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! Patrik Schumacher sues to become sole executor of Zaha Hadid’s estate Seeking to oust the other three executors of Zaha Hadid's $90 million estate, Schumacher has filed a claim with London's High Court. Björk announces new show for The Shed in New York City Icelandic pop pioneer Björk will be world premiering Cornucopia at The Shed, the cultural institution set to open in Manhattan's Hudson Yards. Michael Graves Architecture completes the world’s tallest statue The nearly 600-foot-tall Statue of Unity in Gujarat, India, depicts Sardar Vallabhbhai Patel, an integral figure in the independence movement. Atlanta council members green light controversial $5 billion Gulch project Last Monday, in a midnight vote before election day, the Atlanta City Council approved a proposal to redevelop “The Gulch,” a 40-acre swath of the city. AIA outlines 6 key post-election issues to pursue with new Congress Following last week’s midterm elections, the AIA held a “Post-Election Debrief” to outline six key issues it’s set to focus on with the new U.S. Congress. That's it; have a great weekend!
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Washington's Technicolor Dream Coat
MVRDV's first U.S. project breaks multicolored ground at the top of Manhattan
A flash of rainbow is set to touch down in Manhattan’s Washington Heights, as MVRDV’s first project in the United States broke ground earlier today and released a swath of new renderings. The technicolor 22-story Radio Tower & Hotel will be sure to stand out for better or for worse once it’s finished, as it’s springing up in a neighborhood mainly known for blocks of low-slung, turn-of-the-century brick Renaissance Revival–style buildings. Rotterdam-based MVRDV is no stranger to stacked, staggered, and carved forms and bright splashes of color, and from the renderings, it appears that Radio Tower will keep true to that tradition. The mixed-use tower, described by MVRDV as a “vertical village,” was designed to “pull” office, residential, and hotel space off of the ground level and onto a single building. Each of the staggered volumes, about the size of a typical building in the neighborhood, has been assigned a different color and corresponding unique use. For instance, the horizontal blue box at the tower’s center will be reserved for event space. The 234,000-square-foot building is set to rise at the base of the Washington Bridge on 181st Street and Amsterdam Avenue, right where the street grid drops off into Harlem River Park. Because the site is at the edge of the Harlem River and none of the adjacent buildings come close to reaching the same height, Radio Tower should contribute significantly to Washington Heights’ skyline. MVRDV has used colored ceramic brick for the building’s facade, and the firm states that the color of each box is a reference to a typical fixture in the predominantly-Hispanic neighborhood—a design diagram cites brick, murals, supermarket and bodega canopies, and local restaurants as informing their palette. The staggered massing will also preserve views for residents and guests, as well as carve out rooftop terraces atop each of the volumes. A coffee shop and community garden in the building’s communal internal courtyard will be open to the public, as MVRDV has wanted to create both a “welcoming beacon for people entering Manhattan” as well as a community amenity. Still, it remains to be seen how the Washington Heights community will react to the announcement. A proposed rezoning of Inwood a bit further north drew furious protests from uptown residents, as has the Columbia University Medical Center’s previous expansion plans. No information on the affordability of the complex's residential portion has been revealed as of yet.
Like a Diamond
Daniel Libeskind designed a Swarovski star to top the Rockefeller Center Christmas tree
Swarovski Crystal first announced that it had chosen Daniel Libeskind to overhaul the iconic Rockefeller Center Christmas Tree star back in May, and the massive ornament was swung into place early this morning. Libeskind, no stranger to projects with jutting angles, designed a spherical crystal bonanza, radically updating the original, two-dimensional Swarovski star (which hadn’t seen a design change since its original unveiling in 2004). While the previous star was large—nine-and-a-half feet in diameter by one-and-a-half feet deep and decked out in 25,000 crystals—Libeskind's is even bigger. The new star is a radiant ball made up of 70 triangular spikes, completely covered in three million Swarovski crystals, and measures nine feet and four inches in diameter. Each spike is attached to its own light, and the electrical component forms the core of the star. When fully lit up each spike is meant to glow from within, with the light ultimately refracted by the topper’s crystal facade. All told, Libeskind’s star weighs 900 pounds, easily dwarfing the previous 550-pound version. Libeskind met with Nadja Swarovski, a member of the Swarovski executive board, in Rockefeller Plaza to watch the star-raising ceremony this morning. “The new Swarovski Star for the Rockefeller Center Christmas Tree is inspired by the beauty of starlight,” said Libeskind, “something that radiates meaning and mystery into the world. The Star is a symbol that represents our greatest ambitions for hope, unity, and peace. I am tremendously honored to collaborate with Swarovski on the Star, and with the entire design team, to bring cutting-edge innovation and design to crystal technology.” The Star Boutique, a 200-square-foot Swarovski popup also designed by Libeskind, will open later this month in Rockefeller Plaza. The interior and branding will all reference the crystalline form of the star itself, and a life-size replica of the Rockefeller Center Star will be on display outside for guests to examine close-up. This year’s Rockefeller Center Christmas Tree lighting ceremony will take place on November 28.
