Search results for "Manhattan"

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Manhattan
Below 14th Street


8 Union Square South
Location: 8 Union Square South
Developer: Claremont Group
Architect(s): Arpad Baksa Architects
Consultant(s): Severud Associates, Lazlo Bodak Engineers, Eric Cohler Design, Inc., D.T.M., Inc.
Size: 15 floors, 20 units, 52,000 sq. ft.
Completion (est.): Summer 2007



This condominium will replace the Morris Lapidussdesigned Odd Lots store on the corner of University Place and Union Square South, which was recently demolished. The new building is made of white pre-cast concrete and has floor to ceiling aluminum windows wrapping its northeast side. this new amenity.



137 Wooster
Location: 137 Wooster Street
Developer: Arun Bhatia Development Corporation
Architect(s): Beyer Blinder Belle Architects and Planners
Consultant(s): Goldstein Associates, Ettinger Engineering Associates, M. Paul Friedberg and Partners
Size:6 floors, 10 units, 37,500 sq. ft.
Completion (est.): January 2007



In 2003, the zoning changed to allow residential development in the SoHo Historic District on a case-by-case basis, and this is one of the first projects to be approved. The building consists of two distinct masses, one on Wooster Street and one on West Broadway, each tailored to its specific street frontage.



Trump SoHo
Location:246 Spring Street
Developer: Bayrock Group and the Sapir Organization
Architect(s): Handel Architects, The Rockwell Group
Consultant(s): The Trump Organization
Size:42 floors, 386,000 sq. ft.
Completion (est.): 2009



Donald Trump has shifted his gaze downtown with a project on the corner of Spring and Varick streets. The mixed-use development will combine a hotel and condos in a 42-story tower set atop a base that will be open to the public. Some community groups are concerned that housing is being introduced into a mostly manufacturing district.



4400442 West 14th Street
Location:4400442 West 14th Street
Developer: Diane von Furstenberg
Architect(s): WORK AC
Consultant(s): Goldstein Associates, Americon Contractors, Tillotson Lighting, Bellapart
Size:5 floors, 30,000 sq. ft.
Completion (est.):December 2006



Work AC gutted an existing red brick building abutting the High Line to make way for fashion giant Diane von Furstenberg's flagship store and studios. On top of the old building they added two floors: The first additional level is glass topped with aluminum fascia; the more sculptural second level is made of alternating clear and translucent glass.



Norfolk Lofts
Location:115 Norfolk Street
Developer: Zeyad Aly
Architect(s):Grzywinski Pons Architects
Consultant(s): Unavailable
Size:7 floors, 22 units, 22,800 sq. ft.
Completion (est.):Fall 2007



Grzywinski Pons is working on a seven-story condominium building near the Hotel on Rivington on the Lower East Side, the young firm's first major project. The glass facade reveals a large atrium which serves as a source of light and air for units not facing the street.



Thompson and Broome
Location:520 Broome Street
Developer:Donald Zucker Organization
Architect(s):The Stephen B. Jacobs Group
Consultant(s):Rosenwasser Grossman
Size:9 floors, 51 units, 73,000 sq. ft.
Completion (est.):Pending approval



A 2004 change in SoHo's zoning allowing the construction of residential buildings on parking lots paved the way for this condo building, which could soon replace a 1922 three-story parking structure. The area is zoned for commercial use, but the developer has applied for a variance. A decision will be announced this fall.



27 Wooster Street
Location:27 Wooster Street
Developer:Axel Strawski/Tony Leichter
Architect(s):Smith-Miller + Hawkinson
Consultant(s):Robert Sillman Associates, Jack Green & Associates, R.A. Heintges Architects
Size:8 floors, 22 units, 60,000 sq.ft.
Completion (est.):2008



This SoHo loft building, which is just west of Jean Nouvel's building at 40 Mercer Street, has eight floors and not a single common corridor. Elevators open to each individual unit. The architects kept the building thin to give each unit maximum street and courtyard exposure.



40 Bond Street
Location:Ian Schrager Company and RFR Holdings
Developer:Axel Strawski/Tony Leichter
Architect(s):Herzog & de Meuron Architekten, Handel Architects
Consultant(s):Unavailable
Size:11 floors, 33 units
Completion (est.):2007



Herzog & de Meuron's much-lauded project just north of Houston Street is their first residential commission in the United States. According to developer Ian Schrager, the cast glass mullions of the facade are the architect's reinterpretation off and homage tooLouis Sullivan's 1899 Bayard-Condict Building on Bleecker Street.



123 Washington Street
Location:Ian Schrager Company and RFR Holdings
Developer:The Moinian Group
Architect(s):Gwathmey Siegel & Associates
Consultant(s):Cosentini Associates, Gilsanz Murray Steficek, Ravarini McGovern Construction
Size:53 floors, 220 hotel rooms, 180 condo units, 440,000 sq. ft.
Completion (est.):Winter 2007



The Moinian Group recently received $50 million in Liberty Bond financing for this hotel and condominium tower next to the soon-to-be demolished Deutsche Bank building in Lower Manhattan.



Manhattan
Above 59th Street


411 East 115th Street
Location:411 East 115th Street
Developer:Jeffrey Berger
Architect(s):Grzywinski Pons Architects
Consultant(s): Unavailable
Size: 7 floors, 31 units, 31,400 sq. ft.
Completion (est.): Fall 2007



Situated on a through-lot with exposures on 115th and 116th streets, this condominium's two street facades belong to two separate buildings, linked at the center of the lot with a skybridge. This enabled the two structures to share a circulation core with one elevator and one main lobby.



Kalahari Apartments
Location:40 West 116th Street
Developer:L& M Equity Participants, Full Spectrum
Architect(s):GF55, Schwartz Architects, Studio JTA
Consultant(s): Unavailable
Size: 12 floors, 249 units, 54,184 sq. ft.
Completion (est.): Fall 2007



The facade pattern on these two linked buildings derives from three sub-Saharan culturessthe Ndebele of South Africa, the Ashanti of Ghana, and the nomadic Bushmen of the Kalahari Desert. According to its designers, the project's symbolism is a response to the need for an African-American awareness of and contribution to architecture and urban planning..



111 Central Park North
Location:111 Central Park North
Developer:The Athena Group
Architect(s):The Hillier Group
Consultant(s):SLCE Architects, Bovis Lend-Lease Construction
Size: 19 floors, 47 units, 87,500 sq. ft. residential, 8,700 sq. ft. retail
Completion (est.): Fall 2007



Hillier's architects took advantage of the fact that this building is the first residential highrise on Central Park North and made sure all 47 units, most with balconies, had unimpeded views of the park. An oversized second-floor outdoor garden and common terrace continues the arboreal theme.



The Rushmore
Location:80 Riverside Boulevard
Developer:Extell Development Corporation
Architect(s):Costas Kondylis and Partners
Consultant(s):Unavailable
Size: 41 floors, 289 units, 657,000 sq. ft
Completion (est.): 2008



Initially part of the massive Trump Place complex along Riverside Boulevard, the Rushmore was sold to Extell, which modified some of the floor plans to create larger units. Rising from a massive, block-long base, the Rushmore's twin towers echo a popular Upper West Side design motif, seen most recently at the Time Warner Center.



The Avery
Location:100 Riverside Boulevard
Developer:Extell Development Corporation
Architect(s):SLCE Architects
Consultant(s):Unavailable
Size:32 floors, 274 units
Completion (est.):Fall 2007



Using its name to establish a connection to the Avery Fisher Hall in nearby Lincoln Center, the Avery echoes the art deco towers that line Central Park West. The complex will feature cultural programming and provide residents special access to the performing arts center.



120 West 72nd Street
Location:120 West 72nd Street
Developer:Anbau Enterprises
Architect(s):BKSK Architects
Consultant(s):Goldstein Associates, Laszlo Bodak Engineer, Higgins & Quasebarth
Size:16 floors, 22 units, 60,000 sq. ft.
Completion (est.):Fall 2007



Using its name to establish a connection to the Avery Fisher Hall in nearby Lincoln Center, the Avery echoes the art deco towers that line Central Park West. The complex will feature cultural programming and provide residents special access to the performing arts center.



Manhattan
Between 14th Street and 59th Street


310 East 53rd Street
Location:310 East 53rd Street
Developer:Macklowe Properties
Architect(s):Moed de Armas & Shannon Architects; SLCE Architects
Consultant(s):Sota Glazing Inc.
Size:31 floors, 88 units
Completion (est.):2007



Perched on a three-story limestone pedestal, this residential buildinghas a 28-story glass curtain wall with balconies conceived as extensions of the interior. Its apartments are larger than the average in Midtown; the smallest measure 1,600 square feet.



405 West 53rd Street
Location:405 West 53rd Street
Developer:SDS Procida
Architect(s):Smith-Miller + Hawkinson Architects
Consultant(s):Severud Associates, Montroy Andersen Demarco Design Group Inc., Sideris Engineers P.C., Engle Associates
Size:7 floors, 82 units, 201,000 sq. ft.
Completion (est.):2008



Henry Smith-Miller freely acknowledges this condominium's debt to Le Corbusier's Unitt de Habitation in Marseille. But its New York provenance shows: Maisonettes on the ground floor are shielded from the street by a curtain of steel, creating small courtyards like those that typically front brownstones.



325 Fifth Avenue
Location:325 Fifth Avenue
Developer:Douglaston Developer and Continental Properties
Architect(s):Stephen B. Jacobs Group
Consultant(s):Levine Builders, WSP Cantor Seinuk, Andi Pepper Interior Design, Thomas Balsley Associates, Israel Berger & Associates
Size:41 floors, 250 units, 390,000 sq. ft.
Completion (est.):Late 2006



Directly across from the Empire State Building, this new condo-minium will have a limestone pedestal along the street, and a 41-story tower above. The glass faaade features voluntary, multiple set-backs; most of the units have balconies.



241 Fifth Avenue
Location:241 Fifth Avenue
Developer:241 Fifth Avenue, LLC
Architect(s):Perkins Eastman
Consultant(s):Unavailable
Size:20 floors, 60,000 sq. ft.


Since the Madison Square Park area was recently declared an historic district, Perkins Eastman had to meet strict guidelines in designing this 20-story highrise. Floors 1 to 15 will be flush with its neighbors on Fifth Avenue, while floors 16 to 20 will be set back from the street. The site is currently for sale, and includes the building plans.



The Atelier
Location:635 West 42nd Street
Developer:Moinian Group, MacFarlane Partners
Architect(s):Costas Kondylis and Partners
Consultant(s):Unavailable
Size:46 floors, 478 units, 520,000 sq. ft.
Completion (est.):2007
Budget: $200 million



Atelier's 15,700 square feet of ground-floor retail space will be topped with a veritable city of studios and condos, featuring wraparound balconies and expansive views. Atelier recalls the bow of a great ship,, said architect Costas Kondylis, interpreted in glass..



610 Lexington Avenue
Location:610 Lexington Avenue
Developer:RFR Holdings
Architect(s):Foster and Partners
Consultant(s):Unavailable
Size:(80 condos, 50 hotel rooms), 257,000 sq. ft.
Completion (est.):Late 2008



RFR Parners' Aby Rosen and Michael Fuchs transferred the air rights from their more famous neighbor (and property) on 53rd StreettMies van der Rohe's Seagram's Buildinggto allow Norman Foster's tower to take the form of a continuous, thin upright slab without setbacks. It will house condos and an upscale hotel.



548 West 29th Street
Location:548 West 29th Street
Developer:West LLC
Architect(s):Caliper Design
Consultant(s): GMS LLP, John Guth Engineering
Size:12 floors, 18 units
Completion (est.):Late 2007



This top-heavy building starts out narrow, rising on a 25-foot-by-100-foot Chelsea lot, but at the sixth floor, it starts to widen, cantilevering over its neighbors to the east and west. Caliper Design principal Stephen Lynch explained that the faaade is clad in a custom-designed metal panel system that provides an irregular texture to the building's surface.



Sky House
Location:11 East 29th Street
Developer:Clarett Group
Architect(s):FXFowle Architects
Consultant(s):ABR Construction
Size:55 floors, 139 units, 580,000 sq. ft.
Completion (est.):2007



This highrise uses air rights from the 1849 Church of the Transfiguration next door, and sits atop a new glazed parish house. The lot's 50-foot street frontage and 100-foot depth determined the tower's slender profile, which allows only three units per floor. We didn't want the architecture to dominate the site,, said Kirstin Sibilia of FXFowle. Architects chose masonry cladding, Sibilia explained, for its timeless appeal.



459 West 18th Street
Location:459 West 18th Street
Developer:Level 6 Developments
Architect(s):Della Valle + Bernheimer Design
Consultant(s):Robert Silman Associates, Front
Size:11 floors, 13 units, 29,000 sq. ft.
Completion (est.):January 2008



Rather than look to the past as a reference, Della Valle + Bernheimer chose to respond to the design of an adjacent (and as-yet unbuilt) building by architect Audrey Matlock. [Matlock's] building is all delicate planes and irregular surfaces,, said partner Jared Della Valle. Ours is about mass, determined by the building's L-shaped plan and setbacks..



East River Science Park
Location:29th Street and First Avenue
Developer:Alexandria Real Estate Equities
Architect(s):The Hillier Group
Consultant(s):Stubbins, architect of record; Hargreaves, landscape architect; Tishman Construction, client rep; Turner Construction, construction manager
Size:870,000 gross sq. ft.
Completion (est.):N/A



This city-supported development aims to foster New York's biotech industry by creating a campus in Kips Bay, already home to a high concentration of medical and research facilities. Zoned for bioscience facilities, the 3.7-acre site will accommodate both private companies and public institutions.



10 Chelsea
Location:500 West 23rd Street
Developer:Leviev Boymelgreen
Architect(s):Gerner, Kronick + Valcarcel Architects
Consultant(s):WSP Cantor Seinuk, Lilker Associates, Thornton Thomasetti Group
Size:12 floors, 113,000 sq. ft.
Completion (est.):2007



This mixed-use residential/ commercial building is made of exposed poured-in-place concrete with a dark red aluminum window wall. The glass is a combination of clear glass and insulated translucent glass used as side panels. Amenities include a public terrace overlooking the High Line.



611 Sixth Avenue
Location:611 Sixth Avenuet
Developer:The Brauser Group
Architect(s):Garrett Gourlay Architect
Consultant(s):DeSimone Consulting Engineers, MGJ Associates, Frank Seta
Size:10 floors, 41 units, 3 retail units, 116,000 sq. ft.
Completion (est.):December 2007



Presently occupied by a three-level garage and a two commercial buildings, this site will soon be home to an eight-story condominium planted on two levels of retail. The black brick building is being being built as-of-right.



Brooklyn
Downtown


110 Livingston Street
Location:110 Livingston Street
Developer:Two Trees Management
Architect(s):Beyer Blinder Belle
Consultant(s): Severud Associates, Lazlo Bodak Engineers, Eric Cohler Design, Inc., D.T.M., Inc.
Size:7 floors, 300 units
Completion (est.):Fall 2006



This 1926 McKim, Mead, and White building was home to the New York City Board of Education for 75 years. Sold by the city in 2003 to Two Trees Management, it is undergoing a major interior renovation which will add four floors to its crown. The challenge was to design interiors that stand up to the magnificence of the facade,, said Jed Walentas of Two Trees Management.



3066313 Gold Street
Location:3066313 Gold Street
Developer:Ron Hershco and Dean Palin
Architect(s):Ismael Leyva Architects
Consultant(s): Rosenwasser Grossman, I.M. Robbins, Flack + Kurtz, Matthews Nielson Landscape
Size:40 floors, 303 units, 400,000 sq. ft.; 35 floors, 214 units, 250,000 sq. ft.
Completion (est.):Winter 2008
Budget:$400 million



As the tallest new residential development in all of Brooklyn, these two mixed-income residential towers will be pivotal in the downtown area's transformation from daytime-only business center to a 24/7 live-work neighborhood.



Thor Tower
Location:Willoughby Square
Developer:Thor Equities
Architect(s):Perkins Eastman
Size:55 floors, 1.2 million sq. ft.
Completion (est.):2008
Budget:$360 million



Willoughby Square, a 1.5-acre plot of land in downtown Brooklyn long condemned by the city, will be the site of a new public park and underground parking garage. Thor Tower, a mixed-use skyscraper, will anchor the park's north side and looks to be the first of several towering projects in the vicinity to break ground.



Brooklyn
North


The Aurora
Location:30 Bayard Street
Developer:The Developer's Group
Architect(s):Karl Fischer Architect
Consultant(s): Unavailable
Size:13 floors, 53 units
Completion (est.):2007



The restoration of Williamsburg's McCarren Park, with new facilities and landscaping, as well as a conversion of a Robert Moses-era public pool into a performance space, will almost certainly encourage additional growth. The newest project is the Aurora, an apartment building which will feature an in-house grocery and delivery service.



North Side Piers
Location:164 Kent Avenue
Developer:Toll Brothers, RD Management, L&M Equity Participants
Architect(s):FXFowle Architects
Consultant(s):Unavailable
Size:29 floors, 290 units, 350,000 sq. ft.
Completion (est.):Spring 2008



The Northside Piers is one of the first major waterfront developments in Greenpoint-Williamsburg since the area was rezoned last year. It is the first (and smallest) of three sister towers intended for the site, which was also masterplanned by FXFowle. This first tower will provide 180 units of market-rate and 110 units of affordable housing.



Greenpoint Terminal
Location:East River between Greenpoint Avenue and Oak Street
Developer:John Guttman Real Estate Management
Architect(s):Perkins Eastman
Consultant(s):Unavailable
Size:13.7 acres, 2.6 million sq. ft.
Completion (est.):Pending approvals



After a massive fire destroyed a row of 19th-century warehouses in Mayyand thereby muted a looming preservation fighttthis 14-acre site along the East River is closer to being redeveloped into a retail, commercial, and residential complex. Perkins Eastman had been asked to plan the site before the fire.



North 8th Street
Location:49 North 8th Street
Developer:Toll Brothers
Architect(s):GreenbergFarrow
Consultant(s):MGJ, Neil Wexler Associates, Scorcia and Diana Associates
Size:6 floors, 40 units, 76,000 sq. ft.
Completion (est.):Winter 2006



The second major collaboration in Williamsburg between the national homebuilding company Toll Brothers and Atlanta-based architecture firm GreenbergFarrow, this six-story building will have a single-loaded corridor so that all 40 units have quality views.



Brooklyn
Central 


Park Slope Apartments
Location:391 Fourth Avenue
Developer:ROSMA Development
Architect(s):TEN Arquitectos
Consultant(s):Severud Associates, Mehandes Engineering
Size:11 floors, 49 units, 53,000 sq. ft.
Completion (est.):Summer 2007



Contextual districts assume a low floor-to-floor height, roughly 8 feet, TEN principal Tim Dumbleton noted, "but the market demands higher ceilings, so it's a challenge to fit more volume within the zoning envelope." TEN achieved 10-foot ceiling heights in this 11-story condo, preserving the monlithic character they desired and meeting setback requirements with a composition of two stacked volumes.



Lookout Hill
Location:199 State Street
Developer:Alchemy Property
Architect(s):FXFowle Architects
Consultant(s):Unavailable
Size:11 floors, 46 units, 54,000 sq. ft.
Completion (est.):2007
Budget: $16 million



This 11-story residential project bridges the low-scale residential buildings in Boerum Hill to the south and the taller, mixed-use buildings in downtown Brooklyn to the north. The brick-and-metal-panel facade varies in depth, reducing the building's mass and giving some rhythm to the street wall.



Bronx

Gateway Center
Location:Bronx Terminal Market
Developer:BTM Development Partners
Architect(s):GreenbergFarrow Architects
Consultant(s):Unavailable
Size:1,000,000 sq. ft.
Budget:$3500$400 million



The Bronx Terminal Market, a major wholesale food market, has long been in need of restoration. In 2004, the Related Companies purchased the property and hired Greenberg-Farrow to masterplan the site and design two three-story retail centers connected by a six-story garage, along with a riverfront park and esplanade.



