All posts in East

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Flating Stacks

Wolfgang Tschapeller suspends over 100,000 books in new Cornell library
Cornell University’s much-anticipated Mui Ho Fine Arts Library is finally open in Ithaca, New York. Set within a 27,000-square-foot industrial building from 1911, the $16.9 million reading and learning space boasts four levels of floating bookshelves holding over 100,000 volumes.  The project was envisioned by Austrian architect Wolfgang Tschapeller, head of his eponymous Vienna-based firm and a graduate of Cornell’s master’s in architecture program. Alongside New York City studio STV—the architect-of-record, Tscahpeller completely revamped the interior of the historic Rand Hall, a three-story, steel-and-masonry structure primarily used for printing and, in more recent decades, as architecture studios. In order to upgrade the building for the 21st-century, the design team had to secure its exterior envelope, replace the roof, and add thermal insulation. Thanks to these changes, as well as the integration of new double-glazed windows, the project is expected to reduce energy in Rand Hall by 70 percent. On the interior, Wolfgang Tscahpeller Architekt and STV removed the third floor and reinforced its original cross-beam skeleton so they could input the suspended steel mezzanines where all the books would be stacked, according to Metropolis. The entire renovation took a total of 18 months.       An open reading room takes up significant space on the ground-level but beyond the books, the library is also a hub for art and architecture students to create. There is an 8,300-square-foot lab on the first floor with a material practice center featuring a makers space, a small-tool repository, as well as wood, metal, and digital fabrication shops. This dual utility of the library, both as a place where students can read and build, was one of the most important aspects of the renovation.  “Thus, we have two factories in one building,” said Tscahpeller in a statement. “One factory is for the material, and one is the factory for thought and concepts—both wrapped by Rand Hall to one interacting volume.”   Meejin Yoon, dean of Cornell’s College of Art, Architecture, and Planning (AAP), said this is also what she loves about the project. “The production of new knowledge, ranging from scholarship to research and fabrication and making, tying those activities together as all forms of new knowledge is exciting.”   The library is seamlessly connected via the second and third floors to Milstein Hall next door, a 2011 project designed by OMA for Cornell’s architecture department. The completion of the state-of-the-art structure spurred a number of improvements for the arts campus over the last decade which concluded this year with the Rand Hall renovation. Like the green roof atop Milstein, the library will activate its roof deck with outdoor installations in the warmer months. 
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Weekly Alloyances

