Search results for "Manhattan"

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Fancy Footwork

Designers imagine a metal bridge connecting Hudson Yards to Midtown New York
Last month, Metals in Construction magazine and the Steel Institute of New York gathered at TheTimesCenter in New York City to announce the winner and five finalists for their 2019 Design Challenge, titled “Create A New Urban Pathway.” The competition asked architects, planners, and engineers to design a pedestrian bridge that connects the forthcoming Moynihan Train Hall, situated across Eighth Avenue from Penn Station, with Chelsea’s Hudson Yards, the city’s largest private real estate development, the first phase of which opens this week. The pathway between the Moynihan Train Hall and Hudson Yards would serve as an anchor for the rising development of Manhattan’s Far West Side, which is expected to receive roughly 100,000 pedestrians traveling between the two destinations each day. With midtown’s upcoming surge of foot traffic, the design challenge sought to think of ways to make pedestrian travel more safe, efficient, and appealing to city dwellers, particularly through the construction of floating promenades—elevated, landscaped walkways that not only reduce inner-city congestion, but also prove beneficial to the health and overall well-being of citizens. Judges and participants of the competition looked for inspiration from the immensely popular High Line—the now iconic urban pathway that, in 2014, dramatically transformed from an abandoned railway into a picturesque walkway. Metals in Construction magazine awarded a $15,000 grand prize to the winning team from New York–based DXA Studio. The team’s proposal, titled “The Midtown Viaduct,” was chosen from a group of 45 qualifying entries and was praised by the panel of four judges for its structural practicality and streamlined design, which would offer city dwellers a new and exciting urban experience. The Midtown Viaduct is composed of interlaced steel plate work, drawing from the industrial components of the High Line and the steel of the original Penn Station, to create a winding and dynamic walkway that would connect the two destinations and give pedestrians a recreational space to stride. “[The Midtown Viaduct] employs forward-thinking approaches to form, fabrication, assembly, and urban solutions that mitigate/synthesize the complex forces of contemporary cities,” wrote the team from DXA Studio. While DXA studio's pedestrian bridge will probably never materialize in real life, the proposal serves as an innovative approach to topics concerning the livability and walkability of cities. Metals in Construction magazine will be holding another design competition next year, themed “Create A New Urban Identity,” which will challenge participants to reimagine the skin of an existing building in New York City. More details about the competition will be announced in September 2019.
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She Built NYC

Four more statues of pioneering New York women are coming to town
Four more legendary New York women are set to be honored with permanent statues around the city: Billie Holiday, Elizabeth Jennings Graham, Dr. Helen Rodríguez Trías, and Katherine Walker. Their likenesses will be erected as part of She Built NYC, a near-year-old campaign started by New York City First Lady Chirlane McCray and former Deputy Mayor Alicia Glen to address the lack of monuments dedicated to the historic accomplishments of women in New York. Selected through an open call that drew over 2,000 nominations, these four new statues, along with the previously-announced piece honoring Shirley Chisholm, will bring a She Built NYC monument to every borough. Billie Holiday Queens Borough Hall, Queens American jazz legend Billie Holiday rose to fame in the 1930s with a powerful, soulful voice. Though she was born in Philadelphia and grew up in Baltimore, Holiday’s legacy also lives in New York where she moved in 1929 as a young girl. A theater dedicated to the prominent singer was built in Bedford-Stuyvesant, Brooklyn, in 1972 and recently renovated by MBB Architects in 2017. Elizabeth Jennings Graham Vanderbilt Avenue Corridor near Grand Central Terminal, Manhattan At just 27 years old, schoolteacher Elizabeth Jennings Graham stood up against racial segregation in the mid-19th century when she boarded a streetcar for whites only. She later wrote an account of the incident and filed a lawsuit against the Third Avenue Railroad Company and won. Because of her bravery, transit segregation was dismantled in New York and by 1860, all streetcar lines were open to African-Americans. Dr. Helen Rodríguez Trías St. Mary’s Park, Bronx Dr. Helen Rodríguez Trías was a lifelong public servant and pediatrician dedicated to advancing reproductive rights, and HIV/AIDS care and prevention, as well as serving communities of color. Her many leadership positions, from serving as the medical director of the New York State Department of Health’s AIDS Institute to being the first Latinx director of the American Public Health Association (APHA), allowed her to make a significant change to not only the medical landscape in New York City but across the country. In 2001, President Bill Clinton presented Rodríguez Trías with the Presidential Citizens Medal. Katherine Walker Staten Island Ferry Landing, Staten Island As the keeper of the Robbins Reef Lighthouse in New York Harbor for over three decades, Katherine Walker helped rescue about 50 sailors from shipwrecks during her tenure. She was appointed to the position in 1890 by President Benjamin Harrison after her husband died. Born in Germany, she immigrated to the United States just eight years before taking on the monumental task of overseeing all maritime movements in the Kill Van Kull, a shipping channel between Staten Island and Bayonne, New Jersey. According to She Built NYC, the new monuments will be commissioned through the Department of Cultural Affairs’ Percent for Art process, which means community input will be at the core of the artist selection and design processes. The search for the individual artists is expected to begin at the end of this year with the fully-built statues coming online between 2021 and 2022.
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Always Greener on the BK Side