Henry Hudson Parkway
Location:3260 Henry Hudson Parkway
Developer:Hudson Arlington Associates
Architect(s):Handel Architects
Consultant(s):Unavailable
Size:9 floors, 127 units, 240,000 sq. ft.
Completion (est.):Winter 2007
Budget:$90 million


Handel Architects' Riverdale project will add over 100 housing units to the neighborhood while preserving its relatively low scale with a nine-story profile. By creating a facade of windows looking to the east and a 60-foot-by-80-foot landscaped courtyard, the architects are hoping to draw attention away from the adjacent freeway and toward the neighborhood.



The Solaria
Location:640 West 237th Street
Developer:Arc Development, LLC
Architect(s):SLCE Architects
Consultant(s):Unavailable
Size:20 floors, 56 Units
Completion (est.):2007


The Solaria's marketing scheme is that it is the star-lover's dream, with New York's only telescope and observatory on the roof. On a common star-gazing deck, building-dwellers will have access to a celestial map as well as educational sessions from the Amateur Astronomer's Association of New York.



Queens

Queens Street Apartments
Location:43317 Dutch Kills Street
Developer:ROSMA Development
Architect(s):TEN Arquitectos
Consultant(s):Mehandes Engineering, D.V.A.
Size:600 units, 500,000 sq. ft.
Completion (est.):Unavailable



The Eagle Electric Manufacturing Company owned eight buildings in Long Island City, including the six-story cast-in-place concrete warehouse that will serve as a base for TEN Arquitectos' 600-foot-tall slab. The residential project, still in concept phase, is in the recently upzoned area along Jackson Avenue near the Sunnyside Yards.



Queens Family Courthouse
Location:89914 Parsons Boulevard
Developer:The Dermot Company
Architect(s):FXFowle Architects
Consultant(s):Kajima Construction Services, Marinos Gerazounis & Jaffe, DeSimone Engineers
Size:12 floors, 380 units, 290,000 sq. ft. residential, 44,000 sq. ft. retail; 19,5000 sq. ft. community
Completion (est.):2007
Budget:$130 million



To comply with HPD specifications, theconversion of the Queens Family Courthouse into housing includes many affordable units and space for community use. The latter will be housed in the historic building, built in 1927 as a library, while housing will occupy the new glazed addition.



5505 48th Avenue
Location:5505 48th Avenue
Developer:Toll Brothers
Architect(s):H. Thomas O'Hara Architects
Consultant(s):Ettinger Associates, Axis Design Group
Size:8 floors, 142,000 sq. ft.; 5 floors, 19,000 sq.ft.; 118 units
Completion (est.):2007



Toll Brothers called on H. Thomas O'Hara to design a low-rise, high-end condominium in the heart of Queen's most industrial neighborhood. The architects responded with not one but two buildings. The base of both structures will be granite and channel glass, while the upper floors will be built out of pre-cast concrete.
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NEW PRACTICES NEW YORK


In September 2005, The Architect's Newspaper and the AIA New York chapter held the first of four New Practices Roundtables, a discussion series meant to provide a forum and resource for start-up architecture firms. Launched at the initiative of last year's chapter president Susan Chin and directed by current president Mark Strauss, the roundtables were a chance for architects to share their insights and experience (not to mention frustrations) with starting and running their own firms. The sessions, held at the Center for Architecture featured experts, including technology consultants, branding specialists, insurance lawyers, who advised on matters such as how to get recalcitrant clients to pay up to the cost-efficiency of outsourcing to how to get one's work published.

The overwhelmingly positive response to these roundtables (which we will resume in the fall) inspired us to sponsor a competition called New Practices, New York, aimed at identifying and showcasing exceptional young local practices. Jurors included Winka Dubbeldam of Archi-Tectonics, Martin Finio of Christoff:Finio, Gregg Pasquarelli of SHoP Architectsswhose practices are only slightly older than the competing firms and who were all guest speakers in the seriessas well as Chin, assistant commissioner of the Department of Cultural Affairs; I served as jury chair. We reviewed portfolios from over 50 architecture firms (formed after January 1, 2001) and found six exceptional firms to showcase.

The winning firms' portfolios and videos about their work will be on view at the Center for Architecture from July 26 to September 23. (Reception on Wednesday, July 26, from 6:00 to 9:00 p.m., open to the public.) In addition to the exhibition, a bimonthly exhibit and reception will be held for each of the practices selected at the HHfele America Showroom (25 East 26th Street, across from Madison Park); dates are listed below.

WILLIAM MENKING



WINNING FIRMS

Architecture In Formation (Matthew Bremer); September 14
G TECTS LLC (Gordon Kipping); November 9
Gage / Clemenceau Architects (Mark Foster Gage, Marc Clemenceau Bailly);
January 11
Interboro Partners (Tobias Arborst, Daniel D'Oca, Georgeen Theordore); March 8
WORK AC (Dan Wood, Amale Andraos); May 10
Zakrzewski Hyde Architects (Stas Zakrzewski, Marianne Hyde); July 12




Architecture In Formation


Long Island House, view of rear terrace (Long Island, 2006)


Midtown Duplex (Manhattan, 2005)


The Ranch Commons, conceptual house (Bulverde, Texas, unbuilt)




G TECTS LLC


DNA Studio, multimedia lobby for Internet entertainment firm (Manhattan, 2004)


Baruch College, renovation and project to link existing campus buildings (Manhattan, construction to start in 2008)


Harlem Media Tech, conceptual proposal for a media arts center in Harlem, for the exhibition, Harlemworld: Metroplis as Metaphor held at the Studio Museum in Harlem (Manhattan, 2004)




Gage / Clemenceau Architects


Metropol Tower, proposal for developer office tower, 2006 (Ft. Lauderdale, unbuilt)



Seoul Performing Arts Center, 2005 competition entry (Seoul, Korea, unbuilt)




Interboro Partners

Deploy the Devoider!, conceptual proposal for Urban Voids competition (Philadelphia, 2005)




WORK AC

Diane von Furstenberg Headquarters, renovation/addition to existing warehouse, including penthouse conference room pictured (Meatpacking District, December 2006)

The Emerald, a 52-unit apartment building in Midtown 2005 (Manhattan, unbuilt)

Spotwelders, editing lounge for video-editing facility (Manhattan, 2005)




Zakrzewski Hyde Architects


116 Hudson Penthouse
, interior (Manhattan, 2004)


Art Box, competition entry for a demountable exhibition space (2006)

Spring Street Loft, facade detail of 11-story condominium (Manhattan, estimated completion October 2006)

 

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OVER BOOKED

Archi-Tours
Architecture Now!
Philip Jodidio
Taschen, $39.99

Architecture in Japan
Architecture in the Netherlands
Architecture in Switzerland
Architecture in the United Kingdom

Philip Jodidio
Taschen, $24.95 each




Following the success of the first three titles of its Architecture Now! series, Taschen is introducing a fourth installment this summer, as well as a new collection of books that survey contemporary architecture organized by country. The new series, written by the publishing house's go-to architectural historian Philip Jodidio (who, besides authoring the Architecture Now! books, has written several monographs for Taschen), is kicking off with books on Japan, the Netherlands, Switzerland, and the United Kingdom. Each volume opens with a brief essay summarizing the national architecture culture (all texts are offered in English, French, and German), followed by presentations of recent work by 15 to 20 architects, organized alphabetically by firm. Though the selection of firms and projects might seem obvious to those who follow the international design scene closely, they accurately reflect the mixture of regional and international influences that pervade architecture today. While Jodidio looks to an international array of architects working in each countryyArchitecture in Switzerland in particular has a number of non-native architectssin general, he privileges local talent. For example, the Japan volume includes stores in Tokyo by Toyo Ito and Jun Aoki, while the famous Prada Store by Herzog & de Meuron is left out. This focus allows the character of each country to emerge and makes the idea of national surveys feel worthwhile.
jaffer kolb is an editor at AN.



EVERYWHERE ALL AT ONCE
Here is Tiajuana!
Fiamma Montezemolo, Rene Peralta, Heriberto Yepez
Black Dog Publishing, $29.95




In the days following 9/11, a spontaneous, self-curated show called Here Is New York appeared in a SoHo storefront. A collection of photographs related to the World Trade Center tragedy taken by anyone who wanted to submit their work, the show was included in its entirety in the Museum of Modern Art's exhibition Life of the City, nine months later. The show borrowed its name from E. B. White's essay, a title that has levitated over Manhattan's literary world since the original was published in 1949. It is the perpetual present tense of White's title that the exhibition revised and that captured the instant change in life in New York at 9/11. The most startling thing about the exhibition was how it cast a state of crisis as a continual present tense.

Here Is Tijuana! offers another perpetual present-tense emergency, though one that has persisted for a far longer period of time. Written and edited by anthropologist Fiamma Montezemolo, architect Rene Peralta, and philosopher Heriberto Yepez, who all teach and practice in Tijuana and San Diego, Here Is Tijuana! fits in the genre of books that in the last 20 years have embarked on a urban reconnaissance mission. Mixing images, texts, data, and interviews from a range of sources, the book maps everyday life in Tijuana against a broad backdrop of social and economic data. As a form of urban theory, its referent is most clearly Mike Davis' City of Quartz (Vintage, 1992) and Albert Pope's Ladders (Princeton Architectural Press, 1997), but its graphic design and visual content place it closer to The Contemporary City (Zone Books, 1987) and The Harvard Design School Guide to Shopping (Taschen, 2002).

All these books invented new forms of urban research but are by and large set in a somber lull, unable to harness indignation or fear to overcome outright predation. Here is Tijuana! is not as carefully constructed as any of these books, though its urgency is more vivid, documenting a daily reality that's of direct concern to the book's authors. After emergingg for the last 50 years, Tijuana is still perceived as what the authors describe as a transaction without another transaction,, a place that operates on the continual verge of something. But this is not the same Tijuana of 30 years agoothen understood as a kind of urban dam of people pressed against the U.S. border. Tijuana is inequity, defined to a large degree by its proximity to the U.S., but it is also now a teaming and centerless milieu that expands east and south, as much as it presses north.

Here Is Tijuana! captures the city's present but also shows its future potentials. It is no longer defined as a failed transaction with San Diego; it is also the largest zone of electronics-assembly plants in Mexico, for example, and has many self-sustaining industries.

Here Is Tijuana! presents a place and a condition, both begging to be understood. The book is filled with latent questions: How do we constitute the depiction of social emergencies today? How do we see them and respond to them, and what is the recourse for those who live under crisis conditions when the processes that would allow change are perpetually out of reach? It's obvious the book's authors love the city, and are not demonstrating social need as much as human potential.
Michael Bell is a New Yorkkbased architect and associate professor at Columbia University's GSAPP.



GRAND PRIX
Get Off My Cloud: Wolf D. Prix,
Coop Himmelb(l)au, Texts 196882005
Edited by Martina Kandelerf-Fritsch
and Thomas Kramer Hatje Cantz, $50.00



Courtesy hatje cantz
A rendering of the BMW Welt, the automaker's distribution center by Coop Himmelb(l)au, which began construction in 2004.

Wolf Prix, who cofounded Coop Himmelb(l)au with Helmut Swiczinsky in 1968, is one of the few to come out of the experimental architecture groups of the 1960s still designing at a very high level. In fact, unlike other radicall survivors of the 1960s (Peter Cook of Archigram is another), Prix has moved from paper architecture to important built works. Get Off My Cloud, a compilation of Prix's writings, spans his career, from 1968 to 2005. In the book's foreword, Christian Reder, an author and art professor, notes that Prix confronts an almost compulsively paralyzed public and its leading exponents with a staccato tempo of model-like solutions, only his are expanded by the freedom of no longer having to believe in a revolution.. His writings show that he is still a believer.

Over the 26 years covered in the book, Prix's writings have gone from poetic manifesto to drier, academic-speak, but he remains critical of consumerism, ephemeral e-commerce, conceptual minimalism, and media hyped renderings.. To his credit, he maintains that architects must confront background contexts, programs, and new technologiess and recognize that architecture is a social portrait..

Prix argues, Only star architects, who have developed a potential for resistance, are able to influence what's happening in building..Coop Himmelb(l)au's recent commissions like the BMW project in Munich have moved Prix into the celebrity stratosphere, but can he translate his visionary thoughts into visionary construction? It will take more than words, but he appears to be well on his way.
WM
.



THE PRICE IS RIGHT
Cedric Price: Retriever: Annotations 7
Edited by Eleanor Bron and Samantha Hardingham
Institute of International Visual Arts Publishers, 9.99


Cedric Price was a wonderfully iconoclastic public figure, a left-wing radical until he died in 2003. Though many famous anecdotes about his antics are in circulationnlike the time he refused to give a lecture at the Architectural Association until Alvin Boyarksy, then head of the school, brought a snifter of cognac to the lecternnstill very little is known about him. A definitive biography of Price has yet to be written. But this loose-leaf catalogue offers a beginning toward understanding the man, by providing a look into his private library.

The publication is a list of every book, magazine, newspaper, bulletin, and map in Price's library, along with a key describing the personal inscriptions and enigmatic markings littered throughout them. Samantha Hardingham, a research fellow at the University of Westminster, and Price's long-time partner, actress Eleanor Bron, began cataloguing his library in 2004.

One example of something that appears in the key is an ink stamp of a pig with hoofs draped over the edge of a page, which shows up repeatedly. In one instance, it comes with Price's obscure note, Bath chaps + cooked pig cheeks.. The editors add the helpful annotation, reference to Bath, Somerset. CP loathed the place, like the chaps..

Price's books range from childhood mementos to scholarly tomes on architecture and city planning. A 1943 book Narrow Streets was given to him as a school prize and the editors remark, At the age of 9 CP was invited to choose his own prize. He chose this book. Having spotted it in the window of the local bookshop, he assumed it had to do with town planning. Are you sure this is what you want?' his teacher asked. It turned out to be a novel about a blue-blooded East End girl adopted by a wealthy society woman, set during the war in London.. We also learn that in 1960 Buckminister Fuller gave Price a copy of his unpublished text How Little I Know and it is inscribed with uncharacteristic modesty to Cedric & Liz who is well aware of how little I know. With affectionate regard Bucky Fuller..

The catalogue is a quick read and a cryptic introduction to Price. It also reminds us how much more we want to know about him. WM



HIDING IN PLAIN SIGHT
Nearest Thing to Heaven:
The Empire State Building and American Dreams,
Mark Kingwell,
Yale University Press, $26.00


For architects, the Empire State Building seems somewhat beyond the pale, its very perfection or essential embodiment of a categoryy the skyscraperrmakes it, strangely, uninteresting. As the Mona Lisa must be to art historians, or Casablanca to cinnastes, there's something vaguely embarrassing about the topic, despite or because of its popular acclaim. Compounding the matter for a provincial architectural profession enamored with narratives about the power of individual architects and the grace of individual clients, the Empire State Building, like Casablanca, was a strange and deeply fortuitous convergence: a perfect storm of narrow talents and experienced hacks who together made the best thing any of them ever did. They aimed for pic- turesque and got sublime. Even Rem Koolhaas, expert in recycling local color into pedigreed architectural rhetoric, focuses in Delirious New York not on the Empire State but on the building it replaced when it began construction in 1929, the original Waldorf-Astoria Hotel.

But architects aren't the only ones with this blind spot. The Empire State Building's uncanny visible invisiblity is the main and best theme developed in Nearest Thing to Heaven by Mark Kingwell, a professor of philosophy at the University of Toronto. One dramatic feature of the Empire State Building,, he observes, is its tendency to disappearrthat is, as Wittgenstein said of language, to lie hidden in its obviousness.'' Elsewhere, Kingwell aptly applies Hegel's comment, The known, just because it is known, is the unknown.. At their best, Kingwell's diverse musings about movies, landscapes, and keepsakes accumulate into a new way of knowing and unknowing the familiar building. These culminate in an entertaining episode of visibility, mechanical reproduction, and anxiety in which the author is detained, lining up to visit the Empire State observation deck, because x-rays of his bag reveal the weapon-like profile of a miniature souvenir of the building itself. Much of the book is similarly sharp, only occasionally veering into the anodyne assertions ((Though we long to scrape it, the sky always retreats from our touchh) we might fear from an author whose other titles include Catch and Release Trout Fishing and the Meaning of Life (Penguin, 2005).

More alarming is to see an accredited philosopher so easily bamboozled by the quasi-philosophizing of architects. This is not theoretical fancy,, Kingwell solemnly concludes after a long quote from Koolhaas, which was of course just that. This crudeness of his architectural understanding begins to seem willful when Kingwell blurs Antonio Sant'Elia with Le Corbusier, Mies with Loos, and Walter Gropius with Bruno Taut, in ways that serve his argument but not the historical record. The latter's name is spelled Tout,, perhaps to better rhyme with trout..

It's tempting to excuse Kingwell as he excuses the muddle-headed scholarship in Ayn Rand's The Fountainhead: Rand's concern wasn't really with architecture, of course. It was a practice she did not really understand.. But the stakes are too high. Any new book about a New York skyscraper is tacitly about those other disappearing skyscrapers, the late, great Twin Towers. Kingwell doesn't flinch from the reference: Since the last days of 2001, the [Empire State] building has assumed a new brightness, a more resonant luster. [I]f such a thing is possible, it has somehow become more visible than before. That mysterious dynamic between longing and visibility is the subject of this book,, throughout which we get sideways glances downtown, sentences like the one that begins Skyscrapers, like airplaness? and continuous retroactive foreshadowing.

But Kingwell's trivial treatment of the World Trade Center's architecture diminishes, or is diminished by, his rhetorical use of its destruction. In contrast to his polymorphous readings of Empire State, his interpretation of the Trade Center is direly narrow. He writes, The aesthetics of the World Trade Centerrrather, the lack of themmare again significant here. Yamasaki was afraid of heights, and perhaps as a result the twin towers exhibited none of the soaring quality found even in the earliest skyscrapers.. Forgiving the odd use of soaring,, that breezy clause between the dashes requires an entire book. Elsewhere, Kingwell describes its absolute refusal not only of decoration [[] but of any suggestion of grace or style.. And yet what Yamasaki brought to International Style modernism with the Twin Towers was precisely a stylish new interest in decoration and the fussily graceful detail, all the way down to those gothic arches decorating their base. Kingwell's assertion that New York without the Empire State Building is unimaginable, far more so than without the World Trade Centerr suggests an alarming relativism of unimaginabilities, and prompts one to wonder whose New York he's imagining.

At best, Kingwell is merely mistaking his own impressions for architectural intentions, and in philosophical terms, hypothetical imperatives for categorical ones. At worst, one worries that he's looking to find in the World Trade Center the solemnity that would give some grounding to this otherwise pleasantly airy book. But because all the spooky hints and feints don't add up with the same care Kingwell elsewhere applies, he veers into the bathetic. An early description of Empire State concludes, There was, inevitably, another facet, or shard of meaning [[]: a thought of fatal conjunction, airplane and skyscraper surfaces touching farther downtown, destruction of the still missing towers.. The problem is that word inevitably.. The destruction of the Twin Towers is an easy point of reference, reliably adding depth or resonance or borrowed poignancy to arguments that haven't necessarily earned it. The very ease with which 9/11 can, and has been, deployed in critical and political discourse, demands that it be engaged with ever more precision and accuracyylest that day's own causes and consequences suffer the same fate Kingwell suggests has befallen the Empire State Building: knownn and thus unknown, invisible behind apparent visibility.
Thomas de Monchaux is a New Yorkkbased writer and architect.



JUNK CULTURE
Made to Break: Technology and Obsolescence in America
Giles Slade, Harvard University Press, $27.95




With the Al Goreenarrated An Inconvenient Truth in movie theaters and Brad Pittt voice-overed series Design:e22The Economies of Being Environmentally Conscious now airing on PBS, the specter of environmental disaster is on everybody's mind (as if you needed to be reminded). But despite the rise in public consciousness, there appears to be a growing, even frenzied, consumer interest in the next new thinggthe new cell phone, computer, car, and iPoddall destined for an ever-shortening product life and the inevitable landfill.