Swedish photo museum plans its first New York City outpost
The Church Missions House, a historic, Renaissance revival building located at 281 Park Avenue South in New York City, will soon be the new home of Fotografiska. The Stockholm-based photography museum is scheduled to open an outpost in New York in spring 2019. The organization has chosen New York–based CetraRuddy to lead the design makeover and restoration of the landmarked space. Other collaborators on the project include Roman and Williams, which will design an avant-garde restaurant and bar on the second floor, Higgins Quasebarth & Partners, which will preserve and restore the stained-glass windows and limestone and granite facade of the building, and Linq, a tech firm that will design a multi-sensory experience for visitors using flavor, scent, and art. Fotografiska, which views sustainability as a core part of its philosophy, strives to use the power of photography to leave a significant impact on the world. “By following our vision of inspiring a more conscious world, we aim to raise the level of awareness and question what we eat, drink, and take for granted—nudging society towards more sustainable habits,” states Fotografiska on its website. The six-story Church Missions House building will further enhance the cultural significance of Fotografiska and the surrounding Gramercy neighborhood. Built toward the end of the 19th century, the extravagant facade embodies an era in which New York City became a center for art, architecture, and creativity, and it has housed numerous offices and non-profit organizations in the years since. The building is also recognized for its role in the Anna Delvey story, where in 2017, the New York City socialite was arrested on six charges of grand larceny for trying to swindle her way into owning the building by scamming wealthy business acquaintances and hotels. The building’s Italianate style is evident in its arched windows, elegant columns, and decorative enrichments—including elaborate cornices and balustrades. Although the building is located in the midst of lofty skyscrapers and bustling city blocks, it conjures images of the elegant Italian villas of the Renaissance, while at the same time providing the city with valuable restaurant, gallery, and exhibition space. As swaths of Midtown Manhattan continue to disintegrate beneath the rapidly expanding, corporate-run metropolis, the landmark building at 281 Park Avenue is becoming more prominent than ever before. “We have been looking for the right New York location for a while, and the Park Avenue South space is a great opportunity for us to finally start to change the world in the spirit of Fotografiska,” said Geoffrey Newman, project manager and shareholder of Fotografiska New York, in a recent press release.