AN visits Alloy, the architect-developer reshaping Brooklyn
One of the most talked-about towers in Brooklyn is being designed—and built—at the hands of Alloy Development, the 13-year-old company responsible for residential structures like 185 Plymouth Street and One John Street in DUMBO. Led by CEO and founder Jared Della Valle and president AJ Pires, the firm has its sights set next on two projects along Flatbush Avenue in Boreum Hill—one of them which would become among the tallest skyscrapers in Brooklyn. These major developments are advancing their goal of shaping the real estate conversation in New York towards a more design- and community-centric outlook. They’re literally restructuring the skyline of the city’s most populous borough one project at a time, for better or for worse.  But getting the chance to take on an 860-foot-tall building like the one Alloy is putting up at 80 Flatbush didn’t just happen overnight. When Della Valle and Pires first started Alloy in 2006, there were hardly any companies sporting the title of architect-developer. Architects stayed in one lane and developers stayed in another, but that didn’t stop Alloy from stepping into unknown territory.  When the firm completed its distinctive 459 West 18th Street on the High Line, an 11-story residential structure with contrasting black-and-white, angular facade, both the design and real estate communities started to take notice. It wasn’t easy for Alloy to secure the millions of dollars needed for that in-demand site, but its success gave the company—then under the name Della Valle + Bernheimer—the confidence to do even bigger projects. “We chose to pursue development as a way to have more agency over the process of design and to take control of the outcome,” said Della Valle. “When you can define program and priorities because you are taking on the risk and assembling all the capital, you get more design agency from every single perspective.”  In mid-2016 alongside co-developer Monadnock, Alloy completed One John Street, a glimmering, 12-story, 42-unit sustainable structure on the DUMBO waterfront just north of the Manhattan Bridge. The team considers it a major turning point for the company because of its integration into the local community. Though it’s a luxury residential property, it housed an outpost of the Brooklyn Children’s Museum for the last three years, and soon a Brooklyn Public Library annex will open in its stead.  From a design standpoint, One John Street was also a major step forward for Alloy. The firm teamed up with Brooklyn-based SITU Studio to create the one-of-a-kind sculptural panels made of concrete textured after fragments of fiberglass, pellets of beeswax, and salt granules that wrap the building’s lower core. In addition, because of the building’s noisy location next to an elevated train line, Alloy scaled up the windows and floors, decreasing the sun exposure at the same time.  Challenging themselves with innovation at One John Street also gave Della Valle and Pires the authority to cement their names alongside New York’s top developers, and its completion gave them a seat at the table.  “I find it hysterical that now we are on the same panels as the very big guns of real estate in this city like Related and Extell who have existed for a long, long time,” said Della Valle. “On the architecture side, we’ve received a lot of admiration because we’ve made design a core value of our developments. We’re not interested in repeatability.” Della Valle said that he’s met with plenty of famous architects who grill him on how Alloy makes it work. As a development company full of architects, he says the quality of the architecture and its impact on the community is most important. “We have to have economic output to achieve our work, but it’s not our reason for being.” Alloy’s office is located at 20 Jay Street, a hotspot for many Brooklyn-based architecture firms because of the old building’s large floorplate. A small firm with just under 20 employees, the team has been based in the same space since 2001. On any given day, they’re only working on one or two projects at a time and don't have to answer to any clients—ever. Things will continue to stay this way, according to Pires.  “Jared and I both live 100 feet from the office,” he said. “We’ve gotten to know every single landowner in DUMBO and there’s an intimacy of knowledge here that, when you connect it back to the risk equation, is very valuable. We’ve often had a leg up on other developers in this neighborhood because we’ve been here for so long.”  Alloy’s investment in DUMBO has long been clear and will continue with their upcoming three townhouses and 46 apartments at 168 Plymouth Street. Their proposal to take two, neighboring, century-old warehouses and turn them into condominiums was approved by the Landmarks Preservation Commission. It will be one of the last loft conversations in the area once finished next year. However, the East-River adjacent community isn’t the only part of Brooklyn that Pires and Della Valle aim to influence.  80 and 100 Flatbush will be the duo’s first attempt at a true high-rise development. The mixed-use skyscraper at 80 Flatbush will feature 200 units of affordable housing while the proposed 482-foot-tall tower at 100 Flatbush will include a 700-seat elementary and high school (designed by ARO) for Khalil Gibran International Academy, the first English-Arabic public school in the United States. Two historic buildings will also be preserved on the site. Demolition began in October.  To go after such a massive property—the block is spread across 61,000-square feet—Alloy had to work with the city’s Education Construction Fund in planning all that the future site would entail. It’s an overwhelmingly complex project, but Della Valle and Pires see it as another decisive moment in Alloy’s own development. They’ve been able to reach this point, Pires said, because of that innate attraction to risk and their constant reliability.  “The exposure we’ve received on our past work gives us a lot of credibility,” he said. "We truly believe you have to be optimistic to be in development. The associated risk actually boosts our creativity and forces us to be more clever." 
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Budding Brood

New York gallery fair Salon Art + Design seeks to attract a younger audience
Taking over New York's Park Avenue Armory for its eighth edition this November, prestigious gallery fair Salon Art + Design is seeking to draw in a younger collector base. Though exhibiting galleries have been charged with presenting more affordable pieces, this year's offering of both vintage and contemporary wares promises to elate all tastes. A far more restrained and arguably refined offering than other somewhat boisterous gallery fairs that dot the annual calendar, the Salon Art + Design (November 14 to 18) brings together a highly select group of 56 collectible and vintage design galleries from around the world. Taking center stage this year are Paris's Galerie BSL—presenting Pia Maria Raeder's wonderfully ornate yet organically-formed Stardust benches and mirrors—newcomer WonderGlass—the independent practice's Venetian-inspired glass sculptures—and Cologne's ammann// gallery—showing new large-scale prints by famed Swiss architecture photographer Hélène Binet. New exhibitors this year include galleries from Russia, Brazil, and Lebanon. Objects range from an ancient bust circa 1000 BC to the newest trends including work made from a 3D printer. Other notable exhibitors will include Demisch Danant, Friedman Benda, Gallery FUMI, The Future Perfect, David Gill Gallery, Giustini / Stagetti, Cristina Grajales Gallery, Heller Gallery, J. Lohmann Gallery, Maison Gerard, Todd Merrill Studio, Sarah Myerscough Gallery, Nilufar Gallery, Patrick Parrish Gallery, Priveekollektie, Adrian Sassoon, Twenty First Gallery, and more. Read the full show evaluation on our interiors and design website, aninteriormag.com.
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Bye Bye Brutalism