In Made to Break, Giles Slade, an independent scholar, charts the history of this essentially American phenomenon and, some might say, the country's greatest cultural export. Architects and designers concerned about their own contributions to this trend should pay attention to the story he tells, if only to see what they're up against.

Slade's highly readable book is not an academic history but a collection of revealing and deftly organized anecdotes. For instance, we learn in the span of just a few pages how single men and women, recently transplanted to the country's growing metropolises, first spurred the demand for disposable products in the late 19th century. Without the time (or mothers nearby) to do laundry regularly, single men, Slade tells us, began to buy throw-away paper collars and cuffs en masse. Soon after, disposable razors were invented and then cheaply made wristwatches and so on. For women, the invention of a new absorbent material made from celluloiddoriginally used in military bandages in World War IIled to the creation of sanitary napkinss in 1920; this was followed by disposable kerchiefss (named Kleenex) and, later, nylon tights.

Slade's ability to tell an entertaining story, however, does not prevent him from supporting it with meaningful analysis. For instance, it's not lost on him that these early, revolutionary products mostly had to do with hygiene. Personal hygiene has always had deep moral associations, so it should come as no surprise that advertisers and social progressives alike began to vilify what they called thriftt and economyy as miserly and morally dirty.. These campaigns were decisive, Slade argues, in shaping early consumer habits and value judgments, acclimating the public to a culture of repetitive consumption and paving the way for the manufacturing practice known as planned obsolescence.

This brings us to the focus of the book. Slade carefully distinguishes between different categories of obsolescence and builds up to a powerful critique of the practice by, among other things, recounting the many dubious arguments made on its behalf. An early proponent was the mid-century industrial designer Brooks Stevens, famous for his Edmilton Petipoint clothes iron and car designs for Alfa Romeo. We make good products,, he wrote in 1958, induce people to buy them, and then next year deliberately introduce something that will make those products old-fashioned, out of date, obsolete. We do that for the soundest reason: to make money.. What Stevens is really describing is psychological obsolescence, or the feeling that what one owns is hopelessly old-fashioneddnot broken, mind you, or even inefficient, just out of date. Psychological obsolescence is one kind of planned obsolescence; another is sometimes called death-datingg and is usually achieved through product manipulation. General Electric has been accused of doing the latter with their light bulbs, and General Motors, according to Slade, pioneered the former in 1927 when it began to introduce new models on a yearly basis. It would surprise more than a few to discover that Henry Ford was an early champion of products that will last foreverr and that it was he, not those he dominated in the market, who lost this fight.

It is harder these days to get away with death-dating but clearly, psychological obsolescence through annual (even biannual) design modification is ubiquitous. Many in the 1950s, like industrial designer George Nelson, saw it as a prodigious tool for social betterment,, stimulating economic growth, generating new technologies, and steadily reducing prices to the advantage of the less fortunate. This is still a deeply engrained way of thinking, but most of us today are aware of its limitations. We are less likely now than we once were to take the increasing number of households with large screen TVs (to pick a common example in the economic literature) as evidence of social progress, as if it implied that such people were benefiting meaningfully from an apparent increase in purchasing power. These days we're careful to weigh more heavily the value of the environment, healthcare, and education.

The book that Made to Break brings most immediately to mind is Eric Schlosser's Fast Food Nation (Houghton Mifflin, 2001). Like that book, Slade's is a page-turner with a purpose, but it is also less a revelation than a mine of useful information. Like all good histories, it makes the obvious facts seem a little less pre-determined, like they might just be something we have the power to change. David Giles is an editorial intern at AN.



UNMIXED GREENS
Ecological Architecture: A Critical History
James Steele, Thames & Hudson, $55.00

Ten Shades of Green:
Architecture and the Natural World

Peter Buchanan,
Architectural League of New York (distributed by W.W. Norton), $24.95



christian richters / courtesy architectural league
Renzo Piano's Fondation Beyeler (Riehen, 1997) combines stone walls and steel panels to achieve low-cost heating and cooling and to fit in with its surroundings.

With an oilman in the White House who only reluctantly acknowledges that global warming is a threat, the environmental movement clearly needs all the protagonists it can get. Two lavishly illustrated new books offer architects tips for building a more sustainable future. Peter Buchanan's Ten Shades of Green, based on an exhibition he curated at the Architectural League of New York in 2000, identifies ten green principles or attributes from a range of contemporary work that, according to the author, any design can embody. Meanwhile, James Steele's Ecological Architecture: A Critical History showcases two centuries of exemplary green architecture from around the world. While Steele guides us through evolving ecological thought, Buchanan provides a vocabulary for scoring a design's greenness. Both books show how insightful design has always respected local tradition and responded to its settings, taking advantage of natural light and wind.

Of the two books, Steele's offers a clearer prescription for dealing with future challenges. Steele presents capsule portraits of influential architects, from Ebenezer Howard through Buckminster Fuller to Paolo Soleri and Tadao Ando, and maintains an intellectual thread that thematically links chapters on subjects from new urbanism to digital design. With carefully chosen drawings and photos, and a dose of purple prose, he captures the heady ambition that propels innovation. In addressing postmodernism's interest in history, Steele writes that designers like Robert Venturi and Michael Graves began to suggest that all platonic solids had subliminal linguistic meaning.. Steele's portraits remind us that great green architecture can be transporting as well as comfortable.

London-based author and architect Buchanan relies on categories, or shades,, that make design sustainable, followed by concise analyses of nine large-scale projects and four houses. One shade is Embedded in Place,, which acknowledges the need for continuity with local conditions and traditions. He cites Clare Design's Cotton Tree Pilot Housing in South Queensland, Australia, as an example that preserves local trees and taps into local vernacular for forms that will enhance energy efficiency. Another category, Health and Happiness,, addresses not only physical issues (like the threat of exposure to toxic materials) but psychological ones as well: Providing access to natural light and air and bringing nature indoors is not just good for the planet, he argues, but also beneficial to people's emotional health.

The categories are comprehensive and offer a generous framework to consider green strategies. Still, the terms' grammatical awkwardness sometimes makes their application seem off or stretched. We can admire Sir Norman Foster's Commerzbank for wrapping around a vertical garden that keeps tenants cool. But do we appreciate its lessons more because it matches five of ten shades,, compared to projects that meet only one or two? Architects might come away from the book still fuzzy about the materials and technologies that would earn similar results in different context. Moreover, he uses terms we would never hear in conversation, making projects hard to latch onto. Foster's Commerzbank, he argues, achieves a whole hierarchy of foci.. What to do with this knowledge? Reject a partial hierarchy of foci?

Steele, who teaches in Los Angeles, also succumbs to hyperbole. He closes with a look at a masterplan of a two-square mile patch of open space along the Los Angeles River called Baldwin Hills. Designed by Mia Lehrer, Conservancy International, and Hood Design, the project earns Steele's praise for delivering natural amenity to all ethnic groups,, thus relating ecological benefits to social justice. The designers' choices changed the entire concept of an urban park.. Big words and claims gain credence when we see their individual components as well as their intellectual heritage.
Alec Appelbaum is a New Yorkkbased writer specializing in urban issues.




































 

 

PRODUCTS



NEW DESIGN CITIES
Edited by Marie-Josse Lacroix
Editions Infopresse, $32.00

This book is the result of a colloquium that took place during the 2002 International Design Biennial in Saint-Etienne, France, which debated cities' different strategies for positioning and growth through design.. While the book does not actually engage in any debate regarding strategies, the authors describe various design projects that contribute to the competitiveness of cities..

The book considers seven different cities: Antwerp, Glasgow, Lisbon, Montreal, Saint-Etienne, Stockholm, and New York. The New York case study focuses on Times Square and there is nothing new here for New York readers. The Glasgow section, on the other hand, has a great deal to offer. Stuart Macdonald, director the city's famous Lighthouse Center for Architecture, Design and the City, offers a concise telling of Glasgow's postindustrial transformation out of the gloom of its industrial pastt through design and cultural regeneration starting in 1990 when it was a European City of Culture. But he is able to sift hype from reality: He notes that the City of Culture design initiatives in fact had little effectt on the city, generating only temporary work and attention for the city; more influential in his mind is the raised consciousness and participation of designers and artists in an increasingly open urban regeneration process.

Many of the essayists, including Stockholm's Claes Britton and American sociologist Saskia Sassen, emphasizes the importance of integrating design initiatives in urban policy. In many respects, this book should be read by politicians more than designers. William Menking





MIAMI BEACH:
BLUEPRINT OF AN EDEN

Michele Oka Doner
and Mitchell Wolfson, Jr.
Feierabend Unique Books, $95.00

Past times on Miami Beach are for me vague images at best. How little I recognize, how much I want to revisit it all. Sometimes I hardly feel I was really there,, writes Mitchell Wolfson, Jr., founder of the Wolfsonian Museum, in a letter to his old friend, artist Michele Oka Doner. The letter opens this sumptuous book and is the first of many to appear, along with photographs, blueprints, maps, news clippings, and other ephemera, all drawn from each's family archives. Wolfson's and Oka Doner's archives are unique, however; most people don't have snapshots of their parents with Ava Gardner and Madame Chiang Kai-shek. The two are Miami blueblooddhis father was the city's mayor in the 1930s and hers in the 1950s and 60s. Their memoir of Miami Beach is intensely personal while offering unique perspectives on the place's cultural formation.
Cathy Lang ho





DREAM WORLDS:
ARCHITECTURE AND ENTERTAINMENT

Oliver Herwig and Florian Holzherr
Prestel Verlag, $60.00

In Dream Worlds, Munich-based journalist Oliver Herwig examines theme parks, shopping malls, housing developments, and other highly controlled environments that use architecture in the service of mass entertainment. Herwig sees these removed fantasy spaces as the heirs of ideal cities and ancient coliseums. From the Mall of America to the island developments of Dubai, he argues that each reflects the fantasies and desires of their respective societies. The author's critical voice is strong throughout; the book reads not as a history or social study but as highly personal observation. With a case like the Munich Oktoberfest, the effect is comparable to having a family road trip ruined by the sarcastic teenager in the backseat. However, in locations like Las Vegas and Disneyworld, Herwig's commentary transcends cynicism and provides meaningful insight into the cultural forces that created these artificial environments. Herwig is conscious of previous analyses of his case studies, and his comparison between the Las Vegas of today with the one studied by Robert Venturi and Denise Scott Brown is particularly enlightening. The accompanying photographs by Florian Holzherr capture the uncanny atmosphere of these dream worlds.
Nathan Landers





Le Corbusier's Hands
Andrr Wogenscky
MIT Press, $14.95

Published in France in the 1980s but only recently translated, this short volume is a Proustian remembrance of Le Corbusier written by Andrr Wogenscky, who had a close relationship with Corb for 30 years as his draftsman, assistant, and later, colleague and friend. The book is a collection of brief observations, statements, and anecdotes that together reveal an intimate picture of the modernist master. No matter how close a friendship he had with anyone, even during the course of a conversation or at a work meeting, Corbusier seemed to leave,, writes Wogenscky. He would retreat into his inner life, more populated than the world of men.. The author touchingly captures Corbusier's solitary nature, politesse, candidness, literary taste, and more, and in doing so, illuminates the many sources of influence on his works. Andrew Yang





The Stirling Prize
Ten Years of Architecture and Innovation

Tony Chapman
Merrell/RIBA Trust, $59.95

When the Royal Institute of British Architects (RIBA) conceived of the Stirling Prize in 1996, the U.K. was in the middle of what author Tony Chapman calls architectural dark ages.. He and the other contributors to the bookka monograph commemorating the 10th anniversary of the prize, which recognizes the building that has contributed most to British architectureeargue that it has encouraged the creation of good architecture in the U.K. and beyond. Organized chronologically, the book presents each year's winner, runners-up, and an accompanying essay by critics including Hugh Pearman, Deyan Sudjic, and Tom Dyckhoff.Jaffer kolb







Source Books On
Landscape Architecture
Volume 1:
Michael Van Valkenburgh
Associates: Allegheny Park
Volume 2:
Ken Smith Landscape
Architecture: URBAN PROJECTS

Edited by Jane Amidon,
Princeton Architectural Press, $29.95 each

Princeton Architectural Press' new Source Book in Landscape Architecture Series is meant to parallel the publisher's architectural series edited by Jeffrey Kipnis and Robert Livesey. According to the new series' editor Jane Amidon, its goal is to provide a glimpse into the processes of emerging and established designers as they mature from tentative trial to definitive technique..

The first volume focuses on Michael van Valkenburgh's designs for Pittsburgh's Allegheny Riverfront Park. Detailed images are complemented by an interview and various essays that probe van Valkenburgh's design process for this specific project and his overall design philosophy.

Volume two, on Ken Smith, is identical in format, but includes several projects, including his design of MoMA's roof garden, East River Landing, and P.S. 19 in Queens. Like the first volume, the compact paperback includes an interview, critical essay, chronology of projects, as well as exhaustive project documentation, including photographs, plans, sections, and models.

A third volume, due out later this summer, will focus on Peter Walker's plans for the Nasher Sculpture Garden in Dallas, Texas. Future books planned for the series will be devoted to the work of Grant Jones and Paoli Burgess. DG





The Donnell and Eckbo Gardens: Modern California Masterworks
Marc Treib
William Stout Publishers, $45.00

Modernism reached its apogee in landscape architecture in California, emblematized by two works: Thomas Church's Donnell Garden (Sonoma County, 1948) and Garrett Eckbo's Alcoa Forecast Garden (Los Angeles, 1959). Historian and U.C. Berkeley professor Marc Treib offers a deep analyses of these iconic projects, sharing almost every piece of documentation that exists (Church's and Eckbo's archives are housed at Berkeley). He places the gardens in the context of their designers' broader careers, detailing their collaboration with clients and colleagues, and painting a picture of cultural life in mid-century California. CLH





Landscape Urbanism Reader
Edited by Charles Waldheim
Princeton Architectural Press, $29.95

New York's High Line is hard to categorizeeit will be a landscaped park but it is also a highly programmed architectural space, while its origins as infrastructure are still a huge part of its appeal. The emerging field of landscape urbanism is one way to define such a project and the growing numbers of likeminded proposals around the country. After a 1997 conference of the same name held at the University of Illinois at Chicago, the school formally launched the discipline with a degree program, which in this book has its its first theorists. Contributors including James Corner, Alan Berger, and Linda Pollak argue that we should understand landscape as a crucial part of urban infrastructure.Anne Guiney





Lexicon of Landscape Architecture
Meto J. Vroom
Birkhauser (distributed by
Princeton Architectural Press), $50.00

One of the great pleasures of dictionaries is getting distracted by a strange new word while looking up another. For those curious about the history of gardens and landscapes, Lexicon will prove full of interesting diversions. The landscape architect Meto Vroom defines more than 250 words, from abstractt to wind,, as it figures in landscape history and practice. Each entry begins with a traditional dictionary definition, and then turns into a short essay full of examples and citations for further reading. Vroom is catholic in his tastes, and sources range from Simon Schama to Richard Neutra and Charles Darwin.AG


NOTABLE
MONOGRAPHS



Norman Foster: Reflections
Norman Foster
Prestel, $70.00



Louis I Kahn
Robert McCarter
Phaidon, $85.00



Kevin Kennon: Architecture Tailored
DAMDI Design Document Series, $67.95



Koning Eizenberg Architecture:
Architecture Isn't Just for Special Occasions
Monacelli Press, $50.00



Fresh Morphosis 199882004
Essays by Peter Cook, Steven Holl,
Jeffrey Kipnis, Sylvia Lavin, et al. Rizzoli, $75.00



KM3: Excursions on Capacities
MVRDV
Actar, $80.00



Patkau Architects
Essay by Kenneth Frampton
Monacelli Press, $50.00



Richard Rogers:
Complete Works Volume 3

Kenneth Powell
Phaidon, $95



Kazuyo Sejima + Ryue Nishizawa SANAA
Yuko Hasegawa
Electa Architecture, $69.95
Placeholder Alt Text

Public Amusements


Center for Global Conservation

673 Bronx Zoo
FXFowle Architects

From the Bronx Zoo to the New york Aquarium, the Wildlife Conservation Society is embarking on major expansion projects.


Courtesy Wildlife Conservation Society

While the Wildlife Conservation Society (WCS) is known as a major nonprofit dedicated to saving wildlife all over the worldd its preservation efforts are now taking place in 53 countriessthe organization actually originated with the New York City zoo system. Initially called the New York Zoological Society, the WCS started with the creation of the Bronx Zoo, in 1895. Currently, the WCS oversees zoos on city-owned land in Central Park, Prospect Park, Queens, and the Bronx, as well as the aquarium at Coney Island.

The WCS is embarking on an expansion and renovation effort at its facilities throughout the boroughs. FXFowle Architects is in the process of renovating the Lion House, a 1903 building by Heins and La Farge that has been empty since the 1970s. Since receiving the commission in 2001, FXFowle has also been hired to design the Center for Global Conservation (CGC), a new stand-alone building not too far from the Lion House.

This year, the WCS also announced that it selected Slade Architecture to design a building that will house the shark tank at the New York Aquarium, near Coney Island, and has issued an RFQ for a redesign of the aquarium's perimeter, including a section that faces the boardwalk and the ocean.

All of these projects were done in consultation or collaboration with a range of city entities, including the Mayor's Office, the Department of City Planning, and the Department of Design and Construction; the latter recommended architects from its General Excellence Program, including Slade.

The WCS projects reflect the nonprofit's values about environmental conservation and preservation. When the Lion House buildinggwhich is part of an original Beaux Arts complexxis completed in the late spring of next year, it will be the first landmarked building in New York City to achieve a LEED rating. In retrofitting the structure, the architects had to reevaluate its HVAC systems, skylights, and other energy-related features to bring the building to present-day efficiency standards. The approach for the CGC building, which began shortly after the Lion House, was similar.

I like to think of these two projects together,, said Sylvia Smith, partner of FXFowle. For Lion House, we worked from the inside out. The exterior landscape was shaped by the building form itself. For the CGC, we worked from the outside in. We really took our design cues for the interiors from the elements of the landscape..

The mantra is always respect the nature we're in,, said Susan Chin, of the Exhibition and Graphic Arts Department of the WCS, which oversees these building projects.

While the design for the New York Aquarium's new shark tank will not be presented until July, the building's approach will have a similar respect for the environment and public education. The shark building will be architecture with a capital A,, said Chin, noting that the building will be much more of a design statement than the WCS buildings completed to date. You'll definitely notice it..

The uniqueness of the WCS's building campaign is intimately tied to its mission. The WCS understands that sustainable buildings are holistic systems,, said Smith. And it realizes that its buildings and their stories can be part of its message..
ANDREW YANG

 



The Pier at Ceasar's
Atlantic City, New Jersey
Elkus/Manfredi Architects with Rockwell Group

The Pier at Ceasar's updates a beloved 19thhcentury type, now that shopping had replaced vaudeville as the entertainment of choice.


Courtesy Elkus/Manfredi Architects and Gordon group Holdings

Though only three remain today, Atlantic City's piers used to be as central to the city's identity as its beloved boardwalk, the Miss America Pageant, and Monopoly property. They were built in the late 19th-century as sideshow-lined entertainment venues and featured everything from vaudeville acts and dance halls to a famous series of diving horses. David Manfredi, principal of Elkus/ Manfredi Architects, remembers visiting Steel Pier as a small boy and being mesmerized by the act, which took its last plunge in 1978. He recalled, With a great deal of fanfare, the horse walked off the platform and leapt into the pool,, about 40 feet below.

Though his firm was undoubtedly chosen to design the Pier at Caesar's for experience more relevant than his early trips to the boardwalk, Manfredi's affection for the old Atlantic City made him a particularly good choice to create a complex sited on the old Million Dollar Pier. When opened at the end of the summer, the three-level structure will combine a contemporary high-end mall with some of the old entertainments of its original incarnation. The project represents the transformation of this building type over its 100-odd year existenceein short, the switch from horses to Hermms.