OMA’s first Brooklyn project is a pair of zigzagging waterfront towers
The Greenpoint Landing megaproject in Brooklyn has gained a duo of interlocking rental towers courtesy of OMA. The ten-tower mixed-use development will ultimately bring 5,500 rental units to Greenpoint. Developer Brookfield Properties, who are bringing four towers to the development, and Park Tower Group have revealed the newest additions to the site, two leaning towers joined by a seven-story base. Other than the 745 rental units across both towers, 30 percent of which will be affordable, the project will expand the waterfront esplanade around the site by 2.5 linear acres. Other than the 768,000 square feet of residential space, the podium will also add 8,600-square-feet of ground-floor retail. The two towers will, as has become fashionable across the river in Manhattan, twist, turn, and part in the middle to reveal a wider view of the cityscape to the west. While the 300-foot-tall north tower will narrow as it rises thanks to a series of setbacks-turned-terraces, the 400-foot-tall southern tower will resemble a flipped version of its neighbor thanks to a series of cantilevers. “Brookfield and Park Tower Group have been working together to connect Greenpoint with its waterfront,” said OMA partner and project lead Jason Long, “and we are thrilled to be collaborating with them on our first project in Brooklyn. We have designed two towers—a ziggurat and its inverse—carefully calibrated to one another. Defined by the space between them, they frame a new view of Greenpoint and new vista from the neighborhood to Manhattan.” Both towers will feature large windows and a facade of precast concrete carved with “slices” that alternate direction as each major section changes. The direction of the carvings are aligned with the sun’s relative position in the sky, ensuring that the light is dispersed over the building dynamically throughout the day. James Corner Field Operations will be designing the new waterfront landscape areas, while Beyer Blinder Belle will serve as the project’s executive architect. Los Angeles’s Marmol Radziner will be handling the buildings’ interiors. Construction on the project is expected to kick off in August of this year.
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In Memoriam

Kevin Roche, the quiet but bold modernist architect, dies at age 96
Kevin Roche, the Irish-born American architect responsible for the design of over 200 modernist buildings around the world, died at age 96 last Friday at his home in Guilford, Connecticut. His namesake firm, Roche-Dinkelooreleased a statement immediately following his passing. Roche had a major impact on American architecture. After moving to the United States from Dublin in 1948, Roche studied under Ludwig Mies van Der Rohe, another noteworthy European emigrant and pioneer of modernist architecture. Two years later, Roche joined the firm of Eero Saarinen, a revolutionary architect known for his sculptural and futuristic buildings. As Saarinen’s principal design associate, Roche adopted his employer's expressionistic style and his belief that architecture serves a higher purpose by uniting people and promoting social and cultural growth among various communities. After Saarinen’s death in 1961, Roche and his colleague formed their own architectural firm, Roche-Dinkeloo, in Hamden, Connecticut. Their joint mission was to revolutionize and beautify large spaces and museums in order to attract the masses and bring people together who share common goals and interests. The New York Times reported that Roche was often described as a trusted, modest, and soft-spoken individual, yet, his buildings were far from subtle. His conspicuous and often dramatic projects symbolized his love for glass technology, strong and memorable forms, as well as expressionist and modernist sculpting. Roche’s forward-thinking philosophies enabled him to adapt his designs to any situation where they proved to be flexible, versatile, and efficient. His works include the iconic TWA Terminal at John F. Kennedy International Airport, designed under Saarinen's direction, as well as the historic Ford Foundation headquarters in Midtown Manhattan, and the Oakland Museum of California. Roche was considered "the favored architect" of the Metropolitan Museum of Art, according to the NYT, where he designed each wing of the museum’s expansion, including the sun-lit Lehman Pavilion in 1975 and the massive glass pavilion enclosing the Temple of Dendur. He also completed the 1970s masterplan of United Nations Plaza, which included the build-out of three buildings, one of which is now a city landmark. As Roche’s projects flourished—he received the Pritzker Prize in 1982 and an American Institute of Architects Gold Medal in 1993—he became the go-to designer of major arts centers, corporate campuses, and federal sites. He designed the stark-white, geometric headquarters of General Foods in Rye Brook, New York, and the statuesque offices of J.P. Morgan Bank on Wall Street. Roche continued practicing architecture in his final years and didn’t slow down his work until his 95th birthday. Today he is survived by his wife of over 50 years, Jane Tuohy Roche, his five children, and 15 grandchildren.
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anodize analyzed

