Search results for "Richard Meier"
Richard Meier funds architecture chair at Cornell
And the winner is...
2018 AIANY Design Awards winners announced!
- Gro Benesmo, Partner, S P A C E G R O U P
- Ila Berman, DDes MRAIC, Dean and Edward Elson Professor, UVA School of Architecture
- Aaron Forrest, AIA, NCARB, Principal, Ultramoderne
- Walter Hood, Creative Director, Hood Studio
- Tom Kundig, FAIA, Principal and Owner, Olson Kundig Architects
- Debra Lehman Smith, Partner, LSM Studio
- Meejin Yoon, AIA, Co-Founder, Höweler + Yoon Architecture LLP, Professor and Head of the Department of Architecture, Massachusetts Institute of Technology
After the fires, the Monterey Design Conference offers a chance for reflection
Adjaye's Studio Museum, a view from Mexico City, and other updates from the architects of Instagram
It's All White
A look at Richard Meier's completed Tel Aviv tower
Mind Over Matter
AN remembers Diane Lewis
To walk the streets of a city with Diane meant to be move slowly and with focus, and to often come to a complete standstill when the discussion at hand was primary over all else. This immersion was in striking contrast to her gait and quickness in the halls of Cooper Union and her brisk efficiency in the orchestration of a construction site. She lived in accord with the tenets of her practice and her teaching, and her intellectual rigor and intensity were applied to all endeavors. She believed deeply in the necessary confrontation of the existing with the ideal. The rub of dueling conditions as the source of artistic inspiration was a concept for Diane that spanned from Dante’s Divine Comedy (the introduction to our course at Pratt) to how she engaged the eccentricities of building within a given condition. To work alongside Diane on the job site was a demonstration of architecture as both an art in form and a theater piece with a unique casting call and stage directions in a whirlwind toward exquisite results. In the center was Diane, always a cutting sight in her effortless, yet careful wardrobe and its accents; the most important were her eyeglasses. She had wanted glasses since an early age and was thrilled when they became a necessity.
Diane’s ability to enjoy life was to make the best possible conditions for living, eating, thinking—whatever happened to be the pursuit of the moment. She had a gusto for food and ate with the same enjoyment and abandon as when she watered the garden at one of her many 9th street studio locations, a bit messy but with pure joy, flinging water so that it hit not only the plants but also the table she designed and the chairs and cushions. She was a talented cook and brought recipes from all over the world back to the studio, where she would regret that we did not have a dedicated chef on staff as Scarpa had when she visited his Venetian studio in the ’70s. Decades later when we visited Venice she insisted the first act must be to go immediately to Harry’s Bar, which was filled with Carnival revelers.
Wherever Diane lived it was always in a work of architecture, whether by her own hand or by selection. She would spend the summers in Long Island renting the guesthouse from Charles Gwathmey’s mother, and she lived for many years on a floor in William Lescaze’s townhouse on 48th street, where she was later married. In a metropolitan style, she had simply stopped by and made an inquiry to his widow if there were rooms for rent; Diane later designed an addition to her D.C. residence. Diane would note that she saw the principals of Hejduk’s Wall House in the Lescaze townhouse. Her intrinsic ability to see the lineages of work and continuity of thought allowed her to absorb, project, and hypothesize. She created a literary a-chronological world of architecture that is both deeply engaging and spectacularly liberating.
As a professor she preserved the sanctity and dignity of the students and adhered to the highest aspirations of academic sovereignty. She treated us with respect and demanded a critical forum for the discussion of work, investing in each student close readings as well as the independence to shape our studio projects. Under her teaching team, our class, and many others, created spectacular work from both expected and unexpected sources. Her gravitational field pulled people from near and afar: My friend and classmate Jack immediately applied to Cooper after having Diane during her tenure in the Hyde Chair at the University of Nebraska. Diane herself applied to Cooper as an art student at the recommendation of George Segal, whom she met in Syracuse in a high school summer program. Pei Cobb Freed & Partners’ Everson Museum of Art was in construction nearby; they would be second firm she would work for after initiating her professional career in the office of Richard Meier.
Most striking about Diane was her precise language, her careful articulation and her prescience to the gulf between thought and speech. Her unrelenting attention to meaning and complete absorption in structure were a means to penetrate through the contrived and conventional. Diane demanded that we engage the world not as it is, but as it should be. She entitled an unfinished book, Mind Over Matter.