As Atlantic City declined, many of the piers were torn down, and others repurposed. Million Dollar Pier became a traditional shopping mall, despite its awkward 900-foot-by-200-foot footprint. Perhaps to block out the decaying city outside, the mall was entirely enclosed; shoppers had no sense that they were literally hundreds of feet out into the Atlantic. When you were inside it, you could have been in a mall anywhere in the country,, said Manfredi. When we saw it, we thought, What a missed opportunity!''

The existing pier platform was left intact, but the building on top has been entirely rebuilt. According to Manfredi, the architects were careful to provide vantage points from which to see the ocean and the beach. We wanted it to be specific to Atlantic Cityyyou'll know you are there, and you'll know you are on the water,, he said. And if nature in its raw state is not enough, at the end of the pier there balconies from which shoppers can watch a water, light, and fire show that will run every hour.

The spectacle continues outside: The pier is largely clad in electronic billboards. Another throwback, explained Manfredi: The old piers were just covered in graphics and signage, which was aimed at the people strolling down the boardwalk. That's one more thing we are bringing back.. AG
Anne Guiney



Recreational facilities
Randall's Island
Randall's Island Sports Foundation

From bird-watching to water-sliding, New York's Randall's Island will offer a host of new outdoor activities.


Aquatic development group/courtesy randall's island sprots foundation

When Robert Moses first envisioned a Randall's Island filled with baseball diamonds and football fields, few believed that what was essentially a large garbage dump could become New York's center of recreation and one its largest public parks. While Moses successfully implemented his plans, attendance was dismal and his dream soon deteriorated. Over 70 years later, the idea is being revived with an assortment of new facilities, including the recently opened Icahn Stadium, extensive plans for landscape restoration, and a soon-to-be-built waterpark.

In replacing the deteriorating Downing Stadium in April of 2005, the $42 million Icahn Stadium marked the first major step toward the island's revival as a recreation destination. Hillier Architecture's stadium design is simple and innovative, with light towers doubling as tension cable-bearing roof supports. The project, which includes track and field facilities, was organized by the Randall's Island Sports Foundation (RISF), a development group founded in 1992 to oversee new construction on the island.

Each summer since 2003, Randall's Island has hosted the Montreal-based Cirque du Soleil in a series of temporary tents. In order to accommodate crowds and create a more inviting atmosphere, the RISF has overseen renovations and reconstruction of much of the area's infrastructure, including boardwalks and trails throughout the island, and a new waterfront pathway designed by Roesch Architects. The pathway will trace the full 5-mile circumference of the island. Unlike Icahn Stadium and many other RISF programs, the $4 million pathway will be funded exclusively by the city and state.

Another state-funded initiative will restore a 5-acre section of salt marsh and freshwater wetlands at the Little Hell Gate Inlet along the island's west coast. Indigenous plants and wildlife, including red-winged blackbirds and green herons, will be reintroduced to the landscape. The area will also serve the Randall's Island Kids Nature Program, which is organized by the RISF to provide activities, classes, and events for children.

The biggest and flashiest new addition to Randall's Island, however, is a 26-acre new waterpark (shown at the lower right corner of the plan, at left) that should be completed by summer of 2008. Located on the northwestern tip of the island, the park will be comprised of two partssone a year-round indoor facility, the other a summer-only outdoor portionnand will cost $168 million, entirely funded through private sources. The waterpark will be designed, built, and operated by the central New Yorkkbased Aquatic Development Group, and its grand scale should ensure Randall's Island's role as the recreational hotspot for both the city and the region.
JAFFER KOLB



Mitchell Park
Village of Greenport, New York
SHoP Architects/Sharples Holden Pasquarelli

seong kwon courtesy shop

seong kwon courtesy SHoP

seong kwon courtesy SHoP

Like many old whaling towns along Long Island's Peconic Bay, the village of Greenport is more dependent on summer tourism today than its historic industries of fishing and boatbuilding. In the late 1970s, a fire along the waterfront burned a 5-acre section of town that had included a car dealership, a gas station, various marine boat and engine repair facilities, and an oyster company. The remaining vacant land was left seriously polluted: Nine underground storage tanks remained on the site, which was also contaminated by petroleum and arsenic.

Many Greenporters argued that the waterfront site should be redeveloped into tax-generating shops, but Mayor David Kapell argued that even the existing stores in the village could not stay open in the winter because of a lack of customers. It would be better to create a public facility to bring people to Greenport who would then patronize existing stores. In 1996 Greenport held a design competition to transform the waterfront site into a series of public amenities that would be called Mitchell Park. The jury selected James Corner as the winner, but when the Philadelphia-based landscape architect could not reach an agreement with the town, the jury gave the commission to the third-place runner-up SHoP Architects, bypassing the second-place scheme, which they considered unbuildable.

The $12 million Mitchell Park was completed late last summer, and has already made its impact on the local merchants who cater to the town's visitors. The park creates a link between a bus and railroad station, the Shelter Island ferry terminal, and the town's main drag and new public marina. A hardwood boardwalk and bluestone-and-gravel path crosses along the waterfront and connects a landscaped amphitheater, open-air ice-skating rink (which becomes a mist plazaa in the summer), and various follies. These include a roundhouse for the town's historic carousel, shade arbors, a small mechanical building, a camera obscura, and a harbormaster's building.

The park and its architecture are an anomaly in Greenport, where nearly every new structure is built in some ersatz historical style. SHoP's convincing mix of local vernacular industrial architecture and a modernist sensibility has given the village a brilliant new center.
William Menking



Sebago Canoe Club
Canarsie, Brooklyn
Leroy Street Studio

courtesy leroy street studio

This summer, the Sebago Canoe Club will be launching boats from a new dock, marking the first stage in a major upgrade to the 73-year-old organization's Canarsie facility. The club represents an eclectic group of people in Brooklyn,, according to architect Shawn Watts of Leroy Street Studio, which agreed to upgrade the facility on a pro-bono basis. Right now, competitive paddlers and urban adventurers use a Parks Departmenttowned facility, and store roughly 300 kayaks and canoes in a collection of brightly- painted used shipping containers. Watts, who got to know a Sebago member through his wife's attendance at an arts class, has also applied for and received grants from the state and the J. M. Kaplan Fund to begin improving the facility.

Watts' design includes three new structures that link up with the existing shipping containers, which will still be used for storage. Each one is a simple steel frame clad in clear polycarbonate panels that can be opened as weather permits. One of the structures will be is an activity space (pictured above) in which the club plans to offer classes such as boatbuilding. The other two house bathrooms and meeting rooms.

Watts explained that the new structures will act as a porch in summer and light-heated underpass in winter.. The facility will also stand in egalitarian counterpoint to the many private marinas and yacht clubs that line Paedergat Basin. With its mix of materials and textures, Watts said, the updated Sebago still feels like Brooklyn..
Alec Appelbaum



Union Square Park Pavilion and Comfort Station
Manhattan
Michael Van Valkenburgh Associates and ARO

courtesy ARO

With protests to watch, skateboarders to dodge, and produce to ogle, it is little wonder that the stone pavilion at Union Square's northern edge goes unnoticed by most of the people who walk by it. The 1932 bandstand's two wings currently flank the summertime restaurant Luna Park, and it also houses a public restroom which is used by the staunch of heart, weak of bladder, and very few others. Recently, however, it has fallen into disrepair. In 2003, the New York City Department of Parks and Recreation hired Michael van Valkenburgh Associates (MVVA), the Boston-based landscape architects, to develop a plan for the northern end of the park. MVVA soon brought local architects Architecture Research Office (ARO) to restore and expand the pavilion.

According to ARO principal Stephen Cassell, the firm is expanding the basement level to make offices for parks employees. The architects will relocate the restaurant's kitchens, currently in a series of shacks leaned up against the pavilion, below ground. The most visible part of the scheme is a new comfort station. The 600-square-foot glass and metal mesh structure (above, at left) will have a bathroom for the playground and another opening onto the plaza. Though the design was approved by the Fine Arts Commission in May, it hasn't been a speedy process, and a start date for construction has not been assigned. It is a little project, and fun,, said Cassell, But it has also been a very process-heavy job. There is so little park space in the city, and so many competing interests..
Anne Guiney



floating pool
Beacon, New York
Meta Brunzema Architect

courtesy Meta Brunzema Architect

While most New yorkers would raise an eyebrow at the idea of swimming in the waters of the Hudson next to Manhattan, In 2005, the New York State Department of Environmental Conservation (DEP), along with private supporters like musician Pete Seeger, proposed to build a flow throughh pool set at the river's edge in Beacon, New York, in which water would pass freely through the mesh structure. The DEP hired the Manhattan-based architect Meta Brunzema to develop a design; construction began on June 2.

Since the ability for water flow is central to the pool's functioning, the materials that Brunzema chose were crucial. She specified woven nylon belts for the pool's flooring and a thin structural mesh called Dyneema for its siding. The mesh's gaps are small enough keep all hands and feet safely inside, but large enough to allow small fish to swim through. Sunbathers and swimmers can relax on a ring of floating fiberglass seats around its perimeter, and a splinter-free dock connects the shore to the seating.

The structure will be anchored to the riverbed with cables (section, above), and flotation tubes will be embedded within the fiberglass seating to keep the pool and sunbathers afloat. With an entry fee of less than a dollar and seating for only 20 people, a line should build up, but that's okay: Brunzema hopes that eventually these pools will be scattered in rivers all throughout the state..
Stephen Martin



Carousel
Battery Park City
Weisz + Yoes Architecture

courtesy weisz + yoes architecture

Perhaps the most exciting of a series of projects launched by the Battery Park Conservancy is an ocean-themed carousel (above) designed by Weisz + Yoes Architects. When it is completed at the end of 2007, it will join the Garden of Remembrance (dedicated to the victims of September 11) and the Battery Labyrinth. Later years will see the addition of a newly landscaped Town Green and Lawn and a refurbished Castle Clinton.

The details of the design are still being refined, but as it stands, its framework will be made of stainless steel, and the roof and walls of either plaster or fiberglass. According to principal Claire Weisz, the spiral roof is intended to evoke the dramatic quality of a cathedral while also making it more visible to passersby.

What makes the carousel distinct from its type is that it is employs two projection technologies, one that dates to the 1600s, and a second that is decidedly more contemporary. At the carousel's hub, there is a magic lantern, or a dimmable glass cylinder that moves up and down and spins, much like a child's top. It will be lit up from the inside and project shadows of fish on the roof.

But in Weisz's words, this analogg experience of spinning shadows will be overlaid with another digitall experience of projectors showing images of the city at night. The whole series of images,, said Weisz, is supposed to compose a narrative of travel from the city to underwater..
David Giles

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GUIDING LIGHT

GLOW IN THE PARK

In Houston, an urban lighting scheme encourages people to look at the moon and stars

New York–based consultancy L'Observatoire International has taken an unusual approach to designing a lighting scheme for a public park in Houston, Texas: Rather than illuminate what's below, the lighting draws attention to the night sky. The design is part of a larger $15 million revitalization of the park, which is located on a 10-mile stretch of land along the Buffalo Bayou, a narrow waterway that snakes through the city's center. A local nonprofit, the Buffalo Bayou Partnership, manages the funding and is overseeing restoration work, which will be completed in time for the park's opening on June 10.


During the new moon, the park is awash in soft blue light, preserving views of the stars, as the full moon approaches, blue light is replaced by white.

As part of a program to incorporate public art into the park, the Buffalo Bayou Partnership invited Massachusetts artist Steven Korns to design a lighting masterplan for the site in 2001. Korns, in turn, asked L'Observatoire principal Hervv Descottes to collaborate on the design. The team decided to pursue an urban lighting scheme that would respond to the cycle of the moon.

I really wanted to connect the low-level pathways with something celestial,, said Descottes. With lighting pollution, there is a lack of a sense of the existential. I think we all need to connect with the cosmos to get a new perspective, to know that we actually live in a much bigger space..



The entire system, which includes lighting the park's pathways and bridges, is set to the 291/2-day lunar cycle and each night the lights along the path change in a linear pattern. Beginning with the center bridge and moving outward on either side (the site contains 7 bridges), powerful blue-filtered lights below the bridges turn on, one by one, as the new moon approaches. By the time of the new moon, all of the lights will be on. The lampposts that line the pathways will also be a part of the ballet. Each will be topped with a small orb containing LEDs. As the new moon approaches, they will turn from white to blue, starting from the center bridge and spreading outward, until all the orbs and bridges are glowing blue. Conversely, as the full moon approaches, the lights turn back from blue to white as the bridge lights turn off. Simply put: The park is white for the full moon, and mostly blue for the new moon.



The idea was that with the new moon, maybe you don't need so much light because the sky is so clear, this way you have an opportunity to see the stars,, said Descottes. He added that with the blue light you get a sense of brightness but without glare. To further minimize the glare, the lights under bridges only appear blue or not at all. During the full moon, then, only the path lights and the orbs on top of them are illuminated, while the area under the bridges stays darkened. According to Descottes, this decision was in part budgetary ($600,000 was allocated for the lighting of the project), but also came about because the designers wanted to preserve the long shadows cast by the moon at its strongest.

The lights are all managed and synchronized by computer. In order to maximize the system's efficiency, the same wire that regulates the LEDs also powers them. The color of the lights was determined after testing several trial mock-ups; the blue and white combination not only minimizes interference but also refers to the changing color of light that the moon emits depending on its phase and the time of day.


Courtesy L'Observatoire International

The new lighting scheme is only one of many larger improvements throughout the park. The entire project includes public art projects, new hiking and cycling trails, streets, stairways, ramps, and landscape treatments along the water's edge including the installation of berms and flood controls. Buffalo Bayou couldn't be happier with the outcome of the lighting project. Said Anne Olsen, president of the nonprofit : Hervv and Steven demonstrated that subtle lighting can be beautiful and give a feeling of safety to an area that has been traditionally desolate at night.. Jaffer Kolb is an editor at an.


A THOUSAND POINTS OF LIGHT
LEDs light a hotel in Spain and provide a colorful map of its daily solar diet
In today's digitally driven world, light-emitting diodes (LEDs) are as elemental to mass communication as the pony was to the Pony Express. In the realm of sustainable architecture, the photovoltaic cell has an equally ubiquitous reputation as the basic building block for greater and more complex mechanisms.


The mesh screen will all but disappear at night, leaving multi-colored leds that seem to float. During the day, the screen will shade the building, passively conserving energy.

Increasingly, the two are united for applications in architecture, most notably in lighting systems in areas that are without electrical wiring. The two might seem at oddssLED screens suggest energy consumption on the spectacular level of Times Square, while photovoltaics retain a whiff of hay bale earnestnesssbut the two can be paired with interesting results. By devising a metal mesh studded with thousands of photovoltaically-powered LEDs, the Spanish architect Enric Ruiz-Geli has done just this for the Habitat Hotel, a project that will be completed in a suburb of Barcelona next year. Ruiz-Geli collaborated with Acconci Studio on landscaping and Brazilian architect Ruy Ohtake on the building design, while the lighting design was done entirely in house by Ruiz-Geli's firm, Cloud 9. The mesh wrapper begins to glow at night based on the amount and quality of the light the solar cells have taken in over the course of the day.



The building itself is a fairly regular and boxy 11-level volume with a few step-backs and terraces on the upper three levels. A series of metal posts jut out diagonally from the corners of the building, providing a loose skeleton upon which a largely transparent metal-link mesh drapes. The mesh screen is relatively fluid in profile, with parabolic concavities determined by the posts that give the curtain's grid a curvilinear appearance. The drape is comprised of a dense circuit of 5,000 hemispherical lighting units, each of which contains a photovoltaic receptor as well as a standard LED.



During the day, the photovoltaic receptors collect solar energyythe amount of which will vary widely depending on factors including sun angle, strength, number of daylight hours, cloud cover, and ambient pollutionnand store this energy to a standard solar battery. As soon as the sun sets, the computer notifies a microprocessor in each unit that activates the batteries to power the LEDs. In that instant, all 5,000 LEDs simultaneously turn on, displaying a rainbow of colors determined by the level of energy collected. LEDs operate by combining red, green, and blue to create different colors, red requiring the least energy and white the most. Thus, if the receptor has collected a small amount of energy, the light will shine a dim red. From that point, the LEDs respectively emit green, blue, yellow, magenta, cyan, and ultimately white as determined by increased energy levels. The drape becomes a three-dimensional diagram of its own solar diet. At sunrise, the lights turn back off, and the receptors begin collecting energy once again.

Lighting Fixture Detail
1 Green translucent plastic base
2 Curved glass
3 Photovoltaic cell
4 Cable mesh
5 Batteries
6 Structural silicon joint


This union of ecology and technology may seem like a sort of narcissistic advertising gimmick at first, but the mesh is, to its credit, more than that. The hemispherical cells are large enough and far away enough from the volume beneath to cast shadows on 20 percent of the building's total surface area, substantially reducing the buildings cooling costs. The architect likens the cells to the leaves of a tree, passively providing shade during the day to anyone below it. Beneath the drape, small trees, plants, and pools are placed on the building's various setbacks and terraces to further enhance the building's unique microclimate. Barcelona, perched just a half degree north of New York's latitude, experiences a similarly broad range of temperature variation; the building's sensitivity to climate changes demonstrates the architect's understanding of regional needs. Despite the self-sustaining efficiency of the mesh drape, the building itself will be powered by Barcelona's electrical grid.

While the building falls short of truly being able to call itself a card-carrying member of the sustainability party, the use of the hybrid photovoltaic-powered LED units is an exciting development in both technology and aesthetics. Considering that contemporary architecture must become increasingly communicative and sustainable, particularly in large urban centers, Habitat Hotel is an exceptional example of how to be passive and active at the same time.

Peter Christensen is curatorial assistant in the Department of Architecture and Design at moma. The Habitat Hotel was included in moma's recent exhibition On-Site: New Architecture in Spain.


AU NATUREL
Natural daylighting regains popularity among energy-conscious architects
Daylight has always been an integral part of architecture, but in the past ten years there has been a decided shift in natural lighting trends: Designers are putting more time and energy toward integrating effective daylighting schemes in their architecture and developers are increasingly willing to support them despite often higher costs.

This is due in part to a growing body of research that links well day-lit buildings to energy savings as well as improved human performance. One study, conducted by the Heschong Mahone Group of Sacramento, measured the performance of students taking standardized tests in day-lit and non-day-lit rooms. The scores of those in day-lit rooms rose as much as 26 percent more than those in rooms without windows. Another Heschong Mahone study showed that day-lit retail stores experience 40 percent higher sales.

Naturally ventilated and day lit, the Benjamin Franklin Elementary School designed by Mahlum Architects won the AIA/COTE Top Ten Green Projects Award for 2006. below right: Tanteri + Associates' recent restoration of the museo de arte de ponce (puerto rico, designed in 1964 by edward durell stone) features new skylights that eliminate the need for artificial lighting.

There are also now more daylighting resources available to architects. Six years ago there were only three labs in the country that conducted daylight testing. Now there are 20.

There has been an attitude change as a result of the growing knowledge being disseminated,, said Russ Leslie, a program director at the Lighting Research Center in Troy, New York. The Lighting Research Center is a university-based center that's running a multi-year joint research program called Daylight Dividends. The $1.3 billion program, launched in 2003, has received funding from the U. S. Department of Energy, New York State Energy Research and Development Authority, and energy interests in California, Connecticut, Iowa, North Carolina, and the Pacific Northwest. Aimed at facilitating the implementation of daylight strategies in buildings, the program involves market research and technology development.

Leslie credits the Pacific Northwest for reviving the natural daylighting craze. Northwest architects are very proactive about promoting daylighting in buildings. They've been running outreach programs there for the past ten years..

michael tanteri / courtesy tanteri + associates


Joel Loveland, director of the Seattle Daylighting Lab, which offers consulting services to architects, likes to mention a study conducted by Pacific Gas & Electric in the late 1980s, which asked architects if they included daylighting as a strategy. Ninety percent said yes, but when investigated it turned out that less than 3 percent actually conducted any analysis.