Another Rail Yard Story
Atlanta council members green light controversial $5 billion Gulch project
It’s official. Atlanta is about to take on one of the most ambitious and controversial building projects in its history. Last Monday, in a midnight vote before election day, the Atlanta City Council approved a $5 billion proposal to redevelop “The Gulch,” a 40-acre swath of sunken rail yards and parking lots in downtown Atlanta. Thanks to the decision, CIM Group, the Los Angeles-based agency that’s been eyeing the site for some time, will now likely receive a large government subsidy as the sole bidder on the project. CIM’s big plans for The Gulch came to light last November when people started speculating the meaning of an impact fee assessment filed with the city that month, which proposed the redevelopment of over 10 million square feet of publicly-owned land next to the Philips Arena. Over time, it became evident that CIM, a company founded by the brother of Atlanta Hawks owner Tony Ressler, was responsible for the filing and wanted to offer The Gulch to the city as part of Atlanta’s bid for Amazon’s HQ2. Despite news that Amazon will definitely not be coming to Atlanta, it seems that CIM’s plans to revitalize The Gulch are still underway. The scope of the project is nearly unparalleled, comparing only in size to Manhattan’s 28-acre Hudson Yards neighborhood and CIM’s 27-acres Miami Worldcenter development. Within The Gulch, the developer aims to create 9 million square feet of office space, one million square feet of retail, as well as room for residential and hospitality. The “mini city within the city” will sit atop a podium of parking garages and connect with a new grid of streets and parks. It could include more than a dozen new buildings, completely reshaping the city’s skyline. Newly-elected Mayor Keisha Lance Bottoms is a large supporter of the project. Leading up to last week’s vote, she started a massive campaign to “Greenlight the Gulch,” asking for the public and the city council to approve the around $1.9 billion subsidy package for the private project. In a tight 8-6 vote, her plan won out. Though the government is now on board, many locals aren’t game. Critics of the project say the area should be dedicated to a new transit hub (an idea that started in 2012), while others argue that an increase in luxury housing will raise rents and property taxes in low-income communities near downtown. While Bottoms's proposal requires CIM to build at least 200 units of affordable housing within The Gulch and invest $28 million into a citywide trust fund for affordable housing, some still hope for a better deal. Many say the process for approvals has been rushed and the public hasn’t gotten enough say. Since CIM’s plans were unveiled last year, things have moved at an unprecedented speed. Even opponents seem eager to build something in The Gulch, but only if it benefits the city, not the just owners who develop it. Given CIM’s large-scale goals for the site, this will be a fight with the public for decades to come.
Sounds of Silence
These acoustic solutions will silence even the noisiest offices
Stuck in an office with noisy desk mates? Raging brainstorming sessions? Over-enthusiastic lunch meetings? When sounds disturb your workflow, acoustic solutions can make all the difference. Designed to absorb noise and separate spaces (acoustically and sometimes spatially), this mix of office furniture will make the sounds from the conference room go from noisy to hushed.
BuzziMood BuzziSpaceIt’s alive! American designer Cory Gross collaborated with the Belgian furniture purveyor on a noise controlling green wall system that doesn’t have to be watered, ever. Clothed in reindeer moss, the wall panels naturally absorb sound and simultaneously assimilate water from the air. Even better, you can mix and match seven different geometric shapes to create designs with two moss colors in a powder-coated metal frame, which can be painted any color under the sun. Jetty Table Abstracta Tired of sharing spaces with noisy coworkers? Unlike like typical large tables whose hard tops actually amplify noise, Jetty features a tabletop made of several layers that soak up sounds. Unusually large, the table is available in two titanic lengths: eight and fifteen feet. Island Wall System Rockfon Curtail noise in spacious spaces! Containing up to 41 percent recycled content, Rockfon’s stone wool wall panels absorb sound and diffuse light. The smooth surfaces actively reflect light and absorb sound in large, open spaces (e.g. lobbies, atriums, reception areas, etc.). Ideal for renovations and new projects alike, the panels can be installed in various sizes to make custom configurations. Gazebo Nienkämper Ever wish you could work outside? Employees can seek refuge in Nienkämper’s indoor “gazebo.” Outfitted with biophilic acoustic wall panels and wooden ceiling slats, the enclosed space is perfect for private meetings or individual retreat. Paravan Arper Last week at Orgatec in Cologne, Germany, Arper debuted the Paravan collection, a series of colorful modular partition walls. Creating a space for meetings, dining, and other purposes somewhere in between, the collection not only absorbs sound but defines space. Available in three curved and straight sizes, the panels can be arranged in endless configurations to foster privacy or collaboration. Philips Large Luminous Surfaces Soft Cells by Kvadrat Pairing Philips LEDS and Kvadrat textiles, these large surfaces control noise and provide ambient lighting. Comprising a multi-colored LED swathed in a textile panel, the system is available in standard as well as custom sizes and can be used individually or in groups. Outfitted with digital connectivity, Philips Luminous Textile Panels can be remotely controlled and managed by smart building systems. Vee Q Design for Allermuir Enclosed by a sound absorbing partition, this chair is an inviting place to work with built-in USB and electric ports, as well as under seat storage. Be it a traditional finance office with tufted chairs, or, perhaps, a slick technology start-up in a We Work-style open-office plan, Vee can fit in contemporary and traditional spaces alike. Allermuir offers a range of colored upholstery from the most sumptuous textile names, including Kvadrat and Maharam.
