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.
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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.
Their work demonstrates an unyielding commitment to place and its narrative, to create spaces that are in discourse with their respective contexts. Harmonizing materiality with transparency, Aranda, Pigem and Vilalta seek connections between the exterior and interior, resulting in emotional and experiential architecture. Mr. Pritzker remarks: “The jury has selected three architects who have been working collaboratively for nearly three decades. Mr. Aranda, Ms. Pigem and Mr. Vilalta have had an impact on the discipline far beyond their immediate area. Their works range from public and private spaces to cultural venues and educational institutions, and their ability to intensely relate the environment specific to each site is a testament to their process and deep integrity.” Mr. Aranda, Ms. Pigem and Mr. Vilalta represent the first time that three architects together are honored with the prize. Their intensely collaborative way of working together, where the creative process, commitment to vision and all responsibilities are shared equally, led to the selection of the three individuals for this year’s award. As the winners of the 39th edition of the Prize, it is the second time that laureates hail from Spain, following Rafael Moneo who received the award in 1996. In response to being named the 2017 Laureates of the Pritzker Prize, Ms. Pigem states: “It is a great joy and a great responsibility. We are thrilled that this year three professionals, who work closely together in everything we do, are recognized.” The locally-based architects evoke universal identity through their creative and extensive use of modern materials including recycled steel and plastic. “They’ve demonstrated that unity of a material can lend such incredible strength and simplicity to a building,” says Glenn Murcutt, Jury Chair. “The collaboration of these three architects produces uncompromising architecture of a poetic level, representing timeless work that reflects great respect for the past, while projecting clarity that is of the present and the future.” As such, an early 20th century foundry has become their office, Barberí Laboratory (2007), and many remnants of the original building have remained, blended with highly contrasting, new elements, which were added only where essential.Last year, Alejandro Aravena won the prize. The Chilean architect, widely accoladed for proposing half houses in his home country that inhabitants completed, was known for his socially-minded approach to architecture. 2015, however, saw the Pritzker judges take a different approach. Instead of choosing a relatively young, innovative architect, Frei Otto from Germany was rewarded for his life's work, notably his tensile structures. Otto died later that year, meanwhile, Aravena, went on to direct the Venice Biennale after receiving his award, capping off a stellar year for him. Other past winners include Zaha Hadid, Norman Foster, Peter Zumthor, SANAA, Rem Koolhaas, Richard Meier, Frank Gehry, Richard Rogers and Phillip Johnson who won the first ever Pritzker Prize. The Prize has been running since 1979. The full announcement is available here.
Richard Meier's new project is for students and teachers in Newark
Keeping it Reel
The best architectural films from this year's Sundance/Slamdance
Despite its recent designation, Philadelphia has had a decidedly uneven record and reputation for historic preservation. Architects who come to the AIA convention will find Center City relatively intact. But other areas of the city are losing historically and architecturally significant buildings at a steady rate, largely due to development pressures and lack of landmark protection.Saving the Columbus Occupational Health Association Columbus, Indiana is a small Midwestern city filled with buildings designed by a who’s who of American architecture including Eliel Saarinen, Eero Saarinen, I.M. Pei, Kevin Roche, Richard Meier, Harry Weese, César Pelli, Gunnar Birkerts, Robert Venturi, Robert Stern, and many others. Now, its 1973 health center, designed by Hardy Holzman Pfeiffer Associates, (HHPA) is for sale. Despite its wealth of modern architecture and a forthcoming biennale, the town has no formal preservation laws, so a sale could mean the destruction or thoughtless modification of this important building. Yale's Beinecke Library is now open The Beinecke Rare Book & Manuscript Library reopened its iconic building in September following a 16-month renovation led by Hammond Beeby Rupert Ainge Architects with Newman Architects of New Haven. Completed in 1963, Beinecke is considered Gordon Bunshaft’s masterpiece. One of the largest libraries in the world dedicated to rare books, its exterior grid of granite and Vermont marble panels are one of the most recognizable designs of that era and remains both inspiring and inimitable. The renovations restored the architectural landmark to its illuminated glory by refurbishing the six-story glass stack tower, preserving the sculpture garden by Isamu Noguchi, upgrading the library’s climate-control system, and expanding classroom space. Developer wants to put glass cubes on landmarked SOM plaza Fosun International, the Shanghai-based owner of Manhattan’s 28 Liberty Street (formerly One Chase Manhattan Plaza), has commissioned SOM to revamp their own classic International Style building and 2.5-acre plaza design. Among its planned changes to the site, Fosun received LPC approval to build three glass pavilions on the plaza that will serve as entrances to below-ground retail. To do this, Fosun needs to make changes to the site's deed, a move that many preservationists say will disrupt the integrity of Gordon Bunshaft's original vision. Both the International Style building and plaza were designated a New York City landmark in 2009. SOM is updating the tower’s office space and plaza and reintroducing original details lost in prior renovations while transforming approximately 290,000 square feet (four floors) of basement space into retail. (AN first covered the design proposal, and ensuing controversy, in July.) With new rules regarding deed changes now in effect, it remains to be seen how—or if—these glass pavilions will be built. Stop the Pop "After the rollout of #StopThePop campaign last June, what actually popped to the surface was less a discussion about preserving architectural landmarks, and more a social media–facilitated debate regarding what constitutes good taste."