Today people are actually being held accountable for the performance of day-lit buildings,, said Loveland. Projects that seek LEED certification are now getting points for daylighting. And California's 2006 Title 24, a bill that has had a ripple effect on legislation throughout the country, requires daylighting in a large portion of commercial buildings.

The Seattle Daylighting Lab utilizes sophisticated machinery to conduct its analysis of building models, including mirror-box, overcast sky, and heliodon sun simulators, and digital photographic and light-flux metering equipment, but Loveland is dismissive of the tendency to make his work sound high-tech. Daylighting isn't rocket science,, said Loveland. It's putting windows and skylights in the right place to evenly distribute light and it's removing or shading windows that would lead to glare or head loading..

Loveland and the Daylighting Lab recently worked on the Benjamin Franklin Elementary School in Kirkland, Washington, a 58,000-square-foot, two-story school designed by Mahlum Architects of Seattle. The school is broken into volumes that are clustered around courtyards; all interiors are naturally ventilated and day lit. The architects worked with the Daylighting Lab from the early design stages to help determine massing and alignment, devising strategies such as adjusting roof angles, minimizing apertures, and installing blinds and other window treatments.


Benjamin Benschneider / Courtesy Mahlum Architects


But daylighting a building in the Pacific Northwest and daylighting a building in New York City are two different challenges. Skyscrapers are huge energy consumers,, said Matthew Tanteri, a New Yorkkbased daylighting consultant who also teaches at Parsons. They are conceived with a complete disconnect between inside and outside.. Perimeter daylighting, which is all that is generally available in a skyscraper, relies on an aperture-height-to-depth ratiooone that in many tall buildings is not sufficient to adequately daylight an interior. Now, there are light-capturing and funneling devices that can bring daylight down into at least the top few floors,, he noted.

In spite of these challenges, Tanteri said that daylighting awareness is on the rise in New York City, in part due to the energy code which now requires buildings to consume less that 1 watt per square foot. Reaching this goal is complicated by the fact that buildings in New York City take longer to cool off due to its high density. Manhattan is a huge heat sink,, said Tanteri. It can be 50 degrees outside and you still have to have the air conditioning on inside..

As part of his efforts to promote the use of daylight, Tanteri is also working with the Illuminating Engineering Society of North America to develop a metric for quantifying daylight. In Europe such a measurement already exists. Known as Daylighting Autonomy, it measures the percentage of time daylight will fulfill a target illumination and offers a direct understanding of how much the daylighting load will take off electric lighting. If you have an understandable and commonly used metric to quantify daylighitng then it's easier to get a building owner to understand the benefits,, said Tanteri. Aaron Seward is a frequent contributor to an.


LIGHTING THE WAY
The country's premiere lighting research center burns brighly
You hear them all the time: proclamations about all things light-relatedd?LEDs last 100,000 hourss; Xenon headlights allow you to see 300 yards further than halogenss; You need a minimum of 4 hours, 5 minutes, and 53 seconds of sunlight each day to stay healthyy?but who determines them? Who tests them and checks up on them? Much of what we know about lighting comes from the Lighting Research Center (LRC) at the School of Architecture at Rensselaer Polytechnic Institute's (RPI) in Troy, New York. Founded in 1988, the center is dedicated to testing, exploring, and inventing lighting technologies.

Computer models of specific sites allow transportation lighting researchers to determine light trespassing,, the amount of light that moves between lots and into the roadways.

At the LRC, faculty and students participate in various research projects funded by private and public sources, such as Sylvania, Boeing, the states of New York and California, the Environmental Protection Agency, and many others. The facility plays an important part in the school's lighting programs; RPI offers a master's degree in lighting design and doctorate in architecture with a concentration in lighting design, the only PhD in lighting in the country. At any given time there are between 12 and 25 students and 33 staff members occupying 25,000 square feet of renovated space in the Gurley Building, previously a scientific-instrument manufacturing factory.

While the LRC (and RPI in general) is perceived as engineering-oriented, Russ Leslie, associate director at the center, countered, We aren't divorced from design, but we do approach design as something that requires extensive research and an understanding of precedent.. With its ties to industry and technology development, it's no surprise that one strong goal of the center is, in Leslie's words, to produce industry leaders who can effect change in policy, a generation that will work intimately with the government and groups to devise strategies that can really improve quality of life..


Courtesy Lighting Research Center
The NLPIP monitors thousands of light bulbs from various manufacturers to test for longevity and brightness.

The largest programs at LRC encompass research in light and health, transportation lighting, energy efficiency, solid-state lighting, lighting metrics, as well as product testing. According to Leslie, the LRC operates on a yearly budget of $4 to $6 million, with only 3 percent coming from RPI. The rest is funded through grants, which explains why a tour of the Gurley Building is like walking through a fun house of experiments, where every few feet another mock-up or project-in-development is aglow.

Dr. Maria Figueiro, a professor at the LRC and director of the light and health program, describes the center's research as mostly bound by a goal of measuring and testing. You can make any statement you want about something like circadian rhythms or light and productivity, but someone out there needs to quantify them and make recommendations based on research findings..

The light and health programs do extensive testing of, for example, how exposure to varying levels of light can prevent breast cancer and stimulate people suffering from Alzheimer's disease. Most of our research has only been going on for only two or three years, so we can't make specific recommendations yet,, said Figueiro, but we're getting an idea of what we can tell people to make a difference..

The LRC created a mockup of an airport runway to determine how much solar-powered LED-emitted light is needed to safely guide pilots in areas with little or unreliable electricity.

As part of its transportation lighting program, the LRC is involved in projects ranging from testing headlights for automobile manufacturers to overhauling federal roadway guidelines for the National Cooperative Highway Research Program (NCHRP). One ongoing research project is the study of the effects of lighttfrom houses, buildings, signs, lampposts, any possible source from every possible angleeon drivers. We try and look at the all things as part of the larger system,, said Dr. John Van Derlofske, head of the program.

A light device that is used to test how varying levels of light can regulate people's circadian rhythms.

The LRC strives to act as a regulatory force in the lighting industry. To this end, in 1990, it established the National Lighting Product Information Program (NLPIP), a product-testing division that is increasingly regarded by the industry as an objective third-party rating source. And recently, it created a division dedicated to determining and implementing a universal lighting metric system that would allow consumers and manufacturers to better relate to lighting products and systems. Soon, we might all share the conviction of LRC researchers, that light really can better the mind, body, spirit, and the world around us. JK
 

GROUND CONTROL
Turn on the lights, heat up the Jacuzzi, pull down the shadessall from a single control

Courtesy Available Light
The systems of this house, now under construction in Gladwell, Pennsylvania, will be interconnected and controllable from anywhere in the world.

Smart Houses have been on the horizon for some time nowwa promise of a techno-gadget heaven for some and of Orwellian terror for others. With computers increasingly integrated in building systems and appliances, that vision is coming closer to reality, accompanied by the emergence of systems-integration specialists.

Systems integration creates a network among a building's systems such as HVAC, lighting, audio-visual, security, even plumbing. The way that information is exchanged is becoming increasingly important,, said Abhay Wadhwa, founder of Available Light, a New Yorkkbased lighting firm that has collaborated with Philadelphia architecture firm Point B Design on a technologically integrated house in Gladwell, Pennsylvania. Systems integration must begin early in the design process, with a consultant advising both architects and technical consultants, ensuring, for example, that physical components, such as built-in audio-visual systems and lighting fixtures, are designed around pipelines and electrical wiring. Such planning can also ensure better performance, overlaying the varying functions of the house on a power grid. If a load changes from fluorescent to incandescent, your wattage could rise ten times on the circuit,, said Wadhwa. This would be hard to handle, typically, but the model will tell you exactly what effects may be produced in terms of the rest of the building's mechanics.. Practically speaking, this kind of holistic approach to planning the infrastructure of a building saves time and money by reducing redundancies. Rather than each consultant producing diagrams and plans that later have to be compiled and cross-checked, a systems integration consultant orchestrates planning from the outset.

Once the systems are installed, the smart environment is essentially a convenient method of management for the building's occupant. In the Gladwell residence, which broke ground in October and will be completed in early 2007, the entertainment system (television, projectors, sound), HVAC, and security (which includes motion and fire detectors) are all connected to a single processor which is in turn linked to an automated mechanical and plumbing processor. This processor is linked not only to the thermostats throughout the house, but also to the water pressure gauge, the pool drainage and cleaning system, and the hot tub. These systems are connected to an Ethernet-based server that also controls the house's lighting system.

All systems can be viewed and accessed on small 10-inch touch screens placed throughout the house. Because they are managed through a remote IP account, they can also be monitored and controlled from anywhere in the world. Some might ask, to what end? In the case of the Gladwell project, a 2,500-square-foot art gallery extends from the primary 8,000-square-foot residence, and requires highly flexible lighting, climate, and security systems.

Others point to the comfort and convenience systems integration can provideefrom allaying the fears of vacation-goers who worry about the proverbial coffee pot being left on to elderly or handicapped persons who can sit with their laptop and turn lights on or off throughout the home with the stroke of a computer key. There is one concern that may not be diverted, however: If you can access your home from abroad, who else can? Apparently it's not a widely held fear, as Available Light has systems integration projects in Hong Kong, New Delhi, Dubai, and New York. JK

BIRD ON A WIRE
Bill Pedersen reimagines the conference room light

Courtesy Ivalo
The systems of this house, now under construction in Gladwell, Pennsylvania, will be interconnected and controllable from anywhere in the world.

Through her six-year-old company Ivalo Lighting, Susan Hakkarainen is proving to be a discerning design patron. It is unlikely, though, that she sees herself as a Medici. In describing her working relationship with her commissioned designerssincluding Lewis.Tsurumaki.Lewis and Winka Dubbeldammshe said, They are the artists, and I bring the understanding of technology, fabrication, and the market..

New to her list of designers is William Pedersen of Kohn Pedersen Fox , who has designed L'ale, a pendant light which was just unveiled at New York's ICFF. Susan is an amazing scientist in her own right,, he said, and brings an incredible intensity to finding exactly the right source or fabricator or material.. For L'ale's 4-foot, 8-inch winglike span to have the crispness and ability to spread light horizontally that Pedersen wanted, Hakkarainen looked into a wide variety of fabrication methods and materials. We wanted a seamlessness for the wings, which meant we couldn't stamp them since the parts would never mate up; the same is true for injection molding,, she explained. We even looked into superplastic deformationna mixture of thermal forming and stampinggand realized that they would warp in welding.. They ultimately decided to use fiberglass and resin composite in a mold, so that there is no stress on the materials as they cure and thus no disfigurement.

Another important part of Hakkarainen's contribution to L'aleeand to all of Ivalo's hanging fixturessis a proprietary technology that allows for incredibly slender electric cables. Between the current-bearing wire and the thin stainless steel-mesh covering are two layers of Teflon. The Teflon allows the cable to glide independently of the outer sleeve, which bears the fixture's weight, and keeps the structural and current-bearing elements apart.

Before starting a new collaboration, Hakkarainen will often identify a problem or an area in which she feels lighting fixtures could be rethought. This way, she feels, the design process has a tightness it might otherwise lack. It isn't just arbitrary form-making,, she said. For Pedersen, the problem was the conference room light. The two thought about the dialogue that happens in such a room, and wanted the light to create a spatial intimacy. Pedersen decided that multiple fixtures could imply a canopy more successfully than a single, massive object, or an embracing form, like L'ale's. It is sort of like a baldacchino in a church,, he said, it creates a sheltered space within a space.. ANNE GUINEY is an editor at an.
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LUMEN AWARDS

We like to think of the Lumen Awards as the lighting industry's Oscar,, joked Randy Sabedra, president of the Illuminating Engineering Society of New York (IESNY). The 38th annual Lumen Awards named ten winners in two categoriessthe award of merit honors whole built works, while the citation recognizes portions of projects and installations. Jurors included: Addison Kelly, US Lighting Consultants; Dan Jacoby, TPG Architecture; Elizabeth Donoff, Architectural Lighting; Mustafa Abadan, Skidmore, Owings & Merrill; Nelson Jenkins, Lumen Architecture; and Thomas Thompson, Brandston Partnership Lighting Design. Teresa Herrmann and Aaron Seward


Awards of Merit

A. Chanel Ginza (Tokyo)
Tanteri + Associates
The 2-foot-deep, 184-foot-high facade layer of this mixed-use tower in Tokyo designed by Peter Marino Architect shades the interior during the day and illuminates the neighborhood at night. A layer of 700,000 computer-controlled LEDs transforms the facade into a giant pixelated screen displaying artist-commissioned imagery and live videos.



B. 111 South Wacker Drive (Chicago)
Cosentini Lighting Design
Cosentini worked with Lohan Caprile Goettsch Architects on the curving curtain wall that encloses the lobby of 111 South Wacker Drive. A dramatic spiraling ceiling wraps around a marble-walled elevator core and is accentuated with recessed fluorescents and suspended tungsten lamps. The lobby's low energy needs earned it an LEED gold rating.



C. Frisson (San Francisco)
Kester Inc.
The lighting design of this San Francisco restaurant gives diners the experience of a sunset with changing neon lights in a large dome in the room's center. Rings of yellow, orange, and magenta are activated and intensified. A similarly intense colored lighting palette draws diners to the restaurant's bar area later in the night.



D. Mixed Greens Gallery (Manhattan)
Tillotson Design Associates
Energy-efficient dimmable fluorescent lights brighten up this ultra-white windowless Chelsea gallery. According to juror Mustafa Abadan, The architecture and lighting reinforce each other so seamlessly that it is hard to see where one ends and the other begins..



E. Robin Hood Library, P.S. 32 (Bronx)
Renfro Design Group
The jurors voted unanimously for Tod Williams Billie Tsien Architects' Robin Hood Library for its simple and playful lighting design. Juror Dan Jacoby praised its success despite a small budget; designers used low-energy fluorescents in a mix of dropped ceiling fixtures and recessed lights to create a starry ceiling.



F. The National World War II Memorial (Washington, D.C.)
Horton Lees Brogden
Lighting Design

For the National World War II Memorial designed Friedrich St. Florian, Horton Lees Brogden created a lighting plan that highlights important elements of the memorial without interfering with surrounding monuments.



G. Terminal 1, Lester B. Pearson International Airport (Toronto)
Brandston Partnership
The lighting design of Skidmore, Owings & Merrill's new terminal was created to help passengers navigate through the space. Skylights in the departures hall express a passenger's path; uplights in the baggage claim area reduce brightness and glare; downlights in seating areas provides light that's comfortable to read by.



H. Central Wing, School of Architecture, Pratt Institute (Brooklyn)
Arc Light Design
Juror Mustafa Abadan noted that the lighting of Steven Holl Architects' addition to Pratt Institute's School of Architecture is extremely delicate within the structuree and not overdone. To emphasize the project's minimalist aesthetic, all hardware and power is hidden within the pre-cast concrete structure and no exposed conduits were allowed.



Citations

I Dodger Stages (Manhattan)
Sachs Morgan Studio
For Beyer Blinder Belle's conversion of a 1989 cinema multiplex into a five-theater, off-Broadway complex in 2005, atheatrical lighting scheme was paramount. Colorful incandescents bounce off brushed metal surfaces while fluorescent bulbs form the number of each theater along the main corridor.



J The Porter House (Manhattan)
SHoP Architects
The striking appearance of New Yorkkbased SHoP Architects' Porter House owes much to its lighting design: Powerful fluorescents behind thin strips of opaline acrylic panels give the addition to the 1905 factory the appearance of a digitized DNA-sequence.

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ICFF OFF-SITE EVENTS

The Block Party
With furniture shops, design ateliers, and new architectural developments, the Meatpacking District is a bona-fide design destination

Abe Gurko is the organizer of the inaugural Meatpacking District Design Week events.

From its humble origins as home of New York's meatpacking companies to its days as the prowling ground for transvestite hookers to its present guise of Clubland, USA, the Meatpacking District has never been short on personality. One of its presently evolving identities is that as a designer hotbed. According to Abe Gurko, who is organizing the first series of design events in the Meatpacking District during ICFF this year, The neighborhood has never gotten together to say We're fabulous. Come see us not just at night but during the day, too.'' Gurko, who in the past few years has organized off-site events during ICFF at the Chelsea Hotel and at Drive-In Studios went on, This is the first year that we're claiming the neighborhood as a design destination..

From Saturday, May 20, to Monday, May 22, the Meatpacking District Design Week will present a series of events, exhibitions, and lectures amid the backdrop of the area's new architectural developments. For example, a panel discussion on Women in Architecture on Monday, May 22, will include Clodagh, the designer of the Caledonia, a new apartment complex attached to the High Line, and Amale Andraos, a partner of Work, which is in the process of converting a complex of historic Meatpacking District buildings into Diane von Furstenberg's new flagship store.

The neighborhood's well-known clothing boutique's are also being folded into the mix: A model of the neighbhorhood's centerpiece, the High Line, which recently began its transformation into a public park, will be displayed in the windows of the Carlos Miele boutique, itself an innovative interior designed by New York firm Asymptote. And Stella McCartney's shop will display the latest offerings of London-based Established & Sons, founded by former Wallpaper publisher Alasdhair Willis (who is also McCartney's husband).

Courtesy Karkula
Paola Lenti's Bliss textiles will be on view at Karkula.

The idea for the Meatpacking initiative arose in conversations between Gurko and Kip Kotzen, the director of the Vitra store on Ninth Avenue, and John Erik Karkula, who runs his eponymous furniture shop on Gansevoort. Gurko convinced Annie Washburn and David Rabin of the Meatpacking District Initiative, a group that represents the neighborhood's businesses, to support the effort.

My shop and other design-related shops in the area typically do something during ICFF,, said Karkula, but we have never been connected in any way.. This year, his store, as well as kindred local shops Vitra and Design Within Reach, will anchor Design Week. Karkula will present a Best of Milan exhibition, which will show recent work by Paola Lenti and Mooi. And in front of his shop, Gansevoort Street will be filled with an open-air design fair organized by London event promoters Designersblock.

The Meatpacking event is mostly about creating an atmosphere for the design industry,, said Gurko. We're interested in promoting the culture and people of design, rather than straightforward business interests. What's going on in the Meatpacking District is not at all like a trade event..

The veteran events planner continued, To me, New York Design Week needs to evolve even further.. As of press time, Gurko was still putting the finishing touches on a dense program that takes advantage offand shows offfthe venue-rich district. New York City is an important player on the international design scene,, he observed. Organizing these events is the only way to make design become a citywide interest..ANDREW YANG


Dumbo Takes Flight
Now in its fourth year, bklyn designs gathers the best of brooklyn's furniture design talent in dumbo, giving local makers a boost and nurturing a community

Bklyn Designs was conceived by Christine Abbate, left, Karen Auster, right, and Kenneth Adams (not pictured).

The settlement of Brooklyn's industrial fringe by designers is old news, but until BKLYN DESIGNS started four years ago, no one could be sure of the scope or character of the borough's creative output. Kenneth Adams, president of the Brooklyn Chamber of Commerce, said, We knew that there was a critical mass of designerssin particular of furniture and furnishingssand that it was time for Brooklyn to mount a unique event around it.. Adams brought on Karen Auster of Auster Events, an events-planning and market-research firm, to conduct a market analysis of emerging business sectors. Auster found that, indeed, Brooklyn had a high concentration of furniture designers, noting that the main clusters were in DUMBO, Red Hook, the Navy Yard, and Williamsburg..

So Adams, together with Auster and Christine Abbate, founder of Novitt, a Brooklyn-based communications firm specializing in architecture and design, developed the concept for a trade fair of sorts, open to contemporary furniture and furnishings designers based in or whose work is continued on page 20 dumbo takes flight continued from page 19 made in Brooklyn. As a sign of its success, BKLYN DESIGNS now finds itself fending off companies from outside the borough that want to participate. We've had people from Manhattan trying to sneak in the showwand from other states!! laughed Abbate.