Massachusetts puts the Paul Rudolph-designed Hurley Building on the market
A piece of Boston’s brutalist Government Center has reached the end of the road. The Charles F. Hurley Building, designed between 1962 and 1966 by Paul Rudolph, has been placed on the market by the State of Massachusetts. Citing the building’s challenging layout—the top floor lacks windows on three sides, for starters, according to the Boston Globe’s report—as well as an outdated surrounding urban landscape, Governor Charlie Baker’s office plans to offer up the site for total redevelopment rather than adaptive reuse. The Hurley Building occupies a 3.25-acre site in downtown Boston, near North Station and the MBTA transit lines, and the move to open the site for development is expected to rake in tens of millions of dollars for the state. In pursuing a public-private partnership, the Division of Capital Asset Management and Maintenance plans to solicit an official redevelopment partner by mid-2020. The complex will accommodate new uses while retaining office space for some of the several state agencies currently housed in the building. Approximately 675 government employees work in the Hurley Building at the time of writing. News of the redevelopment quickly sparked a movement to save the building, which some consider among Boston’s brutalist treasures. The nearby Boston City Hall, built in 1968, has long been an icon of brutalism, even if it achieved that status through sheer controversy. Many architecture aficionados and critics have praised the Hurley Building's unabashed modernism, while a number of locals consider it nothing more than an eyesore. The Paul Rudolph Heritage Foundation published a blog post titled “S.O.S: - Save Rudolph’s Boston Government Center,” describing the Hurley Building as “one of Rudolph’s most interesting commissions, and a serious work of urban design.” In a call to action, the blog post encourages readers to leave comments on the Boston Globe article voicing their concerns with the project. Construction on the site is expected to begin within the next few years once the property finds a buyer. For now, the state is formulating plans to relocate its agencies to alternative sites.
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Not your Grandma's....

Architects carve it out to win the industry's highest pumpkin honors
Last Friday at New York’s Center for Architecture, 20 teams of New York architecture studios brought their best carving skills for a chance to take home the Pritzkerpumpkin. The Center’s annual Pumpkitecture contest was far from your run-of-the-mill pumpkin carving contest. Firms came equipped with plexiglass, metal frames, plaster, and even Pantheon models to compete for the industry’s highest pumpkin honors.  Participating firms received spook-ified names and prizes in the spirit of Halloween season. Weiss/Manfredi, for instance, became Frights Manspooky and icon.5 architects were re-christened icon.666. This year’s jury included Chen Chen and Kai Williams (founders of Chen Chen and Kai Williams), Ashley Mendelsohn (assistant curator of Architecture and Digital Initiatives at the Solomon R. Guggenheim Foundation and Museum), Ellen Van Dusen (founder and designer at Dusen Dusen), Dr. Takeshi Yamada & Seara (artist and rogue taxidermist), and Mark Zlotsky (founder of LARD and half of the artist duo Mookntaka).  The night’s highest honor went to Quennell Rothschild & Partners, aka QReePy, for their sprouting and protruding pumpkin design. By popular vote, the People’s Pumpkin went to SITU, aka SitoOoOooOOooOo, for their spinning, animated carved pumpkin. While not every firm could claim the top prizes, many also walked away with honorable mentions for their spooky creations.  A popular theme for the night was pumpkin-takes on famous artists. LTL Architects went home with an honorable mention for Jack O’ Pollock, a machine that creates Jackson Pollock-like action paintings with a paint-filled pumpkin device. Another honorable mention went to Untitled No. 13 by Alexander Cauldron from the Architecture Research Office for a Calder-inspired pumpkin mobile. GRT Architects created a James Turrell-like glowing pumpkin, while Mitchell Giurgola’s mirrored pumpkin box was an ode to Yayoi Kusama’s infinity rooms. 
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Above and Beyond