Leaving the Big City
Goodbye New York: AN picks the best projects outside the Big Three
Richard Meier, Rafael Viñoly, and KPF will each design a tower in this Manhattan development
Exhibit Columbus kicks off with public symposium
Young design firms move into the Monadnock building
Among Chicago architects, the Monadnock Building is an icon. The tower is a product of the Chicago School, half designed by Burnham and Root and half by Holabird & Roche, built in two phases. Yet it is unlike any of its contemporaries. To start, its older southern Burnham & Root half is a masonry structure, the tallest in the world. And though the southern half, built three years later, is a more typical steel structure, the similarities to other 1890s Chicago buildings end there. Notably, rather than the ubiquitous center atrium of most Chicago School builds, the Monadnock has a thin interior pedestrian street, complete with old-timey shops. The upper floors of pint-sized offices are mostly filled with attorneys and the occasional private detective, yet a few small architecture firms have set up shop in this enigmatic structure.
Among the half dozen or so practices in the building, an even smaller contingent is in their first official office spaces. For them, the move from the dining room table to a downtown high-rise was an important step in establishing their practice in the city. An added benefit has been the growing community of critical practices under one roof. Norman Kelley and Design With Company share a small office on the 12th floor, with just enough room for each to have an intern or two at any given time. Three stories below, PORT Urbanism makes epic master plans in a 300-square-foot office. The highly experimental Weathers and MANA Design/Protostudio also call the building home.
“The space complements our life,” said Stewart Hicks of Design With Company. “Before, working out of our home, there was no separation of work and life. Not that we ever stop working, but now we can walk here, and we are a short distance from the University of Illinois at Chicago where we teach. It is also just easy to find someone in the building to talk to, and bounce ideas off of.”
Having an office in the 125-year-old Monadnock is not without its drawbacks, though. The depth of the offices is governed by the distance from the central hall to the building’s envelope, only around 15 feet. Though affordable, the often-tiny offices leave very little space for producing. MANA Design/Protostudio and Weathers find themselves limited by space, unable to produce the models and prototypes with which they often work. To deal with the lack of space, the offices rely on connections they have to universities, shared spaces, and a series of specialized fabricators. Design With Company often calls upon stage-scene fabricators to build installation pieces, as it has found scene builders to be more accustomed to the scale and precision the models demand. Some of the unique benefits of the building include operable wood-frame windows and classic hand-painted doors straight out of a film noir.
Each of these firms flies steadily under the radar in a city dominated by many of the largest corporate firms in the world. Only a few blocks away, the Motorola Building, formerly the Santa Fe and Railway Exchange Building, is occupied by Skidmore, Owings & Merrill, Stantec, and Goettsch Partners. Despite its lower profile, the Monadnock crew has recently seen a great deal of critical and popular success. Norman Kelley was responsible for one of the Chicago Biennial’s most popular submissions, Chicago, How Do You See?, an expansive vinyl window treatment on the front of the Chicago Cultural Center. Its new Aesop skin care storefront has also garnered international attention. Along with its own contribution to the biennial, Design With Company was responsible for a playful forum-like installation at Design Miami for Airbnb. PORT’s projects tap into a very real idea of “make no small plans.” Its submission to the biennial, The Big Shift, raised ire among mainstream media critics, but thrilled visitors. Both Sean Lally, the head of Weathers, and Norman Kelley were recipients of the coveted Rome Prize, joining the likes of Richard Meier, Charles Moore, Michael Graves, and Stanley Tigerman. The more established KOO, also in the building, was recently given the go-ahead from the city to move forward with a new hotel on Navy Pier.
The Monadnock represents the possibilities of Chicago architecture, from its original soaring masonry ambitions to some of today’s most experimental young practices. If there is an argument to be made about the power of space and adjacency, the Monadnock may just be the model to prove the point. Expect more exceptional things from this exceptional building.