This year's event, which runs May 12214 and is held in locations around DUMBO, near the Brooklyn Bridge, is the largest yet, with 54 exhibitors, including 23 first-timers. BKLYN DESIGNS is not like ICFF and we don't want it to be,, said Dania Ahmad of Novitt. It has a very community feel to it, but also a high level of professionalism.. This stems from the show's organization: BKLYN DESIGNS has an advisory board that includes Thomas Schutte, the president of Pratt Institute, Jen Renzi, senior editor of House & Garden, Cindy Allen, editor-in-chief of Interior Design, and Arnold Lehman, director of the Brooklyn Museum. Moreover, the show is juried and has a dedicated trade day, to keep its emphasis on quality contemporary design. Some of the exhibitors also show at ICFF but in general, the show is more for smaller companies. It's also more affordable (at $1,500 per booth, compared to ICFF, where a comparably sized booth costs $7,200). Most of the Brooklyn exhibitors are just making the leap from custom- and small-batch production to larger collections. When the companies become bigger, they can move on to ICFF or other shows,, said Adams.

gillian haro
Sunset Parkkbased furniture designer Rob Day will introduce his first collection, R.Day, at BKLN DESIGNS.

The organizers made a conscious decision to hold the event the weekend before ICFF, an interesting move given the urge of other off-site events to attract the attention of international design media that flock to New York for the main event. In this sense, BKLYN DESIGNS is really home-grown, by locals, for locals. Of last year's roughly 5,000 attendees, one quarter was trade, and three quarters were general consumers. I just ran into one of our exhibitors who told me he's still busy from custom commissions that he got from regular people coming to the event last year,, said Auster.

The Chamber of Commerce puts approximately $50,000 toward BKLYN DESIGNS, which is also funded by admissions, booth fees, and sponsors-led this year by appliance company Bosch/Thermador/ Gaggenau and Two Trees Management, which is developing a large portion of DUMBO. The Chamber's funds actually come from a program called Brooklyn Goes Global, a state-funded initiative dedicated to providing marketing assistance to Brooklyn manufacturers. Previously, the program, which has been around for ten years, had focused on more traditional manufacturing. But it became clear that the manufacturing base was changing,, said Adams. When we started, people came out of the woodwork, pun intended,, said Adams.

For Adams, one of the most gratifying aspects of the show is the degree to which the show has helped identify and foster a community. The show has helped anchor a very important sector of the economy,, he said. And the designers have come together, socializing, helping each other, pointing each other to resources, exchanging ideas on how to run their businesses..

BKLYN DESIGNS includes a full roster of events, including lectures, exhibitions, and parties. For more information, go to www.brooklyndesigns.net. CATHY LANG HO


The Good 'Burgers
Altoids Living Spaces is a strong sign that Williamsburg's design scene has come of age

Dave Alhadeff, left, and Jason Miller, right, are curators of this year's Altoids Living Spaces show.

Williamsburg design has come into its own, and for Jason Miller, it is a culture that is distinct from others in the city, or even the country. One of the main characteristics of people who move here is that they tend to be makers of things, whether it is art, music, or design,, said Miller, himself a designer. I don't think there are such large communities of makers in other places. It's no coincidence there is a bigger pool of design talent here than anywhere else..

That talent will be on display during Design Week in May, when Altoids Living Spaces opens at the local event space Supreme Trading. Miller put the show together with Dave Alhadeff, who opened a design store called The Future Perfect in the neighborhood three years ago. The show will include the work of about 30 young designers, many of whom live and work in the area. Along with The Future Perfect, the Living Spaces show has been one of the agents helping to define the local design culture and give it a more public face. It grew out of an event called Joint Venture that Alhadeff had worked on with the designers Ruby Metzger and Bart Bettencourt in 2003. (Joint Venture has subsequently been combined with Firstop, which is a series of open studios, events, and public art projects throughout Williamsburg that will also run during Design Week. See events guide for more information.) Altoids' sponsorship of the show has allowed Alhadeff and Miller more leeway its production. The support has also inspired the Altoids Designer of the Year Award, which comes with a purse of $2,500 and the chance to design a limited-edition Altoids tin. Miller's one-time boss Karim Rashid is the award's celebrity judge.




For Miller and Alhadeff, who both attended the Milan Furniture Fair last month, it is what happens off the trade show floorrin the events and exhibitions that often spring up around the fairssthat is the most interesting and provocative. After all, these fairs happen at convention centerssthey'll be selling tape there next week,, laughed Alhadeff. The buzz that circulates throughout Milan is something that they want to recreate with Living Spaces.


Courtesy Altoids Living Spaces
Michael Andrulewich's Axe Table II (top) and Jun Aizaki's Foam Chair are two of the pieces featured in the Altoids Living Spaces show.

ICFF remains at the heart of Design Week, but these Williamsburg happeningssalong with those in DUMBO and the Meatpacking Districttare providing more opportunities for large manufacturers, small workshops, custom woodworkers, textile designers, graphic designers, architects, and fashion designers from New York and beyond to rub shoulders.

Living Spaces is submissions-based, and is open to U.S. designers, no matter where they live and work. So while its sensibility reflects the Williamsburg design scene, it isn't just an exhibition of that work. The show isn't about that culture, but it is very much a part of it,, said Alhadeff. But what characterizes that culture? For Miller, Williamsburg style grows out of middle-class suburban American culture. Though this isn't necessarily a shared background for all locals, it is the general baseline for the general sensibility one will see in the show. There is a Williamsburg aesthetic,, said Miller, And you see it not only in design but in clothing and elsewhere. Altogether, it makes sense.. ANNE GUINEY

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Destination: Morgan

Renzo Piano completes his first New York commissionn the three-year, $106 million renovation and expansion of the Pierpont Morgan Library. Julie V. Iovine observes how Piano preserves the intimacy of the original but risks losing some of its immediacy by making it a crowd-pleaser. Photography by Dan Bibb.



On April 29, a transformed Pierpont Morgan Library rejoins the Manhattan museum scene, a landscape much-altered itself, both physically and psychically, since the Morgan closed for renovation three years ago. In that time, the beloved, ebulliently gaudy house-museum has undergone a vast makeover by Italian architect Renzo Piano who, when commissioned for the job in 2000, had an avid insider following and has since become a bona fide international superstar. Meanwhile, the newly gargantuan Museum of Modern Art has shown that critical skepticism has no bearing at all on popularity. Culture in general has taken a drubbing at Ground Zero (Drawing Center evicted; Frank Gehry's performance hall aborted; Snnhetta's Freedom Center nullified), underscoring the reality that no one puts particular stock any more in the power of art to uplift. J. P. Morgan would have been mortified.

After all, the Morgan Library was the rich man's sanctum and treasure horde turned tenderly over to New Yorkers so that they might be bettered through contact. And people have been passionate and personal about the place ever since. In the early 1990s, Paul Goldberger, then architecture critic at the The New York Times, described the experience of visiting as both tranquil and intense. Who wouldn't be entranced by the McKim, Mead & White portico and rotunda, the lavish H. Siddons Mowbray murals, the brocaded walls and gilded swags? John Russell, former art critic of The New York Times, dreamed of being locked overnight inside its walls. It's no surprise considering what it contains: drawings by Rembrandt, da Vinci, DDrer, and Degas; three Gutenburg bibles; one of only two extant copies of Sir Thomas Malory's Le Morte d'Arthur; Mary Shelley's own annotated copy of Frankenstein; architectural plans by Inigo Jones; etchings by Piranesi; JRR Tolkien kvetching in letters about the Hobbit; jeweled bindings; illuminated manuscripts galore; and on and on.

Piano was charged not with enlarging but rather, as he put it, rebalancing and rethinking the institution which had grown somewhat haphazardly over the years into a three-plus-building sprawl. He called his method micro-surgery.. Adding 75,000 square feet, even with more than half of it underground and the rest in the shape of a glazed- shed-covered piazza plus pavilions jimmied around the extant buildings, is hardly micro. The medical analogy is, however, apt because like cosmetic surgery, Piano has masterfully preserved the original while partially smoothing, even immobilizing, its vital lifelines.



The grand covered piazzaa or atrium is the centerpiece of Renzo Piano's design for the expanded library



Two balconies extend into the space, and some staff offices overlook it, but are glazed for acoustic privacy.

The Morgan Library is new and improved all right; in fact, Piano (with the local collaboration of Beyer Blinder Belle) has rendered it perfectly into one of the most au courant of building types: the destination museum. Whether Piano's Morgan has the power to incite passionate allegiance, much less a desire to be locked inside overnight, is more doubtful.

It could not have been an easy job. Bartholomew Voorsanger tried in 1991 with a $40 million expansion and courtyard. And let's not forget the ill-fated invitational competition of the late 1990s with Steven Holl Architects, Tod Williams Billie Tsien & Associates, and Hardy Holzman Pfeiffer Associates, which was abruptly cancelled. Piano had declined to participate but offered his services in case perfect solutions didn't materialize. Now, 15 years and $106 million laterrVoorsanger's and a few other minor additions razed without a traceethe library has been transformed again. Voorsanger's glass court might have been unloved, but it could not be considered a total failure; it did brisk business in party rentals, netting as much as $15,000 for evening events. Piano's renovation is not about adding square footage but, as director Charles E. Pierce, Jr., said in 2002, about providing greater public access.. The Morgan's new high-impact spaces are bound to be in great demand (and the fee for rentals sure to be higher))a goal that many institutions have come to share.

Piano's scheme is sublimely serene. He has treated the Morgan's three main buildingssan 1852 Renaissance Revival brownstone, the 1906 McKim mini-Met and its pared down twin, the annex of 19288as the corner anchors to his central focus, a glass-enclosed, light-filled piazza.

At the edges of the atrium space, he has inserted several elements, varied in scale, homogenous in material, and visible as connective tissue between old and new. The inserts are made of rolled steel panels painted off-white (press materials say they are rose-hued but on a sunny afternoon it looked powdery white to me). The largest piece encompasses the new entrance on Madison Avenue, which leads through a spacious cherry-wood clad tunnel directly to the piazza. A new gallery and reading room are located on the floors above this entrance volume. The smallest addition is a 20-foot cube, containing a gallery, tucked between the original McKim library and the annex. Though it's been cited in earlier articles as a climactic moment in Piano's design, it does not have the inscrutable impact promised by its perfect dimensions, at least not for this visitor. And curators may be hard pressed to take full advantage of its modest space in any way other than as a showcase for one singular item at a time, albeit, displayed to shine in all its glory.

Before making a beeline for an unoccupied caff table in the piazza, visitors will be tempted to descend a wide stair gaping downward at the lip of the entrance passage. Those who give into the urge will view a steel-encased treasure-holding vault sunk three stories into Manhattan's bedrock schist. Neat. Sunk below, too, is a new 280-seat performance hall. One enters at the top row of a steeply inclined auditorium baffled in slightly curled chips of cherry wood. The space is more elegant than expressionistic, a wonderfully intimate spoken-word stage.



J. P. Morgan's wood-paneled music room (below, right) will now hold the bookstore.

So what's missing then? Crowd-pleasing (event-friendly) piazza and caffécheck. Sculptural object cubeecheck. Cool performance space, naturally. A fancy restaurant and much-expanded shop are a quick detour right off the entrancee good plan. Oh, yes, the collection. Barely encountered. To actually find the prizes for which the library is so well known, one must wander a bit. A narrow vaulted passage to the right and set back from the entrance leads past an old elevator bank to two spacious galleries (and a gallery hall, once the museum entrance) in the old annex. In the far corner off the piazza, J. P.'s original library and study have been restored to full robber-baron Rococo style. And then there's the new gallery on the second floor of the entrance pavilion. For the inaugural greatest hits exhibition, some 300 objects will be on display through out the museummthat's less than 0.09 percent of the 350,000-piece-strong collection. So much for increased public access.



The vast majority of the new 75,000 square feet of space is underground, and accessible via a staircase located just past the entrance.

The new Morgan oozes the calm elegance of masstige modernism. On a smaller scale, it employs many of the same moves as Yoshio Taniguchi's MoMA, such as a vertically compressed, horizontally expansive entrance giving way to breathtaking volume. Instead of procession, the experience is more like scaling levels and discovering views of where you were a moment ago. Whereas Taniguchi used bridges, Piano has two balconies alongside a Hyatt-esque glass elevator peering over the piazza. Both capture unexpected and refreshing views of the buildings beyond (though the balcony off the reading room is accessible only to those with reading room passes).

And like the Museum Tower coming down to ground undisguised in the main lobby of MoMA (as if to holler, Don't forget me!!), so too do the three old Morgan buildings reveal themselves in the new atrium space. It's a little bit like catching a glimpse, from the knee down, of a giant whose head is in the clouds. While MoMA is all about pumping visiting hordes out of the central chamber into the building's arteries and galleries, Piano, despite having been called a poet of circulation,, seems content for people to stay put in the voluminous piazza. Unquestionably, the Morgan will become a cool place to meet and hang out (although at the moment, the only seating seems to be at the caff's tables). The light filtering in through complex but not particularly high-tech skylights (another Piano trademark) will be delicious. Staff offices have been allocated generous spaces in the 1852 Italianate brownstone with some walls sheered off and glassed over in order to give some lucky employees vistas of their own; a conservation studio is tucked up and out of the way at roof-top level.

The new Morgan is purre-perfect, blemish-free. People will flock to get in. And yet on a recent sunny afternoon, the piazzaasurrounded by limestone, electronically shaded glass, powder-coated steelllooked deadly calm. The Morgan has acquired a seamless, beautiful new mask. What may be lost is the quickening, possibly even vulgar, feeling of excitement that one man wanted to impart to others by sharing his precious treasures with the world.

Julie V. Iovine writes frequently for The New York Times and other publications. She is the features director at Elle DDcor and architecture critic for AN.

Drawings Key
1 Entrance
2 Atrium
3 Exhibitions
4 Cafe
5 Retail
6 Original Library
7 Staff Offices
8 Reading Rooms
9 Performance Hall
10 Education





The Pierpont Morgan Library

Design Architect:
Renzo Piano Building Workshop
Executive Architect:
Beyer Blinder Belle Architects
Construction Manager:
F. J. Sciame Construction Co.
Structural Engineer:
Robert Silman Associates
MEP Engineer:
Cosentini Associates
Curtain Wall: Front, Inc., Gartner
Acoustics: Harvey Marshall Berling Associates, Kahle Acoustics
Landscape Consultant:
H. M. White Site Architects
Lighting Designer: Arup

Terminal Capacity

The World Financial Center is set to receive a new floating, five-slip ferry terminal. Currently under construction in a shipyard in Texas, the new $40 million terminal was designed by the engineering and architecture design division of the Port Authority of New York & New Jersey (PA), and will replace a temporary two-slip facility currently in operation at the Battery Park City esplanade. Serviced by NY Waterways, the new terminal will continue to connect Lower Manhattan to Hoboken and will increase passenger capacity to an estimated 16,000 people per hour, up 7,000 from the temporary facility.

After the World Trade Center PATH station was destroyed during 9/11, ferry service to and from Lower Manhattan increased dramatically. While the temporary terminal served the extra traffic, the five-slip permanent facility was planned before 9/11, in the late 1990s, according to Donald Fram, PA’s chief architect. New York Waterways has run ferry service to and from Battery Park City since 1989.

This June, the 160-by-176-foot terminal base will be tugged from Texas to the New York area via the Gulf of Mexico and the Atlantic Ocean. In preparation for its ocean voyage, the craft is being constructed with a deeper keel—making it more like a ship than a barge. The base will arrive first in Brooklyn, where it will be outfitted with a pitched fabric roof and interior elements. The ferry terminal is expected to be completed at the end of the year, at which time it will be anchored to two steel piers at the  World Financial Center. (In 2003, the temporary terminal was moved roughly 400 feet north of the project site to make way for the erection of these piers.)

When the terminal opens in the beginning of 2007, it will be a recognizable addition to the waterfront, with its dramatic roof. At night the up-lit fabric will glow and during the day it will catch daylight and radiate it into the pavilion below.

While a visible, luminous presence on the waterfront was important to the designers, a bigger concern was transparency. “The key thing about it,” said Fram, “is that it’s an extension of the esplanade. We wanted to keep it as open as possible in terms of use and not obstruct the view of the water.” The terminal links passengers to land via two glass-covered, ADA-compliant gangways that penetrate the bulkhead of the esplanade. Glass windscreens surround the public areas to shelter visitors, but the building itself is not environmentally sealed. Heating elements on columns, however, will keep temperatures inside the terminal comfortable throughout the winter.

The terminal will not only serve ferry passengers but the general public, with concessions and other open areas. “Anyone who wants to meander down there can do so,” said Fram. 

The World Financial Center Ferry Terminal is the latest in a series of Port Authority-designed projects in Lower Manhattan. The PA’s architecture and engineering office was also responsible for the WTC Site Viewing Wall and the WTC Temporary PATH Station. 

Currently, the PA is working on the modernization of Newark Liberty Airport’s Terminal B, which will begin construction this summer.

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Patchwork City


All renderings courtesy respective firms
The development of the Queens waterfront is modeled after that of Battery Park City. Now on the drawing boards are (from left to right) residential highrises by V Studio/Walkergroup, Arquitectonica, Perkins Eastman, and Handel Architects.

 

 

Patchwork City

The future skyline of Queens bears a superficial resemblance to Jersey City: More than a dozen tall buildings are planned to rise along the Queens Waterfront and, as a result of Special District zoning, many others are in the works in Long Island City and Hunters Point. As D. Grahame Shane reports, the Department of City Planning's surgical approach to zoning is stimulating strategic development throughout the borough, promising a series of dynamic urban patchess as well as some awkward seams.

While New Yorkers witnessed an epic battle for the top-down control of the World Trade Center site, replete with power players channeling Robert Moses, the New York Department of City Planning (DCP) has been quietly leading an urban planning revolution with a small-scale, bottom-up approach throughout the boroughs. The unveiling last month of Richard Rogers Partnership's design of a massive mixed-use project on the Queens waterfront for Silvercup Studios portends a dense, monumental future for the low-scale, still-industrial area. But various rezonings throughout Queenssincluding Long Island City, Hunters Point, and a dozen other neighborhoodssare in fact setting the framework for more incremental development in the borough, encouraging a unique fabric of mixed uses, spaces, scales, densities, and textures.

From its colonial beginning New York was part of an archipelago, a network of small patches of European settlements connected by boats, New Amsterdam, Brooklyn, Hoboken, and Harlem. The large open spaces of Queens have always attracted those unable to find accommodation in Manhattan, from the farmers and fishermen of the colonial period to the industrialists of the 19th and 20th centuries who deposited their ports, factories, warehouses, oil refineries, cement plants, and more in the marshy headland bound by the East River and Newtown Creek. With its evolving transportation linkssbridges, tunnels, ferries, and raillheavy industry thrived in the area. The huge spaces that were carved out by industrial uses have taken on new meaning today, with Manhattan's squeezed housing market and changed attitudes about commuting. Suddenly, the rust-belt patches around Long Island City are attractive real estate.

In 2001, the Museum of Modern Art's temporary move to LIC highlighted the area's nascence as a cultural district. The same year, the Group of 35, a panel created by Senator Charles Schumer representing public and private interests, issued a report calling for the creation of a new business district in LIC, suggesting 15 million square feet of office space and citing the benefits of a planneddthough sadly now defunctt?word-class intermodal transit stationn at Sunnyside Yards. (The yard has a small LIRR stop and a ferry terminal nearby; the plan for the hub would have folded in stops for Amtrak, NJ Transit, and the MTA, whose routes all cross there.)

The intensification of development in Queens has actually been in process for some time. In 1984, the Port Authority of New York & New Jersey (PA) took over a large portion of the Queens docklands and, together with the Empire State Development Corporation (ESDC), created a 74-acre development patch under the auspices of the Queens West Development Corporation (QWDC). QWDC follows the Battery Park City model of development (also created by the ESDC), with phased parcels bid to separate developers. Two buildings have been completed (one by Cesar Pelli, 1998, and another by Perkins Eastman, 2001), and more than a dozen more are planned. Though far from complete, Queens West already appears to be isolated and out of scale with its surroundings, despite well-intentioned efforts to create open spaces and waterfront views.