SHoP Architects lands in the Lower East Side with a folded aluminum facade
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In October 2018 SHoP Architects completed the first tower of the Essex Crossing mega-development. Located in Manhattan's Lower East Side, the 14-story mixed-use property is clad with anodized aluminum curtainwall modules. Essex Crossing is a sprawling 6-acre mixed-used development project master planned by SHoP. The site has largely lain dormant since the 1967 demolition of the working-class tenements located at the base of the Williamsburg Bridge. In total, the project will deliver approximately two million square feet of development. The podium of 242 Broome is primarily reserved for retail use, with large curtain wall modules and window widths to facilitate greater daylighting. To increase sidewalk width in front of the tower, the modules of the first five stories taper toward the building's base, each floor overhanging the one beneath by nearly one and a half feet. In a bid to blend with the preexisting massing of the neighborhood, the summit of the podium roughly meets the cornice line of surrounding classically-designed tenements.
  • Facade Manufacturer AZA INT KFK Metal Dizayn
  • Architects SHoP Architects SLCE Architects
  • Facade Installer Walsh Glass and Metal
  • Location New York
  • Date of Completion October 2018
  • System Unitized aluminum frame system mounted to slab edges
  • Products Custom anodized aluminum curtainwall
In accordance with zoning stipulations, the remainder of the tower steps back, forming a vertical rectangular volume rising from the center of the podium. Each successive floor is angled slightly to the west and set back again by nearly one and a half feet. Interior residential use is marked by tighter mullions, with window sizes reduced significantly until the uppermost floors. Just over 500 aluminum-and-glass curtainwall modules are distributed across the building's elevations. Behind the aluminum rainscreen modules, SHoP was able to insert a continuous waterproofing barrier. The facade was installed at a rate of one floor per week, with the entire enclosure system installed in approximately three months. "Anchors for the curtain wall are embedded in the concrete slabs, and serrated aluminum L-shapes attach to the anchors allowing for adjustability," said the design team. "Hooks are attached to the back of the curtainwall mullions which rest on the L-brackets." According to SHoP Architects, the design team relied on parametric design and digital workflows to develop the continually changing curtain wall panels and interior layouts. The color of the folded panels was achieved by bathing the aluminum panels in a coloration bath. Along Ludlow Street, the western elevation of the project, SHoP Architects is also designing the International Center of Photography's new home. The 40,000-square-foot space will be clad in perforated aluminum, cut, folded, and hung on a series of vertical rails.
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Upcoming Developments

Weekend edition: Sidewalk Labs, Hudson Yards, extreme architecture, and more
Missed some of this week’s architecture news, or our tweets and Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Sidewalk Labs reveals Snøhetta and Heatherwick designs for its Toronto development Design and funding details for Sidewalk Labs' wholesale "smart" neighborhood on the Toronto waterfront continue to trickle out. Extreme architecture: The great lengths (and heights) of high design High-minded design can only be realized through extreme construction. AN focuses on three recent projects that demonstrate the lengths that must be gone to. Drawing Codes ironically gets the rules all wrong Jaffer Kolb reviews Drawing Codes: Experimental Protocols of Architectural Representation, Volume II on view at the Cooper Union. Andrés Jaque, David Adjaye, and others paint a bleak vision of tomorrow in London On show at the Whitechapel Gallery in London, Is This Tomorrow? offers a mixed bag of installations that propose a dismal and bleak future. First phase of Hudson Yards set to finally open to the public The first phase of Hudson Yards opens to the public on March 15, and we rounded up the buildings that are set to be finished soon.
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On the Auction Block