Diane H. Lewis, 2017 It is with profound grief and a heavy heart that I share this communication with my students, colleagues, and alumni of The Cooper Union. Today, we lost one of the most beloved and influential voices of our community, architect and professor Diane H. Lewis. Diane Lewis came to The Cooper Union as a student in the Art School in 1968, transferring to Architecture in 1970, and completing her studies in 1976. Immediately upon graduation, she was awarded the Rome Prize in Architecture, making her one of the youngest members to be honored by the American Academy in Rome. Upon her return to the United States, Lewis joined the offices of Richard Meier and Partners and later, I. M. Pei and Partners where she received her early training—this, while also launching her teaching career. Initially a professor at the University of Virginia, Lewis went on to teach as a visitor in many respected programs including Yale University, the Technical University of Berlin, the Harvard Graduate School of Design, and the University of Toronto, where she held the Frank Gehry Visiting Chair in 2006. But it was here at The Irwin S. Chanin School of Architecture that she planted her foundations as a radical and committed educator; Lewis was the first woman architect to be appointed to the full-time faculty, and later tenured in 1993. In an age when few dedicate themselves to teaching as a craft, her focus on creating a transformative space of learning will be a central part of her lasting legacy. Indeed, as much as Lewis was a product of Cooper Union, today we can look back at more than thirty years of her contributions and come to realize that we are, in fact, defined by the culture of her teaching. As a practicing architect, Lewis set up her own office in 1983 under the banner of Diane Lewis Architects PC, and she has since led a focused and critical practice concentrating on competitions, urbanism, and built projects known for their exquisite refinement in both plan and detailing. Of those projects, the Studiolo for Colomina and Wigley, the Mews project for Professor Dworkin, and the Kent Gallery all demonstrate the nuance and skill that Lewis brought to her sense of materiality, figuration, and occasion. With a protean intellectual profile, Lewis’s work spoke to the panoramic range she held within her scope; a writer, designer, film-maker, and urbanist, Lewis brought passion to her many activities, often synthesizing her investigations into the many publications she edited and authored. Her most recent book, including the work of several generations of students, Open City: Existential Urbanity is one such example, featuring not only her written work, but also her research on Neo-realist cinema, the role of the civic institution on the making of urbanity, and even book design as a central part of its argument. The practice of Diane Lewis served as a conduit for her inter-disciplinary interests, and she seamlessly navigated between professional practice, scholarly work, and her teaching projects as part of a larger commitment to the discipline. Naturally, as co-editor of the Education of an Architect, Lewis shared a vision about how the commitment to teaching was also part of a social contract to give back to society in productive ways. Exhibited widely, including at the Cooper Hewitt Museum, the Van Alen Institute, and the Galerie Aedes in Berlin, Lewis also gained many accolades such as the John Q. Hejduk Award and nominations for the National Design Award from the Cooper Hewitt and the Daimler Chrysler Award. Diane Lewis was widely recognized as a consummate architect and professor. Loved by students, respected by professional colleagues and debated by academic peers, Lewis defined architecture with equal parts passion and erudition. In recent years, her Design IV urbanism studio was known for its often twelve-hour long final reviews—each one of them a marathon discussion of critical precision and clarified architectural thought. On a more intimate note, I can only say that I will personally miss Diane dearly, most especially the tenacity with which she engaged in fierce architectural debate. Diane’s persevering intellect and commitment to leadership were so ever-present in the School, I can only imagine that both John Hejduk and Anthony Vidler felt her almighty strength in the administration of the school. She led the school symbolically, and when things did not go her way, she led a parallel school of thought alongside the very deans that gave rise to her platform. Her agency represents the very ethos of the key protagonists that a school would want inside its walls. She had a voice, she used it, and she led with it. In the past days and weeks, I have been touched by the many students, alumni, and academic associates who have reached out to me inquiring about her well-being. Diane was loved by many and respected by all. She was fiercely loyal to her students, and she made no secret of her advocacy of the many friends she held dear in both personal and intellectual complicity. To that end, I can only see that this loss is shared far and wide by many. As the Dean of The Irwin S. Chanin School of Architecture, I have the honor of bringing words to the collective sentiments that I believe everyone has voiced to me, and yet, I know that these words do not suffice in face of a deep, collective grief. The presence of our beloved family and friends is real and profound, but in their absence, we also discover that their every lesson, their words of wisdom, humor, and sensibility is something that takes on even more vivid presence precisely because they are no longer here in body. Diane may have left us in person, but her presence will be very much part of the education of many architects to come, and she will continue to speak with strength and clarity in the halls of this institution. As we miss her deeply, we will also have the benefit of her ongoing guidance, the fulfillment of over thirty years of generous giving.
Miami's jet-set mixes art, design, and luxury, leading to a new wave of high-design condo projects
This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We’re publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.