By contrast, the DCP has adopted a more targeted approach to the rest of Queens, with timely responses to particular urban actors in particular locations. The DCP is actually building on an approach that was pioneered in the 1960s by Mayor John Lindsay's Urban Design Group (members included Jonathan Barnett, Alexander Cooper, Jaquelin Robertson, Richard Weinstein, and Richard Dattner), which abandoned masterplanning on a city-wide, regional scale and introduced Special District zoning. Based on a 1916 zoning ordinance addressing skyscrapers downtown, Special Districts under the Urban Design Group began as relatively simple mechanisms to protect small residential communities like Little Italy and Chinatown from large-scale development. Later, the concept was applied to create a Theater Special District, to protect Broadway theaters and allow the transfer of their valuable air rights to neighboring sites. This system of controlled zoning patches evolved into a complex, three-dimensional, multifunctional, incentive-based design methodology that paved the way for Cooper and Eckstut's 1978 masterplan of Battery Park City.

Under Amanda Burden, who has been planning commissioner and director of the DCP since 2002, Special Districts zoning has evolved further still, to encompass micro-patches of upzoning, downzoning, mixed-use, and historic and industrial preservation. Her LIC Mixed-Use Special District was in fact her first exercise, and presaged similar strategies in Greenpoint-Williamsburg, East Harlem, and Chelsea.

This finely calibrated approach to zoning can be seen in three of current hot patchess of development in Queens:

Queens Plaza Special Improvement District
Mayor Rudy Giuliani's Adult Entertainment Zoning of the late 1990s exiled some of Times Square's porn shops, strip clubs, and prostitution to this long-neglected industrial gateway. Few paid attention to the area, until 2000 when Michael Bailkin and Paul Travis of the Arete Group tried to buy two large sites, including a large city-owned garage, at the junction of Queens Plaza and Jackson Avenue. The same developers bought the air rights to part of Sunnyside Yards. Their moves prompted the DCP (then directed by Joseph Rose) to devise the Queens Plaza Special District (approved in 2001) that featured incentive bonuses and Urban Design Guidelines that called for broad setbacks, new parks, and ground-floor retail to enliven the street. The lots that Arete sought (which have since gone to Tishman Speyer) were upzoned to Floor Area Ratio (FAR) 12, signaling a dense future for LIC.

The city has also responded to pressure from public interest groups, like the Municipal Arts Society, the Regional Plan Association, and the Van Alen Institute. The latter organized the Queens Plaza competition in 200112002, which addressed the need to do something about the gloomy stretch of roadway beneath the noisy Queensborough Bridge. In 2002, the city selected Margie Ruddick as a lead consultant (on a team that initially included Michael Sorkin and Michael Singer) to develop a landscape design that would improve the public spaces, lighting, traffic flow, and general streetscape of Queens Plaza. Ruddick, who is now collaborating with Marpillero/Pollak, described her intention to make the left-over spaces legible as a landscape that helps you get from one place to another, making connections across the space under the bridge.. Her scheme emphasizes improved circulation; bicycle and pedestrian paths and crossings abound. Near the waterfront section, she has planned a cathedral-like space under the bridge, which will act as a seam between the planned Silvercup West project and the Queensbridge Houses, a massive housing project built by the New York City Housing Authority in 1941. The plan is currently under review by the Fine Arts Commission.

Long Island City Mixed-Use Special District (2004)
Compared to the crude zoning of Queens Plaza, the LIC Mixed-Use Special District is more finely textured and varied. The DCP divided the area into three sub-districts, which form a triangle around a gritty industrial core that will be preserved: The Long Island City Core Sub-District is a small enclave driven by developers and already contains Citigroup's skyscraper at Court Square, the borough's first tall building. This very compact, high-density patch (zoned at FAR 12) has many tax incentives and has already attracted a second Citigroup tower and United Nations Federal Credit Union building, both under construction. The 1989 Citigroup tower, with its interior cafeteria and attached car park, never sponsored street life. Under the revised Urban Design Guidelines, both the new buildings will have street level retail to foster pedestrian activity and new plantings, furniture, and parks. The neighboring Jackson Avenue Mixed-Use Sub-District (approved 2004) borders the Sunnyside Yards. Here, warehouses and factories, like the 254-unit Arris Building, are being converted to residential lofts and offices. The upzoning to FAR 7 and Urban Design Guidelines under study by the Volmer Group are aimed at remaking Jackson Avenue into a densely built commercial boulevard, containing 3 million square feet of offices stretching from Court Square to Queens Plaza's subway node. The aim is to create a vibrant street life, with cafes, restaurants, and stores,, said Burden. The plan calls for widened sidewalks, tree planting, kiosks, seating, and night lighting.

The density on Jackson Avenue decreases in the Hunters Point Mixed-Use Rezoning Sub-District (approved in 2004). Individual urban actors predominate in this area, with small-scale housing, auto-body shops, galleries, and artists' studios. Burden saw this area as containing the soull of LIC. Fearing the large scale of development on the nearby waterfront, residents have been organizing themselves into groups, like the 49th Street Block Association and the Hunters Point Community Organization. The city downzoned this patch within a general FAR 5 intended to protect the arts area around the P.S.1 cultural center.

Queens Waterfront (1980s to present)
The small-scale flexibility of LIC's new mixed-use subdistricts is nonexistent on the waterfront. As a state agency, the ESDC formulated Queens West with almost no community input, though pressure from Hunters Point residents did ensure that a continuous landscaped riverfront would be publicly accessible.

The completion of the 42-story City Lights tower by Cesar Pelli for Manhattan Overlook Associates (1998) and 32-floor tower by Perkins Eastman for Avalon Bay (2001) have skyscraper-shocked local residents into paying attention to what is happening to the rest of the waterfront. Local groups are starting to pressure the QWDC to break down Queens West's 1980s masterplan and work at a smaller scale. To deflect criticism, in 2004 the ESDC revised Phase II of the 1980s masterplan, which includes seven buildings by Rockrose, with designs by Arquitectonica and Handel Architects. Last year, State Assemblywoman Catherine Nolan was quoted in the Queens Chronicle as saying, I think it is appropriate and past due time for Governor Pataki and Mayor Bloomberg to review the plan for Queens West and begin a dialogue with the community as to the importance of affordable housing for the work soon to be scheduled on the southern portion of the site.. The southern portion, known as Queens West South (Phase III), was most recently publicized as the site of the proposed Olympic Village, with a winning masterplan by Morphosis. Though New York lost its Olympic bid, the exercise offered a vision of the area as a new vibrant neighborhood.

Burden is currently negotiating with Frances Huppert, the design director of the ESDC, to get the corporation to break down the scale of their development into more manageable patches, including mixed-income housing, which could link to the surrounding Hunters Point Special District. Burden also hopes that a pedestrian bridge across Newtown Creek can someday connect the Queens West esplanade to the waterfront planned for Greenpoint-Williamsburg.

North of Queens West lie two of the hottest patches in Long Island City. The first project is River East, a scenographic, set-piece street of mixed-use townhouses and lofts with two glass-skinned 30-story towers at the riverside, designed by Jay Valgora and developed by Vernon Realty. The buildings bracket a street that frames a view of the United Nations. Beyond River East lies an empty Con Edison site, and next to that is Silvercup West, the expansion of Stuart and Alan Suna's film and production studios. The Sunas took advantage of an extension of the upzoning of the Queensborough Bridge Plaza Special District to create a 2-million-square-foot, hyper-dense, mixed-use matrix of film studios, roof gardens, office and residential towers spread over 6 acres, unveiled by the Richard Rogers Partnership last month after the plan received its Uniform Land Use and Regional Planning Review (ULURP) letter of certification. The scheme offers a 40-foot-wide riverfront esplanade designed by the Laurie Olin Partnership that will link to Margie Ruddick's Queens Plaza landscape scheme (see sidebar).

Queens waterfront demonstrates the limits of the patchwork approach, where heterogeneous patches are connected by a weak link, the waterfront.

The advantage of a patch-by-patch approach is its specificity and its ability to capture the dynamic of relationships between various actors in various patches. The complex narratives of LIC actors and their efforts to shape their sites shows that there are multiple ways to develop a patch, ranging from top-down utopian masterplan that is fixed and inflexible to the bottom-up approach where every actor has a distinctive voice in the polyphonic dialogue. Long Island City shows this range, and it is to the DCP's credit that it has tried to deal with each situation individually. Eventually, an emergent system of urban design will be able to provide the means of balancing and managing the flows between the fragments. Until then we will have to rely on our intuition to sense the flows between the patches in the emergent ecology of the urban archipelagos that constitute our cities.

D. Grahame Shane is an adjunct professor of architecture at Columbia University GSAPP. He is the author of Recombinant Urbanism: Conceptual Modeling in Architecture, Urban Design, and City Theory (john Wiley, 2005).

Development Descends on Queens


Courtesty Department of City Planning

RESIDENTIAL

1 Silvercup West
Owned by Alan and Stuart Match Suna and designed by Richard Rogers Partnership, Silvercup West is a $1 billion mixed-use project spread over 6 acres, and includes residential, commercial, cultural, and civic spaces, in addition to 1 million square feet of film-production studios.

2 River East
44402 Vernon Blvd.
Developed by Vernon Realty and sited on 6 acres just south of Silvercup West, River East will contain 1.2 million square feet of residential and commercial space. Rows of townhouses will lead to two 30-story towers on the river and a newly landscaped esplanade. The WalkerGroup of New York and its in-house V Studio, led by architect Jay Valgora, are masterplanning the site and designing the buildings.

3 Queens West
The Queens West Development Corporation (QWDC), a subsidiary of the Empire State Development Corporation, has divided their large waterfront site into four development phases.

Phase II, contracted to Rockrose Development Corporation will contain seven buildings with 3,000 residential units and 20,000 square feet of commercial space. The first two buildings have been designed by Arquitectonica; one will be completed in May, and the other broke ground this month. Handel Architects have designed a third building, with construction to begin late 2006. Arquitectonica will design at least one more building, and the other two are as-yet uncommissioned.

Avalon Bay Communities is developing phase I, just south of Rockrose's. Its first residential tower was completed in 2001 and the second broke ground early this year, and will be completed by May of 2007. Both were designed by Perkins Eastman. A third lot on Avalon Bay's site will likely serve as either a public park or a branch of Queens' Public Library.

Phases III and IV, located partially on the Olympic Village site, have no developers attached, but will likely see the type of mixed-use projects as the first two phases. The QWDC is considering keeping parts of the Olympic site plans.

4 Power House
50009 Second St.
Cheskel Schwimmer and CGS developers will add 100,000 square feet to the former Pennsylvania Railroad Power House's existing 150,000, converting the structure into a residential complex. The new building, designed by Karl Fischer Architect, will contain 190 condominiums.

5, 6 The Gantry
5515 49th Ave. and 48821 5th St.
The Milestone Group, based in New York City, will develop an existing warehouse into 64 condos, designed by local firm Gerner Kronick + Valcarcel Architects. The Gantry will be ready for occupancy early this summer.

7 50th Ave. and 5th St.

Developers Joseph Escarfullery and Joseph Palumbo are planning an 11-unit, high-end co-op on the site of a current parking lot.

8 5549 Borden Ave.
535 Borden LLC has been working with New York architect Juan Alayo to develop a 12-story, 132-unit residential building. The project's backers are presently closing on the sale of the lot to another developer. The sale includes the architectural plans, which, as of now, will remain unchanged.

9 East View Condos
10040 46th Rd.
The East View Condos are in development by owner Henry Khanali and the New York architecture firm Bricolage Designs. The ground-up construction will be five stories, with an as-yet undetermined number of units, and should be completed by the summer of 2007.

10 41143 47th Ave.
No information available.

11 Vantage Jackson
10050 Jackson Ave.
This 13-story building is being developed by the Lions Group with Emmy Homes, and will contain 35 to 40 units.

12 10063 Jackson Ave.
MKF Realty is planning a 40-unit building just west of the Polaski Bridge. Completion expected in early 2007.

13 Badge Building
10055 47th Ave.
Bricolage Designs is designing an eight-story ground-up building that will be attached to an exisiting and soon-to-be-refurbished four-story factory, which once manufactured medallions and badges. The building complex will contain 44 condos; interiors will be designed by Front Studio. Badge Building Development LLC is a group of independent investors led by the building's current owner, who has been sitting on the property for the last ten years.

14 12201 Jackson Ave.
Hentze-Dor Real Estate is developing a 35-unit rental on an irregularly shaped lot on Jackson Avenue.

15 Echaelon Condominiums

13311 Jackson Ave.
Ron Hershco of Jackson Realty LLC is planning a 52-unit condominium designed by Newman Design Group of Cold Spring Hill, New York. Occupancy is scheduled for late spring of 2006.

16 Venus Site
Queens Plaza North and 24th St.
Developer Moshe Feller is reportedly working on a condo building that will house 320 units.

17 24415 Queens Plaza North
Karl Fischer Architect is planning alterations to an existing 50,000-square-foot office building for an unnamed developer.

18 42237 Crescent St.
Owner Ruben Elberg of Royal One Real Estate and Karl Fischer Architect are planning a 16-unit condominium building with two ground-floor commercial spaces. Completion is expected mid-2007.

19 42259 Crescent St.
Adjacent to 42237 Crescent Street, the same developer-architect team will build another residential project with retail space. 42259 Crescent will be slightly bigger, at 24 units, and completed by early 2007.

20 45556 Pearson St.
Rosma Development of New York is set to build a 20-story project on a 30,000 square-foot site, creating 120 condos that should be ready by 2007.

21 Arris Condominiums
27728 Thompson Ave.
The Andalex Group is planning an $80 million conversion of a 1920s warehouse into a mix of 237 lofts and 17 studios. Costas Kondylis and Partners is completing the design, which will involve a total overhaul of the interiors as well as exterior restoration.

22 Vantage Purves
44427 Purves St.
Another development in the area by the Lions Group and Emma Homes Partnership, the Vantage Purves will have 57 units.

23 42251 Hunter St.

A small group of investors under the name 42251 Hunter Street LLC is developing a seven-story condo building with Manhattan firm Israel Peles Architects.

24 41123 Crescent Street
No information available.

25 The Queens Plaza
41126 27th St.
The Developers Group of New York is planning a 10-story, 66-unit condo building just north of the Queens Plaza Improvement Project.

26 27714 41st Ave.
41st Avenue Property LLC, with Queens-based architect Surja Widjaja of Maison Design, is planning a 24-unit, 8-story residential building.

27 Gaseteria Site
Northern Blvd. and Queens Blvd.
Oil company Gaseteria has partnered with Lowe Enterprises Real Estate to develop a site bordering Long Island City's Sunnyside Yards into a mixed-use complex with a projected 400 housing units, in addition to office and retail space.

COMMERCIAL

1 Silvercup West
(See above.)

2 United Nations Federal

Credit Union
24th St. and 45th Dr.
With a tentative completion date of this September, the $65 million United Nations Federal Credit Union building, designed by HLW international, will be the second all-commercial highrise in Long Island City, after the 1.4-million-square-foot Skidmore, Owings and Merrilll designed Citigroup tower, completed in 1989.

3 Citigroup, Phase II

Citigroup is several months into the construction of its second office buidling in the neighborhood, next door to its 48-floor tower, the tallest building in the boroughs. Designed by Kohn Pedersen Fox, the second building will be significantly smaller, at 475,000 square feet and 14 floors. An estimated 1,800 Citibank employees will be housed in the new building, which will be completed in 2007.

4 Queens Plaza Municipal Garage
Tishman Speyer recently signed a 99-year lease for the city-owned parking lot, and plans to raze the lot to build an office building with underground parking. Recently upzoned to 12 FAR, the site could accept 1.5 million square feet of development.

5 QP Site
Tishman Speyer is razing several low-scale commercial buildings and a parking lot, the former site of the QP flea market, and likely building office space in addition to that across the street at the Queens Plaza Municipal Garage. The lot is owned by businessman Bill Modell.

6 Gaseteria Site
(See above.)

OPEN SPACE

Queens Plaza Improvement Project
In 2001 the Department of City Planning began implementing a plan to improve Queens Plaza, the boulevard that runs from Sunnyside Yards to the Queensborough Bridge. The plan includes extensive infrastructural improvements, including new roadways and subway station renovations, as well as an extensive landscape scheme by Philadelphia-based Margie Ruddick, which would extend a lush, pedestrian-friendly esplanade to the East River waterfront.

produced by Jaffer kolb, with research by jesse finkelstein, teresa herrmann, and stephen martin.Silvercup City


Courtesy Richard Rogers Partnership

Silvercup West by Richard Rogers Partnership. The north tower (closer to the bridge) will house offices while the two south towers will contain 1,000 residential units. On the north corner, Rogers plans a public, outside escalator. The towers' x-bracing echoes the structure of the Queensborough bridge. Sound stages fill the base of the complex, which will also have ground-level retail and restaurants.

The history of Silvercup Studios shows why the city is right to encourage small entrepreneurs and big businesses alike. It wasn't long agoojust over 25 yearsswhen Silvercup founders Stuart and Alan Suna, with their late father, Henry, bought Silver Cup Bakery for Henry's sheet metal business. The brothers, who both trained as architects, later stumbled on the idea of renting the former factory's vast spaces as sound studios, because such spaces were scarce in New York.

With Silvercup West, their new development down the street, the Sunas are building more than just sound stages; they're building a mini-city, a massive mixed-use complex designed by Richard Rogers Partnership. Stuart Suna explained that they chose Rogers because they felt his high-tech design aesthetic matched their program: high-tech production studios in an industrial context. He added, We read and admired his books on the ecology of cities, like Cities for a Small Planet.. As an infill, high-density, mixed-use project near a transit hub, Silvercup is already sustainable in a sense.

The complex is comprised of four big boxes, with double-stacked sound stages totaling 1 million square feet. Three towers rise from the studio volumessone commercial and two residentialland the studios will be topped with roof gardens. All told, Silvercup will bring 1 million square feet of studio space, 665,000 square feet of retail and office space, 100,000 square feet of cultural space, and nearly 300,000 square feet of residential space to the area. The project also includes the preservation of a historic terra cotta factory, which produced the cladding for the Woolworth Building.

The scheme offers several civic gestures, such as a publicly accessible waterfront esplanade designed by landscape architect Laurie Olin that will link to Margie Ruddick's Queens Plaza park underneath the bridge. Stuart Suna boasted of riverfront cafes and ground-floor retail that would animate the esplanade, as well as an outside escalator to a rooftop terrace or caff, echoing Rogers' original intention for the escalator at the Georges Pompidou Center.

Despite its tasteful and civic moves, the complex is not without design problems: the towers encroach on the bridge; the base volumes are essentially superblocks; there is an extreme scale shift between Rogers' blocks and the terra cotta factory; and the largest rooftop garden will be will be closed to the public. But the Sunas and Rogers seem to be responsive to criticism. Already, they acceded to Amanda Burden's request for the corners of the towers to meet the street rather than float above blank boxes, giving more identity to the street. A good sign.
DGS

 

 

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Emerging Voices 2006

Emerging Voices 2006

The Architectural League's Emerging Voices program, now in its 25th year, showcases the nation's most promising architectural talent.

The eight firms picked by the Architectural League as this year's Emerging Voices are an eclectic group, representing the breadth of the profession. Their portfolios run from techno-savvy commercial work to modernist residences and sculptural installation art. We wanted to convey a broad cross-section of what young architects are doing in this country,, said juror Ali Tayar, principal of New Yorkkbased Parallel Design. I think [this year's winners] strike a balance between those doing architecture in a traditional wayywith a client, a site, a real buildinggand those doing conceptually driven work..

Wendy Evans Joseph, president of the board of directors at the Architectural League, observed, In some years, the winners are concentrated on one coast or specialize in one thing, but this year there was a tremendous range of talent with an emphasis on regional concerns.. Interestingly, most of this year's winners are foreign-born; perhaps it is their expatriate status that heightens their sensitivity toward their adopted contexts.