OMA to expand Sotheby’s New York headquarters
Sotheby’s has announced an expansive OMA-led renovation of its Manhattan headquarters, with an equally ambitious target opening date of May 3. The reorganization of the auction house's Upper East Side building will expand the amount of exhibition space from 67,000 square feet to 90,000 and add 40 new galleries. Twenty gallery typologies will be spread across the four floors of 1334 York Avenue, including double-height spaces, private viewing rooms, octagonal galleries, corridors, and a space for small objects (Sotheby’s also sells luxury goods alongside art). The auction house is also taking a cue from its London and Paris locations and will be modernizing its entrances with stained walnut woodwork. The project is being handled by OMA’s New York office and led by partner Shohei Shigematsu. Of the renovation, Shigematsu said: “We wanted to embody Sotheby’s ambition to reinvigorate and enhance the client experience by introducing high flexibility through reorganization of programs and diversification of gallery spaces. The new headquarters is designed for openness and discovery—all public facing programs are shifted to lower levels, unlocking the public potential of the building. A taxonomy of galleries can be used separately or as clusters to allow curatorial freedom, driven by business model shifts and expanding repertoire of programming.” The renovation aims not only to consolidate elements of the building’s programming but to diversify the gallery types and create more public-facing spaces. By using gallery “clusters,” the larger spaces can remain open even as collections are rotated out, which the auction house estimates will happen every three-or-four days. A coffee bar will also be coming to the building’s lobby. Sotheby’s has organized an auction of modern, contemporary, and Impressionist work to coincide with the May reopening, including a contentious Mark Rothko painting from SFMoMA. Beyer Blinder Belle is serving as the project’s executive architect.
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City on Stilts

First phase of Hudson Yards set to finally open to the public
Four blocks of Manhattan’s Far West Side were rezoned 14 years ago for New York's ambitious 2012 Olympic bid. After a failed attempt to secure the games, the parcel of land was awarded in 2008 to real estate giant Related Companies. Through a public-private partnership in which Related would oversee the design, construction, and long-term maintenance of the site, the group began creating what's now the largest private development in the history of the United States. Set atop a cluster of rail yards between 10th and 11th avenues, the first phase of the multibillion-dollar megaproject known as Hudson Yards is set to open on March 15, when a cohort of towers and parkland previously inaccessible to the public will be unveiled. Ahead of the much-anticipated launch date, here’s a brief look at what’s already opened and what’s coming online this spring. 10 Hudson Yards Designed by Kohn Pedersen Fox Associates (KPF), this 895-foot-tall office tower was the first structure completed on-site in May of 2016 and features 1.8 million square feet of commercial space. It boasts tenants such as Coach, L’Oréal, Sidewalk Labs, VaynerMedia, and Boston Consulting Group, among others. A Spanish food hall by José Andrés will also be located in the building. 15 Hudson Yards Rising 917 feet in the sky, this residential tower will offer 285 luxury apartments and 107 affordable rentals come March. The skinny skyscraper was designed by Diller Scofidio + Renfro (DS+R) as lead architect and Rockwell Group as lead interior architect. 30 Hudson Yards This commercial tower, also designed by KPF is the tallest in Hudson Yards, stretching 1,296 feet in the air, and is set to open in March. It features the city’s highest open-air observation deck, which will be open to the public in 2020. Major media groups such as HBO, CNN, Turner Broadcasting, Time Warner, and Wells Fargo Securities, are set to move in this March. 35 Hudson Yards Also opening this spring, this mixed-use supertall tower was designed by David Childs of Skidmore, Owings + Merrill. It will house 143 condominiums, as well an Equinox Club at the base of its 92 floors. A branded hotel by the luxury fitness company will also open inside the structure. 55 Hudson Yards KPF worked alongside Kevin Roche John Dinkeloo and Associates to design this boxy, 780-foot office structure. Completed last year, it's already opened to tenants, serving as the headquarters of several law firms and financial groups. Vessel/New York’s Staircase Heatherwick Studio’s monumental work, known now as New York’s Staircase or Vessel, was commissioned to become the development’s signature work of art. As the centerpiece of Hudson Yards’ five-acre public park, designed by Nelson Byrd Woltz Landscape Architects, the spiraling, copper-clad work stands 150 feet tall and weaves 2,500 steps throughout its structure. It will open to visitors starting in March. The Shops and Restaurants a.k.a. 20 Hudson Yards This seven-story structure, designed by Elkus Manfredi Architects, will contain 25 fast-casual dining options and restaurants helmed by famous chefs like Thomas Keller and David Chang. The one-million-square-foot building will also feature over 100 luxury shops and an immersive exhibition space by Snarkitecture called Snark Park. The Shed, a.k.a the Bloomberg Building This 200,000-square-foot structure features a retractable outer shell designed to open and enclose a year-round exhibition space and performing arts venue. Also designed by DS+R in collaboration with Rockwell Group, the structure sits at the base of 15 Hudson Yards and will serve as the city’s newest cultural center. The project will open on April 5.
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Ancestral Awakening