Miami has a certain glitzy, glamorous character unique to its shores and streets. In recent years, the tropical climate and Latin flair have brought an influx of foreign investment and international attention. South Beach, the Design District, and events like Art Basel Miami Beach and Design Miami/ have attracted not only a moneyed crowd of beach-goers, but one that—in a new wave of spending and development—not only wants nice things, but cool things. This new attitude about art and design as an essential element of luxury has spawned a wave of condo projects that incorporate “starchitects” as part of the sales pitch—from Rem Koolhaas and Zaha Hadid to Isay Weinfeld and Renzo Piano.
“Having an extremely high caliber of art, design, and architecture elevates the entire property to a work of art itself. This creates timeless value that speaks to a very niche type of buyer and has the ability to supersede shifts in the market,” Edgardo Defortuna, founder and president of Fortune International Group, said.
Many of the condo projects are based on the old hotel-apartment model, where the most affluent guests would simply live in a resort. But today private, all-residence buildings come equipped with all the amenities of a Florida resort, and then some.
Take a look at the latest batch of residential towers:
Eighty Seven Park 8701 Collins Avenue, Surfside Architect: Renzo Piano Building Workshop with West 8 Status: Under construction Units: 68 Floors: 16After controversially razing Morris Lapidus’s Biltmore Terrace Hotel, the developers at Eighty Seven Park not only enlisted Renzo Piano to do the building, but they also tapped West 8 to landscape a 35-acre, public oceanfront park. The Towers by Foster + Partners 1201 Brickell Bay Drive, Miami Architect: Foster + Partners Status: Approved Units: 660 Floors: Unknown Announced in November 2016, this 1,049-foot-tall building got FAA clearance and is poised to be one of the tallest towers in Miami—it could be the city’s first completed supertall. Parking will be submerged and it will feature 56,0000 square feet of open space at ground level, including a through-block arcade. The Surf Club | Four Seasons Hotel & Private Residences 9011 Collins Avenue, Miami Architect: Richard Meier & Partners Status: Under construction Units: 150 residences Floors: 12 The historic Surf Club is one of the most famous low-rise hotels in Miami Beach. It is being converted into a large block of residences, but will include 77 hotel rooms. Parts of the old resort will be saved, including the ballroom, which will become the new reception area.
SLS Brickell Hotel and Residences 1300 South Miami Avenue, Miami Architect: Arquitectonica Status: Completed 2016 Units: 124 Floors: 55This combination condo tower and hotel features an iconic mural on its exterior, painted by Brooklyn-based artist Markus Linnenbrink. The hotel interiors are designed by Philippe Starck and the tower is host to Bazaar Mar by Chef José Andrés, a tile-clad seafood joint closer look on page 6). Grove at Grand Bay 2675 South Bayshore Dr, Miami Architect: Bjarke Ingels Group (BIG) Status: Completed 2016 Units: 96 Floors: 20 This spiraling stack’s structure is left exposed with raw concrete columns that slightly lean askance. The concrete floor plates are also exposed and a lush garden by Raymond Jungles complements the canopy and planters made of concrete, which Jungles called “the natural stone of South Florida.” One Park Grove 2701 South Bayshore Drive, Miami Architect: OMA Status: Under construction Units: 54 Floors: 20 Three towers are rising on the Coconut Grove Bank site, where a charming mid-century bank will be demolished and replaced by a new, OMA-designed facility as part of the area’s makeover. The project also includes performance spaces on the ground level. OMA won a high-profile competition for the project, beating Diller Scofidio & Renfro, Christian de Portzamparc, and Atelier Jean Nouvel. Jade Signature 16901 Collins Avenue, Sunny Isles Beach Architect: Herzog & de Meuron Status: Under construction Units: 192 Floors: 57 Every inch of this Sunny Isles Beach tower is designed, from concrete skylights in the common areas to the double height “Sky Villas” just below the $32.9 million penthouse. One Thousand Museum 1000 Biscayne Boulevard, Miami Architect: Zaha Hadid Architects (ZHA) Status: Under construction Floors: 62 Units: 83 The layouts of the units change as this massive sculptural facade weaves its way up the structure. At 709 feet, it will be the tallest ZHA project to date and one of Miami’s altitudinous when completed. Fasano Miami Beach 1901 Collins Avenue, Miami Beach Architect: Isay Weinfeld Status: Approved Units: 67 residences Floors: 22 The Shore Club has a long history as one of the iconic hotels on South Beach. This stylish renovation—by HFZ Capital—will convert the hotel into condos, but the public pool and hotel spaces will remain under the label of Brazilian hospitality superstars Fasano. The pool will be surrounded by five two-story beach homes.