyers when the asking price was drastically lowered from $8.2 million to $5.65 million. The broker behind the sale hopes it'll become a mixed-use development.  Many mid-century structures around Oklahoma City have come under threat in recent years. One of those was Founders National Bank, a Bob Bowlby–designed structure that boasted two, 50-foot exterior arches, It was leveled last October. Like R. Duane Conner and Fred Pojezny, who designed First Christian Church, Bowlby came out of an era in which architectural education in Oklahoma was transforming the industry. Bowlby studied at the University of Oklahoma under the direction of famous American architect Bruce Goff who was internationally known for his expressive, organic designs and for creating an innovative program with the school’s architecture department. Because of Goff's widespread influence, as well as the work coming out of Oklahoma A&M where Conner and Pojezny graduated, the city benefited from a slew of forward-thinking pieces of architecture, many of which have just surpassed or are nearing historic-designation age, meaning they’re potentially endangered if not in use. In order to protect First Christian Church, a Change.org petition started by Okie Mod Squad has been circulating that urges city council members to officially landmark the building, a designation that would require future development on the site to go through a public approvals process. Rostochil noted in a February post that thought the building was put on the National Register of Historic Places in 2011, this “in no way protects it from being demolished.” The move only now qualifies it for tax credits to repurpose or restore the structure.   The efforts of the “Save the Egg” protestors have resulted in a city council meeting happening on Tuesday, according to News 4, where local lawmakers will discuss whether or not the church can potentially be declared a landmark. If identified as such by the Historic Preservation Commission, then the new buyer would not be able to make significant changes to its original design without prior approval from the city's Historic Preservation Commission. The protections would include the entirety of the Edgemere Park property, not just the iconic, egg-shaped main sanctuary. Conner and Pojezny designed three additional structures on the church’s campus, including a four-story education building and a small fine arts complex known as the Jewel Box Theatre, the city’s oldest, continuously-operating community playhouse. It took the architects three separate tries over several years to come up with the current design for the $2.1 million development, which the church’s renowned minister, Bill Alexander, wanted to be a “Church for Tomorrow.” In an old newspaper clipping cited on Okcmod.com, the design team said they aimed to take a “decided departure from conventional church construction” by building an “honest architecture” that would make it forever contemporary.  For residents in Oklahoma City, not only does First Christian Church reflect the history and character of the region’s modern architectural landscape, but it also serves as a place of spiritual solace and refuge in tough times. In October of 1995, families gathered there after a terrorist struck a downtown federal building, killing 168 people and injuring over 600 others. The bombing remains one of the deadliest terrorist attacks in U.S. history and to many locals, First Christian Church stands as a memorial to community healing.