Architect Sarah Entwistle revives her late grandfather in New York exhibition
New York City’s new Signs and Symbols art gallery will present an autobiographical exhibition by British artist and architect Sarah Entwistle. The art installation, titled It may prove a mere accident that we met, or it may prove a necessity, explores the work of Sarah's late grandfather and troubled architect, Clive Entwistle, who died in 1976 before having met her. While Clive had once worked alongside Le Corbusier and was the lead designer of the original plan for Madison Square Garden, most of his projects were never completed. The exhibition stems from Clive’s only successful work, the Transportation and Travel Pavilion for New York’s 1964 World's Fair, and it revolves around an image of a staged trade fair interior that he designed. In order to recreate the vision of her late grandfather, as well as revitalize his architectural legacy, Sarah displays rich and varied artifacts from Clive’s most ambitious designs in a way that is reminiscent of a mise-en-scéne. Relics include ceramics, elaborate architectural models, furniture prototypes, intricate drawings, a large handwoven tapestry, and photographic portraits of women accompanied by extensive correspondences with lovers. Sarah received her late grandfather’s personal belongings in 2011, after they had been unearthed from a Manhattan storage room where they sat untouched for over 30 years. Before then, she had little knowledge of his legacy, as he was absent from her life. Through the project and exhibition, Sarah attempts to simultaneously revive and reinterpret her grandfather and his work, breathing new life into his biography by integrating it with her own. Sarah noted, “each action from within the archive cleaves me further from the gravitational pull of my grandfather’s complex legacy, with its meta-narrative of failure and erasure, towards a re-emergence, where that which has been consigned to the past is re-embodied and re-imagined.” Sarah Entwistle’s exhibition will open on March 3 at Signs and Symbols gallery in Manhattan’s Lower East Side. She is also developing a new installation for the Zevaco House in Casablanca, Morocco, in collaboration with curator Salma Lahlou.
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Going Up

OMA drops a chromatic escalator in the Saks Fifth Avenue flagship
The ground floor of New York's sprawling $250 million Saks Fifth Avenue flagship renovation is complete, and OMA and Rem Koolhaas have designed a splashy, technicolored centerpiece for the midtown Manhattan shop. The luxury department store has embarked on an ambitious reorganization ahead of competitors moving into New York City; as Bloomberg notes, both Nordstrom and Neiman Marcus are opening their first N.Y.C. locations in 2019. Saks Fifth Avenue’s new ground floor is all about handbags. The previous first-floor tenants, the beauty and fine jewelry departments, have been moved upstairs. The Saks Store Planning and Design team and Gensler collaborated on the 53,000-square-foot first floor, installing custom terrazzo flooring from Italy, “experiential” handbag displays with appropriate signage, and wide, runway-inspired aisles. The centerpiece of the new handbag department is the escalator, which changes color as shoppers ride between the lower and main floors, and up to the beauty department on the second floor. UUfie, one of the Architectural League's 2019 Emerging Voices, also used a dichroic effect for a department store escalator, in that case Paris's Printemps Haussmann Verticalé. The second and third phases of the Saks renovation—the “vault,” which will showcase high-end jewelry, and the new menswear section—are both expected to open later this year.
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RIP

