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"This Incandescent Wound"
Dominique Perrault reflects on the Notre Dame Cathedral fire
Notre Dame, the heart of the heart of Paris, treasure of the Île de la Cité, has just suffered one of the most trying moments in its long history. Across all lands and cultures of the world, this drama leaves us speechless, touching the hearts and arresting the gaze of everyone. It reminds us all how much architecture, and indeed every artifact, is a fragile thing. Notre Dame is now tragic proof that the preservation of our rich built heritage, of the tangible traces of the great heights of craftsmanship that have been achieved, wherever they may be, is indispensable. This incandescent wound also reveals the emotional dimension carried by architecture and how its universal cultural value, its unique symbolic force, and its mythical dimension nourish the arts, literature, and every individual’s own, personal geography.
Notre Dame is an absolutely unique place, at the heart of the Île de la Cité, from Roman Lutetia to Greater Paris, a land unto itself. This disaster has aroused an immense wave of emotion in the hearts of architects who every day are building and rebuilding the history of architecture.
Tasked in 2015 with conducting an in-depth study of the means of ensuring the continued urban centrality of the Île de la Cité, in collaboration with Philippe Belaval, President of the Center for National Monuments, this event leaves me particularly heartbroken. We made this “island monument," included on UNESCO's World Heritage List, the focus of innovative research and experimentation concerning the island’s future that was open to the participation of the public.
The rebuilding of Notre Dame will be an extremely delicate undertaking, and we must not allow ourselves to be discouraged by the irreversible loss of the medieval ribbed roof, also known as “the forest." Our heritage is a sedimentation deposited across the ages, with practically every century leaving its imprint on the cathedral. “Every wave of time superinduces its alluvion." It will have to be rebuilt, and without altering the substance of its heritage.
Therefore, we are compelled to completely review our relation to our heritage and to believe in its capacity for resilience. Notre Dame must be made to live again, and the best way to protect it is to see it through a vision of the future, which, through beauty, will transcend a simple restitution.
Finally, the unique energy of this place must be marshaled to restore to it an even more powerful presence, a wider resonance, transfiguring, amplifying, and exalting it into something else. The stakes regarding the future of this monument are unique. For Notre Dame and its island must once again incarnate the beating heart of a city that has become a vast metropolis. A most fascinating challenge indeed.
Dominique Perrault, Architect, Member of the Institut de France
Although the Office of Metropolitan Architecture (OMA) has been in business for decades and keeps a steadily growing constellation of offices around the globe, the firm has, until recently, had a relatively modest profile on the American West Coast.
But things are changing. As West Coast cities pursue new building efforts—including new neighborhoods, ecologically sensitive public parks, and experiments in multiuse complexes—OMA’s brand of frank intellectualism has slowly found a preliminary foothold in California.
The firm’s expanding Golden State presence includes a recently completed urban master plan for Facebook’s Willowbrook campus in Menlo Park, a residential condominium tower in San Francisco, as well as a trio of inventive projects in Los Angeles. Over the next few years, these projects are poised to join the Seattle Central Library and the Prada Epicenter Los Angeles, both from 2004, OMA’s only completed West Coast projects to date.
The latest westward push represents an ascendant energy emanating from the firm’s New York office, where OMA partners Jason Long and Shohei Shigematsu lead many dynamic projects taking shape across the continent and in Japan. When asked if a new California outpost was in the works for OMA, Shigematsu replied, “It’s always been a dream of ours,” before adding that current conditions were favorable but not exactly right for a potential OMA West branch. “Maybe if we get more projects out here.”
First and Broadway Park (FAB Park)
Also created in collaboration with Studio-MLA, the new First and Broadway Park in Los Angeles is set to contain a playful 100,000-square-foot retail, food, and cultural programming pavilion that anchors the ecologically sensitive park. The pavilion will be capped with an edible rooftop garden and a dining terrace that overlooks L.A.’s City Hall.
Along the ground, the park will be wrapped with ribbons of bench seating, elements fashioned to create interlocking outdoor rooms and plazas surrounded by native oak and sycamore trees. Water-absorbing landscapes around the seating areas are designed to harvest and retain rainwater while solar collection and a “Golden California” landscape lend the project its ecological bona fides.
The Avery (Transbay Block 8)
Related California’s crenelated 575-foot tower, known as The Avery, is part of a larger development created in conjunction with Fougeron Architecture for a blank site in downtown San Francisco’s bustling Transbay District.
For the project, the designers have carved a generous paseo through the buildable envelope for the site, creating a new retail and amenity plaza while also lending a tapered look to the 55-story tower. The gesture animates views for a collection of condominiums, market-rate apartments, and affordable housing units while also bringing sunlight down into the paseo and to the mid-rise block designed by Fougeron. Currently under construction, the tower is expected to open in 2019.
Audrey Irmas Pavilion
The Audrey Irmas Pavilion is the firm’s first cultural and religious project in the region. The trapezoidal building shares a site with the Wilshire Boulevard Temple and is made up of three interlocking volumes that connect to the outdoors via a sunken rooftop garden designed by landscape architecture firm Studio-MLA. An arched portal connects to a shared breezeway between the pavilion and the temple, which is framed by the leaning pavilion. The latter was designed with a pronounced slant both out of deference to historical structure and to illuminate the courtyard.
Referencing unbuilt proposals for Universal City and the L.A. County Museum of Art, Rem Koolhaas, OMA cofounder, said, “[The Pavilion] is part of a very consistent effort to do things here. It’s exciting if one thing happens to succeed, because architecture is a very complex profession where maybe a quarter of all attempts get anywhere.”
The Plaza at Santa Monica
Shigematsu explains that one concern driving the firm’s California projects involves delving into the region’s rich history of indoor-outdoor living. The approach is fully on display in The Plaza at Santa Monica, a 500,000-square-foot staggered mass of interlocking buildings intended to create a new mix of public outdoor spaces.
With a cultural venue embedded in the heart of the complex and ancillary indoor and outdoor public spaces laid out across building terraces, the complex aims for a unique take on the regional indoor-outdoor typology. The building is set to contain offices, a 225-suite hotel, as well as a market hall and public ice-skating rink.
UCLA hosts symposium for Mark Mack's retirement
Time for an Upgrade
Giant expansion coming to LAX as L.A. prepares for 2028 Olympics
Denise Scott Brown dubs herself "architecture's grandmother"
What is a facade?
Doriana and Massimiliano Fuksas contemplate the emotions behind architecture at Facades+ New York
Handing over the program to the state, and, in particular, Westchester and Long Island in the case of the Traffic Mobility Board, has riled up online transportation activists, who feel the congestion plan was a move by the state to take more control of NYC’s streets. Because the Traffic Mobility Board members are appointed by the MTA, they have the discretion to reject the mayor’s appointees. With so much of the plan still left to be filled in, the earliest that drivers can expect to begin paying is the end of 2020, if not sometime in 2021.
Any way you cut this, the state just got *a lot* of influence, far more than the city, in managing NYC traffic. https://t.co/bt7ZE20F5k— Aaron W. Gordon (@A_W_Gordon) March 31, 2019