NOMA Conference 2019 prepared architects to engage with a more diverse future
It was the first time Malaz Elgemiabby had attended the annual conference of the National Organization of Minority Architects (NOMA). But it turned out to be like going back to her childhood in Sudan, being surrounded by architects, designers, and builders who looked like her, and who cared as deeply as she does about community participation in design. “In Sudan, architects are women,” Elgemiabby told AN. “So I used to build buildings when I was a kid. As women [in Sudan] your responsibility is to build the houses, to design, to assess the needs of the community.” Elgemiabby went to architecture school at London Metropolitan University, seeking out its program for its emphasis on community participation in design. She first went to work in the Middle East, where she also earned a master's degree in interdisciplinary design from the Qatar campus of Virginia Commonwealth University. She moved to Cleveland three years ago to work as an architect. After doing some projects that she’s quite proud of in the city, Elgemiabby launched her own firm, ELMALAZ, earlier this year in Cleveland. But it’s also been a bit lonely at times, being an architect on a mission to bring communities into the design process. “[In Cleveland] I’m one of the few who are advocating for this type of approach to architecture,” Elgemiabby said. “I come [to this year’s NOMA conference] and I find not only a lot of black and brown architects, but I also find people who are excited about the same mission. This was really great. It’s always nice to grow your tribe.” Growing that tribe, of course, has been NOMA’s goal all along, ever since twelve African American architects founded the organization during the 1971 AIA National Convention in Detroit. This year’s annual conference, in Brooklyn, attracted a record attendance of over a thousand participants for five days of programming, including service outings, seminars, keynote lectures, student design contests, and the usual networking and socializing. Overall, NOMA membership has grown 30 percent in 2019, under the leadership of NOMA president and HOK principal Kimberly Dowdell. The organization now has more than 1,400 members, organized under 30 professional chapters and 75 student chapters across the country. Under Dowdell, this year NOMA established a new tiered corporate membership program for large and small firms that wish to support the organization—and also gain access to discounted consulting from NOMA’s curated pool of experts in diversity, equity, and inclusion. Dubbed the “President’s Circle,” founding members include AIA, NCARB, Enterprise Community Partners, Cuningham Group, Shepley Bulfinch, Gensler, HOK, and Perkins & Will. But growth and progress for NOMA still come in the context of the Sisyphean task of making architecture more representative of the communities it serves. Out of 115,000 or so architects licensed in the U.S., only an estimated 2,299 are black. That context was made even more somber this year with the loss of one of NOMA’s giants, Phil Freelon, who passed away in July. NOMA renamed its annual professional design awards in his honor. Zena Howard worked with Phil Freelon for well over a decade. So it was fitting that this year’s NOMA conference programming included her delivery of the J. Max Bond Lecture, organized annually by the New York Chapter of NOMA and the AIANY Diversity and Inclusion Committee. Howard’s talk focused on the notion of “Remembrance Design,” which emerged over the past few years through her work with Freelon and others. Now principal and managing director of the North Carolina office at Perkins+Will, Howard used some of her firm's recent projects to illustrate remembrance design in action. The examples varied in scale and scope from the 1.1-acre Sycamore Hill Gateway Plaza in Greenville, North Carolina, to a 30-acre design process covering Miami’s Overtown neighborhood, to a 1.3-mile “linear museum” along the Crenshaw Boulevard transit corridor in Los Angeles. All were historically black neighborhoods, typically scarred by racially-discriminatory redlining and later the era of urban renewal and the construction of the interstate highway system. In short, remembrance design is a way of using architectural discovery as a healing process to unearth, unpack and honor painful histories in neighborhoods that have traditionally been disinvested and neglected—or worse yet, bulldozed and paved over—by the worlds of architecture, urban planning, and real estate. “It’s about engaging people who have historically not been engaged,” Howard said. “First engaging with these communities, there’s a lot of hurt. I once thought to myself you have to go get a psychology degree or something. It’s difficult sometimes to hear. But over time, you realize that the pain a lot of people have, they have to release that, you sort of have to provide an outlet for it. A lot of it at first is just listening.” Howard spoke about how that deep listening process turns architecture into more than just a design process; it elevates architecture into a healing process. It can even make the architect’s job a little easier in the end. Once you move past the pain, Howard said, some participants from the community will actually feel inspired enough to start sketching themselves. “Even if you can’t get people really to talk about something, they can sketch something, they can draw,” Howard said. “It becomes therapeutic in a lot of ways. Once you get passed that threshold you really start moving fast towards design solutions that they’re a part of.” That depth of community engagement resonated with many NOMA members, from Elgemiabby to NOMA National Board Member and SOM senior urban designer Tiara Hughes, whose childhood neighborhood in St. Louis is now a baseball field. “I understand what [Howard] was referring to that there’s trauma and feelings and emotions that we have to deal with collectively as a group,” Hughes told AN. And it certainly resonated with Dowdell, who was partly inspired to become an architect by growing up among vacant homes and boarded-up commercial corridors in Detroit. “The kind of engagement that Zena [Howard] and her team has done or is doing, I think that’s probably standard practice for a lot of architects here [at the conference],” Dowdell said. Dowdell is hopeful that more and more of those kinds of projects will come up as the U.S. and especially its cities become more and more diverse. The U.S. Census Bureau predicts people of color will become a majority in the U.S. by 2043. Dowdell views NOMA’s work as preparing architecture for that future. “We all have to be more conscious of the fact that more and more clients will be people of color, more and more government officials—people with more power,” she said. Of course, in bringing good design to more diverse places that have historically been neglected or harmed by earlier periods of development, the conversation naturally turns to how good design can risk putting new pressure on market conditions, pushing up property taxes or rents and pushing out the very residents who participate in these design processes. Howard brought up the example of Hogan’s Alley in Vancouver, British Columbia, as one where the residents and elected officials are looking to a community land trust as a policy intervention to protect those residents the project had in mind as end-users. “The thing [Howard] also mentioned, rightly so, was the thing that design can’t solve: the political and economic conditions that need to be grappled with to effectively prevent gentrification and the negative effects of gentrification,” Dowdell said. “I think reinvestment is fine, but I think when it starts to displace people who have had a stake in that community for years, decades, generations, that’s going to be problematic.”
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Radical Recollection