New York architect Warren Gran dies at age 85
Warren Gran, a New York City architect, died Sunday at age 85 in Los Angeles. Gran practiced in New York City for over 45 years and was known for his commitment to making social change through architecture. Gran specialized in public and non-profit projects with an emphasis on affordable housing, sustainability, and social responsibility, including supportive housing for the homeless and those suffering from mental health and substance abuse problems. He worked on many projects with the New York Public Schools, producing innovative spaces to help children with autism and other developmental disabilities. Prominent projects include: PS/IS 395, PS/IS 78Q Robert F. Wagner School in Long Island City, PS/IS 109 in Brooklyn, multiple projects for the Bank Street College of Education, and Brooklyn Family Court. His renovation of and addition to PS 14 won an AIA New York Design Award. Gran was also awarded the Boston Society of Architects/AIA Award for his work on the Lighthouse Charter School in the Bronx. One of his most visible projects was the conversion of a large Brooklyn courthouse on Adams Street into two high schools. A rooftop addition provided gyms and a signature look with red cylinders facing the street. On Morris Avenue in the Bronx, his 1974 housing development built with then-partner Irv Weiner, Melrose D-1 (a.k.a. the Michelangelo Apartments), has been described as an overlooked, pioneering, humane answer to housing problems that still plague the city today. “Why look at Melrose D-1 today? Because it acknowledges housing as a banal, repetitive, highly cost-driven design problem, and makes a virtue out of it,” wrote Susanne Schindler in The Avery Review in 2012. The complex is praised for its innovative floor plan, with access to three courtyards landscaped by Henry Arnold. Gran also worked in historic preservation. Among the prominent projects he worked on were the renovation of the dome at Manhattan Surrogate Court, the Manhattan Appellate Court, Queens Supreme Court, and a restoration of the Pratt Institute Library in collaboration with Giorgio Cavaglieri. Gran also worked as a residential architect designing homes in New Jersey, Connecticut, the Hamptons, and upstate New York that were often inspired by vernacular rural architecture, and balanced humanism and modernist ideals. These include the Weininger Residence in the Hudson Valley and his own weekend home in Ghent, New York, where he and his wife Suzanne vacationed. Gran’s career started while working in the office of the great Edward Larrabee Barnes. From 1967 to 2003 he taught architecture and urban design at Pratt Institute, also serving as the chairperson of the graduate program in urban design, the acting dean of the school of architecture, and teaching seminars at Yale, CUNY, Cooper Union, and NYU. He earned his Bachelor of Architecture at Penn State and his Masters in Planning from Pratt. Students have always said he was incredibly tough—but that they appreciated that toughness, and what he taught them launched their careers. He was a member of the New York City Landmarks Preservation Commission, the National Trust for Historic Preservation, and the Urban Design Committee of AIA’s New York chapter. Gran was an officer in the navy in the late ‘50s, on the aircraft carrier the USS Ticonderoga. During these years he kept an apartment on Fillmore Street in San Francisco that was memorialized in Herb Caen’s San Francisco Chronicle column: Apparently, Gran and his Navy buddies’ parties were so loud the nightclub downstairs had to complain. Suzanne of Kansas City, Missouri, worked at The New Yorker magazine throughout the 1960s. Suzanne died in July of 2017. They are survived by two daughters, designer Eliza Gran and novelist Sara Gran, who went to Saint Ann’s and now live in Los Angeles. Warren is also survived by three grandchildren, Violet Phillips, 19, Ruby Phillips, 17, and Charles Wolf Phillips, 14.
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Big Art