The 2006 Emerging Voices share another crucial characteristic: The common bond between the winners is the intensity of their explorations and the rigor of their work,, said juror Adam Yarinsky of New Yorkkbased Architectural Research Office (ARO). Also, given the nature of the series, we were looking for firms with a cohesive story to tell.. During the month-long lecture series that accompanies the honor, the eight firms will have a chance to present their distinct takes on contemporary practice.
JAFFER KOLB

 

Lecture Series:

March 2
Eric Bunge and Mimi Hoang
Teddy Cruz
6:30 p.m.
Scholastic Auditorium
557 Broadway

March 9
Jeanne Gang
Annie Han and Daniel Mihalyo
6:30 p.m.
Urban Center
457 Madison Avenue

March 16
Mark Goulthorpe
George Yu
6:30 p.m.
Urban Center
457 Madison Avenue

March 23
Thomas Bercy and Calvin Chen
Frank Escher and Ravi GuneWardena
6:30 p.m.
Urban Center
457 Madison Avenue

Lecture series sponsored by USM.

Frank Escher and Ravi GuneWardena/
Escher GuneWardena Architecture

Los Angeles, California


Jean Ogami / Courtesy Escher Gunewardena
Left: Escher GuneWardena's Jamie House is sited on a very steep hill in Pasadena, California. To maintain a modernist box, the architects lifted the house on a concrete platform to avoid having to mold it to the landscape.
Right: In 2001, The firm used Electric Sun 1, a tanning salon in Los Angeles, as a chance to create kinetic light sculpturess that echo the nature of the business.


Frank Escher and Ravi GuneWardena founded their firm in Los Angeles in 1995 and immediately began working on the Jamie House in Pasadena, an involved project that took five years to complete. The young firm was eager to take on smaller and less complicated commissions, and quickly built a portfolio that includes a series of tanning salons, a restaurant, and a gallery, all in their adopted home of Los Angeles. (Swiss-born Escher studied architecture at the Eidgennssische Technische Hochschule in Zurich and Sri Lankan GuneWardena received his degree at California State Polytechnic at Pomona, where they both currently teach.) They've only recently returned to residential work, with several projects now on the drawing board, including the construction of Dwell Home 2, the winner of an invited competition sponsored by Dwell magazine in 2004 to design a sustainable house for the Los Angeles area. The firm has also completed work on a number of high-profile existing buildings such as an addition to a Hollywood Hills house designed in 1959 by Richard Neutra and the restoration of John Lautner's Chemosphere in Los Angeles; Escher is the administrator of the John Lautner Archive in Los Angeles. We are primarily interested in coming up with what we believe is the simplest solution to a complex problem rather than making a formally complex solution,, said Escher.

Juror comments:
I like the idea of people reinterpreting history and not trying to reinvent the wheel. Their Jamie Residence in Los Angeles is reminiscent of the work of John Lautnerrit's a concrete and glass box that sits on big, straightforward concrete pylons. It reminds you of Lautner's materiality, and its strict geometry is very contemporary..
Ali Tayar

There is a conceptual dimension to EscherGunewardena that is compelling and seems to transcend the seemingly conventional nature of the projects. At first glance, the Jamie House might seem to be a contemporary take on a Case Study house, but I think there was another agenda here. There is a stereotype that everyone in California is dealing with everyday materials and casualness, but this house is more than that..
Adam Yarinsky

They were working within a very typically California condition, and so they embraced cantilevered outdoor spaces, clean, modern forms that both respond to and engage with the landscape..
Lauren Crahan

 

Teddy Cruz/Estudio Teddy Cruz
San Diego, California




Bottom: Paal Rivera / Courtesy Estudio Teddy Cruz
Above: Cruz is designing new mixed-use developments based on the adaptive reuse of existing structures and recycled materials. The model above shows a proposal for a community in Tijuana.
Below: He also designed a temporary pavilion and information center in San Diego for inSite_05, an initiative involving notprofits and cultural organizations that activates public space through guerilla installations in the Tijuana and San Diego area. this structure is in the process of being moved to Tijuana and converted into a residence.


Teddy Cruz has built a practice around research and advocacy in the border territory between Tijuana and San Diego, where he has lived off and on since 1984. As the Guatemala-born architect noted, While my work is based on trans-border urbanisms, most of our projects have to do with housing typologies.. Through his research Cruz targets specific issues that inform the relationship between the two regions, with their sharply contrasting economies and cultures. Tijuana has built itself from the waste of San Diego, rising from debris like old tires and garage doors,, Cruz explained. He has worked closely with local nonprofits such as San Ysidroobased Casa Familiar to advocate the exploration of residential typologies that are suitable for new immigrants, as well as programs that would provide civic empowerment through micro-loans and other economic incentives. His work has earned him numerous awards, including a Rome Prize in 1991, two P/A Awards (2001 and 2004), and several AIA awards. He was recently given a tenured position in the U.C. San Diego's studio arts program.

Juror comments:
He's the only one addressing social concerns that remind me more of architecture in the first half of the 20th century, when architecture was trying to make a better world, not just interesting shapes. His community-based work requires some incredibly tedious analysis, but at the same time he uses it as a basis for creating visually interesting work..
Ali Tayar

In a way, there's a relationship in spirit between Cruz and Samuel Mockbee's Rural Studio, in that neither tries to apply a conventional notion of architecture to an unconventional situation. Rather, they see what the potential of the situation is. [Cruz's work] uses architecture as a frame for development..
Adam Yarinsk

I love that Teddy Cruz's work isn't just about developing its conceptual basissit's not one of those flippant, of-the-moment fads..
Lauren Crahan

 

Calvin Chen and Thomas Bercy/Bercy Chen Studio
Austin, Texas


Mike Osborne / Courtesy Bercy Chen Studio
The Annie Street Residence, located in Austin, Texas, was finished in 2003 and soon after certified by the City of Austin's Green Building Program. The self-described design-build firm remained involved in all aspects of construction on the project, because, as principal Calvin Chen observed, There is no long tradition of craftsmanship in Texas; there are no cheap and good-quality contractors..

Calvin Chen and Thomas Bercy established Bercy Chen Studio in 1998, just after graduating from the University of Texas at Austin. They began by designing small residences, though the scale of their projects has been growing in step with their experience. Their methods, however, remain unchanged, according to principal Calvin Chen. We started as a design-build firm, a very hands-on operation,, he said. We always wanted to be involved with construction because we love the immediacy of the building site. We will always remain a design-build firm.. While the firm's work is mostly located in and around Austin, they have so far resisted what Chen describes as the quantity-over-quality Texas mindset. We want to produce work that's driven by ideas,, he said. They are currently working on a 100-unit condominium building in Austin and a resort near Mexico City.

Juror Comments:
I feel as though Bercy Chen connects to the recent history of modernist architecture while bringing something fresh to it. Their Annie Residence is like the Eames House, but with something more..
Ali Tayar

Their buildings are comprised of volumetrically simple spaces, but light and color play into them. They play up reflections, colors, and textures, with surfaces ranging in quality and form. They're using a base type and manipulating it skillfully, into their own interpretation..
Lauren Crahan

We wanted to acknowledge the rigor, intensity, and quality of the work from the standpoint of material, detail, form; it is highly resolved and very mature..
Adam Yarinsky

 

Jeanne Gang/Studio GANG
Chicago, Illinois


Left; Tak Katayama Right: Greg Murphey / Courtesy Studio Gang
Left: In 2003, Studio GANG designed an installation for the National Building Museum's Masonry Variations exhibit. The firm devised a structural system that would support a curtain-like wall of thin stone tile, which was rear-lit to emphasize its delicacy.
Right: Studio gang designed and built the outdoor Starlight Theater for Rock Valley College in Rockford, Illinois, over the course of three summers (2002204). It features a pitched roof with mechanically operable panels that open and close depending on the weather.


After working as a senior designer at Booth Hansen Architects in Chicago and the Office of Metropolitan Architecture in Rotterdam, Jeanne Gang founded Studio GANG in 1997. According to Gang, who holds degrees from the University of Illinois and Harvard, Our firm is very research-driven and analytical. We begin with the constraints and criteria of each project, and try and find something of architectural interest.. Her projects demonstrate the desire to rework conventional approaches to materials and space. For the exhibition Masonry Variations at the National Building Museum in Washington, D.C., in 2003, Gang was asked to imagine the future of stone as an architectural building material. Her response (pictured) was to create a seemingly cloth-like curtain of 622 interlocked stone tiles, each cut down to 3/8-inch thickness and hung from the ceiling. I knew stone had to be made lighter in order to work in the future,, explained Gang. The project was only realized after extensive testing and experimentation. Studio GANG was featured in Architectural Record's Design Vanguard 2001 and the firm's work was featured in the exhibition at the U.S. pavilion, Transcending Type, at the 2004 Venice Architecture Biennale.

Juror comments:
It seems to me that Studio GANG is trying to respond in an ingenious and constructive way to varying contexts and trying to make things that do more than one thing. Their spaces have multiple purposes that work well over the seasons and over time, and become more animated as they age..
Detlef Mertins

The installation she did for the National Building Museum was beautiful and inventive. When you look at the installation, you don't connect the material, which is basically flat and hard, to a double-curved structure. The project was suggestive of skin and of architectureeit connected skin to structure..
Ali Tayar

Jeanne Gang has a very strong range of work and a unique ability to execute varying scales for varying niches in terms of program. Her craft extends from installations to large-scale projects, like her Starlight Theater. I love her emphasis on craft and skill..
Lauren Crahan

 

Annie Han and Daniel Mihalyo/ Lead Pencil Studio
Seattle, Washington


Courtesy Lead Pencil Studio
Left: While at an artists' residency in Wendover, Utah, Han and Mihalyo made Cleft Footing (2000), an 8-footttall sculpture of tumbleweed collected from the region's arid landscape.
Right: Minus Space (2005), an installation at the Henry Art Gallery in Seattle, was comprised of two parts: The ceiling is made of a fibrous fabric from which a visqueen and plexiglas form hangs, via thin wires.


Annie Han and Daniel Mihalyo met as students at the University of Oregon, where they both received their BArch degrees and where they also studied sculpture. After graduating from architecture school we kept a separate art/studio space. We both went through the whole trajectory of internships, entry-level office work, et cetera, but we always kept the art studio,, said Han, who was born in South Korea. In 1997, the two opened an independent office and began to design commercial spaces and residences, all the while continuing to work on installation projects. In 2000, Han and Mihalyo (a Washington native) won an artist's residency at the Center for Land Use Interpretation's Wendover, Utah, complex, where they were able to pursue sculptural landscape work. After that, the firm was invited to participate in other installations, including a group show at the Center of Contemporary Art in Seattle. Now, we do about half site-works and half architecture,, said Han.

Juror comments:
Their installations are environments that are fully architectural in their own right. While some of the site-specific projects are clearly meant for temporary occupation, you can easily imagine them becoming more permanent for specific clients. It's a very inventive body of work, elaborating on how we perceive things through space, light, color, and texture..
Detlef Mertins

If we were going to honor people who did installations, for me it was important to recognize work that was connected to architecture, as opposed to work that veered only toward art. Lead Pencil Studio's installations clearly test architectural ideas..
Ali Tayar

They don't necessarily do conventional architecture, but are engaging architectural issues and issues of space and perception. Emerging Voices doesn't have to be defined singularly within the tradition of conventional architectural practice. These kinds of practices can really bring the sensibility that we bring to our work to the perception and habitation of space..
Adam Yarinsky

 

George Yu/George Yu Architects
Los Angeles, California


Left: Josh White / Courtesy George Yu Architects
Left: In 2004, George Yu designed Blow-Up for the SCI-Arc Gallery. The installation used 17 inflatable vinyl bladders,, each 20 feet tall and 20 feet in diameter as sensors that would generate sound when activated by touch.
Right: A workspace for Sony's Design Center, built in 2005, uses a white epoxy floor and pale plaster wall panels to create a bright and open environment.


Hong Konggborn George Yu came to Los Angeles by way of Canada, where he received his Bachelor of Arts in Urban Geography at the University of British Columbia before going to UCLA for a graduate degree in architecture in 1985. Established in 1992, his office specializes in commercial architecture, which he uses as a point of departure to study the urban environment. Our goal is to use our projects as a form of research to ask questions about the nature of the building type they represent, and not just in a strictly formal and aesthetic sense,, Yu explained. For example, in Vancouver, malls are really interesting because they have gone from the conventional landlord/tenant model to a condo-type model where spaces are sold to retailers as property. I'm as interested in looking at leasing models as at architectural models.. While Yu's work shows a strong design sensitivity, his primary interests lie in the relationship between businesses and their environment, which he explores through integrating new technologies into his designs.

Juror comments:
For me, it seems that he's interested in thinking about projects from the bottom up. He uses work like the IBM business center as a way to rethink traditional formats. It's great to see architects wanting to question typologies, to give a project a form and organization and logic, and in his case, a very strong materiality. All of his projects are in one way or another about research: Some are on a programmatic level, some are on a tectonic level..
Detlef Mertins

George Yu's work was shockingly new to me. His work is extensive, the quality is overwhelming, and what I found amazing is his range of scales. He represents a condition where someone can balance technology and invention with materiality and execution. Technology, more than anything, really becomes part of his projects..
Lauren Crahan

 

Mark Goulthorpe/dECOi
Cambridge, London, and Paris


Courtesy Decoi
Left: One of dECOi's few built projects, the Glaphyros apartment in Paris, completed in 2003, features an 8-by-6-foot aluminum screen whose form is based on a mathematically generated algorithm of three intersecting waves.
Right: In 1996, dECOi designed a prototype residence for a Malaysian developer who wanted a project that was technologically advanced but not gadget-heavy. Each panel's dimensions, as well as their etched decorative ornamental patterns, were mathematically generated; no two are the same.


London-born Mark Goulthorpe established his studio, dECOi, in 1991 in order to pursue a number of design competitions. His practice is now is dedicated to exploring new technologies through collaborations with professionals in other fields, such as mathematics and computer programming. dECOi's built work is largely composed of smaller residential projects and showrooms located primarily in France, Malaysia, and the UK. Of this year's Emerging Voices, Goulthorpe, who maintains offices in Paris and London, has the strongest international presence: In 2002 he designed the French Pavilion at the Venice Biennale and in 2001 he won Taiwan's FEIDAD international digital design competition. In addition to his practice, Goulthorpe is an associate professor at MIT, and divides his time between the School of Architecture and the Media Lab.

Juror comments:
I think he's one of the leaders of the digital design movement; he brings an incredible amount of expertise and craft to his work. His projects are facilitated by computation as a tool, which is crucial to both their fabrication and realization, and the result is masterful. One of the benefits of the digital revolution will be to re-empower architects as master builders. In a way, he represents a master digital builder. He's very craft-based but he uses the digital medium for fabrication all the while understanding what the local trades are doing. He is thinking through this whole array of tools that we have..
Detlef Mertins

I appreciated the human condition Goulthorpe incorporates into his tech-based projects. He uses interactive and reactive devices like breathable materials and rainskins, i.e., surfaces that react to water..
Lauren Crahan

 

Mimi Hoang and Eric Bunge/ nArchitects
New York, New York


Left: Jorge Pereira / Courtesy Narchitects
Left: nArchitect's winning design for the Museum of Modern Art/P.S.1's 2004 Young Architects program formed bamboo into an undulating canopy; the material started out green and tanned over the course of the summer.
Right: The 2006 Switch building, located in New York's Lower East Side, is the firm's first ground-up project; it is a seven-story condo-development with an art gallery on the first floor.


Mimi Hoang, who was born in Saigon, and Eric Bunge, who was born in Montreal, met as graduate students at Harvard and formed nArchitects in 1999. They soon began winning design competitions, including the Museum of Modern Art/P.S. 1's Young Architects Program in 2004, for which they created a massive arched bamboo canopy. It's the firm's largest installation to date, though they also did a sizable floor-piece at the Lehmann Maupin Gallery in New York (2000) and an interactive wall at Artists Space (2005). Both Bunge and Hoang teach (at Parsons and Yale respectively), and while their exhibition work is highly conceptual, their portfolio contains realized projects as well, including several interior renovations and a penthouse addition in lower Manhattan. Their largest project to date, the Switch building, a seven-story, ground-up residential lowrise in the Lower East Side, will be completed in September of this year.

Juror comment:
For a young firm, it's interesting that they are building. And they are doing so in ways that are driven by the specifics of each project. Their work is programmatic and conceptual at the same time. In their P.S. 1 project, for example, they were thinking about a traditional material, bamboo, that has so much energy to it, but also it has sensory properties such as smell..
Detlef Mertins

nArchitects represented, for me, a way of practicing architecture in New York. Here, you don't get to do a house till you're 45; architects tend to experiment longer and then when they do build, their ideas are fairly well worked out. Their bamboo structure for P. S. 1 reminded me of Frei Otto's timber lattice for the Mannheim Garden Exposition, which was also this orthogonal grid that distorted into warped planes. To me, it's interesting when people pick up ideas that others have left off, and take them further..
Ali Tayar

Their projects display inventiveness and an ability to define the terms of the project in an unexpected way. In the Switch building, the transformation of the outer surface creates a special element in each apartmenttthe bay windowwbut also changes the perception of the facade..
Adam Yarinsky

Eavesdrop: Aric Chen

 THE NEW URBANISTS ARE COMING!

Fellow New Yorkers, beware: There are New Urbanists among us, and they have started to organize. Eavesdrop has learned that, in their crusade to spread their radical brand of Main Street nostalgia, followers of the cultish Congress for the New Urbanism are starting a local chapter. At present, however, we're still at Code Yellow; they’re too busy fighting among themselves to do any harm. One of our undercover agents infiltrated last month’s midtown meeting of the Chapter Organizing Committee of the Congress for the New Urbanism (of the Executive Bureau under the State Commissariat of the People's Directorate) and filed this report: “[Committee chair] Ted Andrews was running everything and, all of a sudden, a large, bearded, overbearing guy stands up and tries to commandeer the meeting with the aim of making himself leader.” The agitator in question was New Urbanist blogger John Massengale, and “rarely have I seen such bluster,” continues our spy, who adds that the gathering quickly degenerated into “a hollering match over who was closer to [CNU president] John Norquist—as if he were Kim Jong Il or something. It was so scary it was comical.” The arguments, however, were largely over procedural matters. And with his putsch getting nowhere, we’re told, Massengale (like so many comrades) simply disappeared. But we hear he hasn’t given up; later, he sent us a cryptic message saying that “everyone’s happy.” We, however, are still terrified. “It felt like being in a roomful of Republicans,” our informant says, “with their strange fanaticism and extremely bad haircuts.”

S.I. FOR SMITHSONIAN?
Cooper-Hewitt wants to open on Staten Island! Seriously. (Staten Island, we learned, is a landmass of approximately 59 square miles to the southwest of Manhattan.) Since at least last summer, the museum has been in discussions with the outer borough’s Snug Harbor Cultural Center—which we hear is actually a pretty nifty place—to develop a publicly accessible open storage site on its property for the space-strapped (and cash-strapped) Smithsonian museum’s collections. The Cooper-Hewitt had no comment for the Staten Island Advance, which first reported the story, and basically offered us the same. But a rep for Snug Harbor, which was made a Smithsonian Affiliate (whatever that means) in December, told us “the talks are still ongoing, active, and positive.” As long as Cooper-Hewitt isn't in charge of raising the money.

FAULTY TOWER RE-RUN
Almost two years after a Vanity Fair article famously revealed that all was not well atRichard Meier’s Perry Street twin towers—e.g., buckling balconies, heating malfunctions and leaks, many leaks—Eavesdrop has determined that problems continue to plague the buildings. Last month, we hear that work on the three-story penthouse of former fashion licenser and condo board president Calvin Klein (who is already in litigation with the building’s original sponsors) caused still more leaks that trickled all the way down to Jean-Georges Vongerichten’s new restaurant, Perry Street, on the ground floor. Though we can’t confirm the leak’s origin, a helpful employee who answered the restaurant’s phone acknowledged that it happened. The managing agent’s lips, however, were more tightly sealed. “Any of the building’s defects have already been, or are in process of being, corrected,” is all he’d say.