Friedman Benda recaps Gaetano Pesce's defining moment
A revelatory presentation of the experimental designer Gaetano Pesce is on view at Friedman Benda through December 14. Age of Contaminations is a carefully selected historical sweep provides a close reading of the idiosyncratic designer’s practice over 27 crucial years of the Italian architect's career, beginning with the asymmetrical, modular Yeti Armchairs (1968) and concluding with the otherworldly Ghost Lamps (1995), where recycled paper and polyurethane has been molded into a vaguely figural silhouette. Referencing an early peak of Pesce’s career, the title Age of Contaminations is borrowed from the artist’s installation in The Museum of Modern Art’s historic 1972 exhibition Italy: The New Domestic Landscape, where the designer conceived works for a post-apocalyptic future where humans have settled into subterranean cities to escape an unidentified fallout on the surface. The exhibition is accompanied by a fully illustrated e-catalog available for free on the gallery’s website, wherein leading authority on craft and design history Glenn Adamson provides a chronological survey and impassioned critique of Pesce’s career. Perhaps the most interesting designs on view are the least aesthetically pleasing: Dacron-filled fiberglass cloth chairsGolgotha (1972)—resemble the functional version of a Piero Manzoni painting, and the garish, slick palette of his Golgotha Table (1972) provides a visually grating yet conceptually transcendent testament to Pesce’s Roman Catholic upbringing. The designer’s relentless openness to experimentation and earnest resistance to a consistent style is manifest in one of the more striking works in the exhibition is the monumental Moloch Lamp (1971), deftly placed behind one of the gallery space’s pillars, allowing it to make an even more powerful impact once visitors are confronted with it in closer proximity. Pesce’s most famous design, the Up5 (Donna) chair and Up6 footstool make a requisite appearance just beneath the lamp’s intense metallic glow. The chair, which resembles the breasts or buttocks of the female body, is tethered to its spherical footstool, mimicking a prisoner’s ball and chain. A recent demonstration by the feminist group Non Una Di Meno (Not One Less) during Milan design week expressed explicit opposition to the design, yet Pesce insists that the work was intended to emphasize the restrictions of femininity in order to spur debate, rather than uphold traditional values pertaining to gender. Read the full show recap on our interiors and design website, aninteriormag.com.
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Chasing History

New York Times brings back its Streetscapes column

Fans of the late Christopher Gray’s Streetscapes column had much to cheer about last weekend when The New York Times relaunched the feature with a new author.

