Search results for "Richard Meier"
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.