Monograph about Robert Murray reveals his love of structure and form
Robert Murray: Sculpture Jonathan D. Lippincott Design Books $65.00 List Price Some sculptors have to think like architects. They need to consider the actual weight of a work and whether it might wind up crashing through a floor or compromising a foundation. There are the issues of balance and whether something weighing a few tons and defined by curves and cantilevers will remain in place on its own or roll off its plinth. There are also the concerns about the best angles from which to view a finished sculpture and how it will age, especially if positioned outdoors. And once it is erected and set in place, what about the resulting shadows or reflective light? As Jonathan Lippincott, the noted book designer and independent art curator, reveals in his new book, Robert Murray: Sculpture (Design Books), the first such monograph to chronicle the artist’s oeuvre, Murray learned about weight and scale through practice. When Murray first began making some of his large-scale works in his apartment on East 22nd Street in Manhattan in the early 1960s, they were so heavy and tall that they compromised the very structure of the building. Of one such early work, Ceres, a seven-foot-high plaster sculpture, Murray said: “I had it right in the middle of the room, and I put supports out from underneath the bottom lip of it to try to distribute the weight, but it didn’t quite work. One day there was a pounding on the door and a very nice couple from downstairs demanded to see what I was up to, and I guess my floor sagged so badly that their ceiling cracked and plaster was raining down in their living room.” The comment from Murray is one of many in Lippincott’s book that reveals the artist’s sense of humor, a characteristic much welcomed in an otherwise scholarly art book. Lippincott has obviously been careful to reveal—and revel in —Murray’s playfulness. As a result, this may be among the most refreshing and entertaining books to read about any sculptor, living or not. Lippincott’s book also manages to right an aesthetic wrong. While fantastically prolific and influential, Murray doesn’t seem to have won quite the same name recognition of some his contemporaries, like David Smith, Tony Rosenthal, Louise Nevelson, and Barnett Newman. Lippincott’s book will surely reintroduce and re-establish the still-active Murray as one of the very best practitioners of contemporary sculpture. And the book’s examples of Murray’s candor and wit will only heighten the artist’s appeal. As Murray recounts about his early days as a young artist from Saskatoon suddenly immersed in the New York art world: “I always joke that it’s lucky my liver was as young as it was when I got to New York or I would have been dead a long time ago.” Although Lippincott’s monograph is visually-driven, it includes an engaging, lengthy biographical text about Murray, as well as a candid, chatty question and answer between the author and his subject. The two appear to have forged an affectionate rapport. We learn about Murray’s Canadian boyhood, his inspirations for the monumental works of art, and the process of making those sculptures (some sixty of which were made at Lippincott, Inc., the Connecticut-based fabricator of monumental works of sculpture, founded by the author’s father). But what resonates throughout the book is Murray’s collaborations with and respect for architects. There was a time not so long ago when art and architecture were more closely aligned. Lippincott describes, for instance, the Percent for Art program that flourished in the U.S. and Canada in the mid-1960s, whereby, according to the author, “one percent of the budget for any new building would be dedicated to purchasing artwork…an unprecedented amount of funding to purchase and commission artwork for government buildings and public spaces.” Murray’s large-scale abstract (some would say minimalist) sculptures were coveted by architects of the time. I.M. Pei, for instance, commissioned Murray for a massive work (Shawanaga) to occupy the plaza of Pei’s Everson Museum of Art in Syracuse. For a 1968 group show of sculptures at the then-new Boston City Hall, a Brutalist edifice designed by Kallmann, McKinnell, and Knowles, Murray was invited to include what is now one of his iconic works, Windhover. “The only bad part of it all was the new city hall, which wasn’t a very attractive backdrop,” he told Lippincott. “But it was a nice plaza, a good space, and that show got a lot of attention.” Murray’s relationship with architects and architecture began early. In 1958, at the very start of his career, he received a commission from a local Saskatoon architect to fashion murals composed of mosaic tiles for a new government building. Barnett Newman collaborated with Murray to create an imagined, or conceptual, synagogue that Newman described as being “organized like a baseball diamond, the rabbi on the pitcher’s mound, the men in the dugouts, and the women in the bleachers.” Murray designed two models for the project, one of which was exhibited at a show at the Jewish Museum in 1963 organized by Richard Meier. And in his native country, the Royal Architectural Institute of Canada awarded him their Allied Arts Medal in 1977. As Lippincott emphasizes, “The award recognizes artists or designers in Canada who create work intended to be integrated with architecture, and Murray was one of the first artists to receive this award for contemporary sculpture.” Both Lippincott and Murray are adept at describing the architectural aspects of the sculptures. Of Murray’s Breaker (1965), Lippincott lovingly relates the structural issues in such a way that the piece can almost be envisioned without seeing it: “[Breaker] consists of two arcs that are almost identical; one extends beyond the other, providing a point of contact with the floor, adding stability to the work and extending its energy.” Because of this book, Murray reputation as a great sculptor will endure. That reputation rests particularly on his public artworks, many of which are positioned with notable works of architecture. But as Murray said to Lippincott, “Until the public starts making it, it’s not public art, it’s private art put out into public situations.” With Lippincott’s fine book, we now have the definitive visual and chronological map for finding Murray’s works and enjoying them in public settings. Murray can be experienced in person on April 7 at the David Richard Gallery, 211 East 121st Street, New York. The gallery will present a solo exhibition of Murray’s large sculptures and two-dimensional artworks, with an opening reception on April 7 at which both Murray and Lippincott will be present. The show runs through May 5.