Historian and novelist John Freeman Gill, a friend and admirer of Gray and “avid Mystery Photo solver,” will now write the column, which will run every other week both online and in print.

“Those of you who know Streetscapes will understand what a humbling turn of events this is,” Gill wrote in a message on Facebook.

“To NYC geeks like me, the column is an institution, the creation of the brilliant, inimitable, and wickedly funny Christopher Gray,” Gill said. “I was lucky enough to call Christopher my friend in his latter years, so being able to carry on his legacy in even a small way is especially meaningful to me.”

Streetscapes, which ran between 1987 and 2014 in the newspaper’s Sunday Real Estate section, was a favorite with architects, historians, and all-around New York City lovers. Its goal was to explore New York City's real estate through its architecture.

Gray, described as an “architectural detective and social historian”  in Sunday’s reboot, wrote more than 1,300 columns before he died in 2017 at the age of 66. His columns touched on the city’s architecture, history and preservation policies. He self-described his goal as “to write about the everyday buildings, to investigate even the most trivial, incidental, oddball structures.”

Gray also contributed to a Streetscapes page on Facebook, for which he chose a Mystery Photo of a building every Tuesday and invited readers to identify it.

Gill is the author of The Gargoyle Hunters, a historical novel set in New York City. His first Streetscapes column was about a series of Clinton Hill carriage houses that have had many different uses, including a stable, garage, photography studio, restaurant, and possibly a speakeasy.

The new author has asked readers to send him story ideas at streetscapes@nytimes.com.

“Ours is a vibrant, textured city, and many of you know pockets of it in ways that I don’t,” wrote Gill. “I hope we can all do this column together.”

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Goodbye History, Hello Hamburger

Fringe Cities is a poignant study of urban renewal, and its aftermath, in the small-American city
The narrative of mid-century urban renewal is not unfamiliar; under the guise of slum clearance, vast tracts of America's architectural heritage were razed with entire communities (often of color) displaced and warehoused in deleterious expanses of public housing. There is no dearth of imagery or literature stemming from the era, ranging from Jane Jacobs's grassroots campaign against the all-powerful Robert Moses to the implosion of St. Louis's infamous Pruitt-Igoe tower blocks. However, often missing from dialogue on the subject is the integral role that federal policy and financing played in the reshaping of the American city, specifically outside of major metropolitan centers. Opened in early October at New York's Center for Architecture, the MASS Design Group-curated exhibition Fringe Cities: Legacies of Renewal in the Small American City, is an impressive historical and photographic survey examining the scope and rationale of urban renewal efforts across 100 "fringe" cities—defined as a small urban area with under 150,000 residents located at least 30 miles away from a major metropolitan center, which, are in many circumstances, still attempting to ameliorate conditions cemented by mid-century planning. The exhibition opens with a broad outline of federal urban policy over the course of the ongoing century, roughly beginning with programs associated with Franklin D. Roosevelt's New Deal, then the plateau and decline of national funding and policy following Lyndon B. Johnson's Great Society, and present day's irregular growth cycles, facilitated by lopsided regulation. Strengthening the linear narrative of the timeline is a collection of renderings and illustrations produced by contemporaneous architects and designers depicting idyllic post-clearance scenes, tools to convince a skeptical public of the supposed extensive benefits of urban renewal. The strongest curatorial tool at the initial juncture of the exhibition are aerial images of 42 of the MASS-identified "Fringe Cities," overlaid with blotches of red that highlight areas slated for demolition and reconstruction in the strain of automobile-centric developments and zoning. This method—which is similar to cartography appraising the damage of World War II bombing campaigns—effectively conveys the disproportionate scalar impact such efforts placed on small urban centers, which in many circumstances altered them beyond recognition within the span of a few years. For the purposes of the exhibition, MASS honed in on four specific case studies: Easton, Pennsylvania; Saginaw, Michigan; Spartanburg, South Carolina, and Poughkeepsie, New York. "Being urban in form but offset from more diverse economic centers, these places were particularly ill-equipped to design, administer, and implement meaningful redevelopment strategies, and they were less resilient economically to rebuild in its wake," said MASS Design Group associate Morgan O'Hara. "Urban America was not always as polarized as we see today, and it is an important narrative to understand these changes, and the role of both policy and design decisions in contributing to the disinvestment of these Fringe Cities." If the first floor of the exhibition is geared towards a top-down perspective of urban renewal, the second-half of Fringe Cities brings the topic to street-level with a collection of historic photographs of long lost downtowns juxtaposed with desolate contemporary scenes. One significant inclusion is that of Iwan Baan's extensive imagery from Poughkeepsie. More importantly, MASS effectively dives into the work that grass-roots organizations have done, in lieu of federal, state, or even municipal funding, reversing or at least halting the economic and demographic decline that the selected cities have experienced for decades. On this final note, MASS presents the current urban moment as both a challenge and opportunity for architects and designers that requires community engagement to avoid the pitfalls of heavy-handed planning. O'Hara concluded, "In order to accomplish this, it is imperative that designers reach beyond their precise contracted purview to create effective community partnerships, as an outgrowth of this critical understanding: that designers cannot understand or attend to the full range of local needs without embedded, long term community decision making." Fringe Cities: Legacies of Renewal in the Small American City Center for Architecture 536 LaGuardia New York, New York Through January 18, 2020
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Mount Etna in New York

Bonetti/Kozerski's Pace Gallery rises over the Chelsea scene with volcanic stone and foamed aluminum
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New York's leading art galleries are in a figurative arms race; buildings upwards and outwards to accommodate museum-sized curatorial ambitions. In September, the Pace Gallery, led by Marc and Arne Glimcher, joined the fray with the opening of its new 75,000-square-foot gallery in West Chelsea. The project, designed by Bonetti/Kozerksi Architecture with facade consultancy by Studio NYL, is clad in volcanic stone mega panels, foamed aluminum, and topped with an aluminum-and-glass crown. The project rises to eight stories on the site of the gallery's former one-story location, with a boxy massing in keeping with the turn-of-the-century warehouses and former industrial sites found adjacent to the High Line. To this end, the street-facing northern elevation is broken up by rhythmically placed floor-to-ceiling rectangular windows flanked by masonry. At the cornice, the structure steps back to facilitate space for a 4,800-square-foot sculpture court located beneath a suspended two-story gallery space clad with 17-foot-tall glass windows.
  • Facade Manufacturer Island Exterior Fabricators Guardian Press Glass SA Nerosicilia Alusion
  • Architect Bonetti / Kozerksi Architecture
  • Facade Installer Island Exterior Fabricators
  • Facade Consultant Studio NYL
  • Structural Engineer WSP
  • Location Manhattan, New York
  • Date of Completion October 2019
  • System Prefabricated megapanel system
  • Products Guardian Crystal Grey SN68 Nerosicilia N3 Volcanic Stone Alusion aluminum foam panels
According to the design team, the initial material choice for the facade was concrete panels. However, concern regarding the quality of local concrete companies shifted the palette to volcanic stone sourced from Mount Etna in Sicily. The stone panels are 1-1/4" thick and were delivered with a preassembled frame of black powder-coated aluminum with a volcanic stone trim. "The volcanic stone we chose is dense and very durable and by using an oven to re-melt the surface we were able to achieve a consistent black color but with some desired textural variations," said Enrico Bonetti and Dominic Kozerski. "One of the things we like best about this palette is that it's enigmatic—it is not immediately clear to people exactly what it is." From a distance, the side elevations appear to have a passing resemblance to the porous surface of the north side's volcanic stone, in the form of deep-textured concrete. The panels, which number over 250 and were also assembled by Island Exterior Fabricators, are in fact composed of foamed aluminum and required extensive research and testing to gauge their suitability as rainscreen cladding. The use of foamed aluminum was also informed by West Chelsea's ongoing construction boom and upzoning. According to Studio NYL facade design director Will Babbington, "aluminum foam proved to be an effective material for the side elevations; lightweight and aesthetically pleasing, and an economic choice considering the elevations will be covered up by inevitable adjacent development." The glass panels that define the crown of the new gallery are, for lack of a better word, gigantic. Each IGU panel measures roughly 5'6"-by-17'10" and weighs just over 1,000 pounds. Four threaded stainless steel handle the dead load of the assembly while structural silicone provides a significant degree of bite to hold the panels in place.
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Midtown West

CetraRuddy's ARO undulates in Midtown with composite aluminum and glass
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New York-based architectural practice CetraRuddy is no stranger to designing residential skyscrapers in Manhattan, with a body of work differing from typical contemporary glass stalagmites thanks to the inclusion of significant swathes of stone and metal. ARO, a slender 62-story tower located in Midtown West that wrapped up this year, continues this trend with a facade of undulating and shifting floorplates clad in a skin of aluminum composite panels and enclosed with tinted float glass. The 540,000-square-foot tower rises from the center of the site to further the distance from the adjacent properties to the east and west, a measure taken to maximize the building's allotted zoning height and overall daylight penetration. DeSimone Consulting Engineers handled the tectonics of the project's structural system. "To adequately support the slender building," said the structural team, "the tower's structural system is comprised of steel columns at the foundational level, reinforced concrete shear walls with flat plate concrete floor slabs, and reinforced concrete columns. Overall, construction utilized 34,000 cubic yards of concrete."
  • Facade Manufacturer BVG Glazing Systems Guardian Glass Alcoa
  • Architect CetraRuddy
  • Facade Installer Ecker Windows
  • Facade Consultant BuroHappold Engineering
  • Structural Engineer DeSimone Consulting Engineers
  • Location Manhattan, New York
  • Date of Completion 2019
  • System Custom system fabricated by BVG Glazing
  • Products Guardian Crystal Grey SN68 Alcoa Reynobond
The structure is just one of the visibly outward elements of the overall design and the floorplates protrude as a series of undulating ribs from the narrow vertical form. Across the four elevations, the structure is key to the articulation of the six different curtain wall modules with differing ledge depths corresponding to the placement of the glass modules. Eighteen-inch-deep, white Reynobond aluminum composite "fenders" cap the floorplates, soffits, break up the floors as thin rectangular columns, and act as integrated solar devices. "The sun is a friend of this building; the sky is reflected in its glass and the metal fender protects from undesirable solar gain and glare," said CetraRuddy. "The projecting undulation captures the sunlight, giving the facade pleasing depth and visual interest." As a result of the tower's shifting floor plates and undulations, the glass modules shift in their alignment from being stacked directly atop one another to a quasi-stepped appearance. Each panel is approximately four feet wide and 11 feet tall, and are fastened to the floor plate with steel embeds. The glass, a tinted float glass produced by Guardian Glass with a remarkably lower heat coefficient than typical coated clear glass, was custom assembled by systems producer BVG Glazing Systems. John Cetra, Founding Principal of CetraRuddy, is co-chairing The Architect's Newspaper's Facades+ NYC conference on April 2 & 3 and will present the ARO in the afternoon panel "Optimizing the Form."
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MILLIØN-dollar Pei Day

MILLIØNS wins competition for new cafe at Syracuse’s Everson Museum of Art
MILLIØNS, the young Los Angeles–based firm headed by Zeina Koreitem and John May, has won the competition to design a cafe at Syracuse’s I.M. Pei-designed Everson Museum of Art. Thus ends an invited competition led by Michael Speaks and Kyle Miller of Syracuse University that solicited proposals from around the world before narrowing the field to four semifinalists, which included FreelandBuck, NATURALBUILD, and Norman Kelley. In addition to housing a cafe and event space, the renovation will also display selections from a 3,000 piece ceramic collection donated by artist and collector Louise Rosenfield. Renderings show a double-height feature wall made of open shelving with pottery arranged informally throughout, as well as display tables composed of clusters of inverted pyramids, a potential nod to the monumental geometries of Pei. The translucent wall of shelving will visually connect the museum’s atrium to the cafe on an upper level. Besides referring to Pei’s work, the design also evokes some of MILLIØNS’s earlier creations. Renderings of the new cafe show a ridged, mirrored wall and an ethereal bath of colors, as though the room were filtered through dichroic glass, which the duo used in the New York flagship for shoe retailer Jack Erwin. The design is centered around these few, big moves; detailing is sparse and most materials in the rendering are left abstract and flat, perhaps in keeping with the Everson building’s austere forms. Pei, who died earlier this year, designed the museum’s late-modern, brutalist home in the 1960s with the idea that the structure would sit like a sculpture on the surrounding plaza. It features a pinwheel plan and cantilevered galleries clad in brushed concrete, all signature features of the time. The building, which celebrated its 50th anniversary last year, was a relatively early project for the architect. The renovated spaces are scheduled to open in 2020.