Slab LED Baffle TurfMade from 99 percent recycled felt, Turf’s LED lighting system actively absorbs sound. The slabs can be installed in a mix of both felt and LED-lit configurations, creating a landscape of sound absorbing ceiling tiles. Available in a range of warm and cool hues, the felt is accentuated by a pleasing heathered effect. Sponsored Product: Accurate Lock
SilentPac by Accurate is a suite of acoustically engineered door hardware designed to soften noise from opening and closing doors, ultimately resulting in more peaceful and quiet environments.
Nature as a model for architectural forms has been mimicked as imagery since the first archetypal building, and now, natural biological systems are reaching a heightened interest in emerging fields of architecture, science, and material structures as biomimicry. In Metamorphosis of Plants, Goethe’s scientific understanding of “dynamic archetypes” focused on transformation and evolution rather than fixed forms and species – notions undeniably reimagined in the adaptive system of variant cellular structures and surfaces of Jenny Sabin Studio’s LUSTER. Rather than imitating nature, scaling up data or images found in nature, a canopy structure is created through an understanding of morphology relationships between generative and computational design. Building on her previous collaborations with biologists, Sabin’s representation of nature, as in in Sir D’Arcy’s “On Growth and Form,” is recast using 3d seamless knitting developed with Wholegarment technology. As an engaged visitor immersed from dusk to nightfall in Sabin’s knit structures at House of Peroni New York debut exhibition of LUSTER curated by Art Production Fund, variable instances of growth are staged, playing out in a luminous performance of surfaces, rising and falling, as if inverted stalagmites captured in-formation. Like Goethe’s “sensuous dynamic archetype,” Sabin’s co-evolutional structure and materiality is animated by an opening and closing cellular system, distressed and stretched into unique yet familiar shapes. The systematized fabric sprouts a second life with striation patterns coming alive in alternating light and color transformations, where, one by one, photoluminescent knit fiber links are activated to release light. Sabin’s sensory and material choreographies create haptic desire. They set up responsive behaviors between the naturally swaying textured archetype and the human body, finding semblance in Tropos, Ann Hamilton’s topography of irregular patterned variegated horse-hair fibers’, or more closely in habitus’s gigantic hung textiles twirling in perpetual motion to the sound of their own mechanism. Moving beyond the organic, Sabin’s ethereal fabric surfaces dislodge the static experience to engage the body as perceptual devices - a testimony to human curiosity, sensory indulgence, and bodily silhouettes. Similar to spherulite formation in crystalline cell structures that start as circular forms and collide and transmute into morphing geometries due to different growth rates, Sabin’s geometric assembly of parts to whole appear as mutations of the circle. Each part, either growing slowly in the canopy above, or rapidly descending as a figure hovering above the ground. Moving away from masculine, formulaic, cartesian space that relies on mathematical principles, Sabin refers to more feminine, systemic, network assemblies that don’t follow a rigid order. The porous, soft, intimate nature of the knit engages the visitor’s desire to touch and peer into. Non-programmed openings generate organic distribution of holes, giving the cone’s structures a degree of autonomy. Sabin’s approach blurs the boundary between the objectivity of science and subjectivity of our perception. Originally an error in the calculation of density of holes, a tightly stitched ring around each individual hole produced “knots,” offering added rigidity to the overall forms and becoming a design parameter to eliminate unwanted sagging. Soon to be transported to 3 distinct environments and contexts, perhaps LUSTER’s most transformative power aims beyond its luminous essence through its formally responsive capacity for site-specific conditions. Adjustable distribution tension in the nylon webbing that supports the stretchy knit surfaces, along with zipper seam joints in areas that anticipate alternate configurations, the adaptive nature is masterfully built into her piece - transforming as a whole through its parts. House of Peroni’s 1-day lifespan installations and local artist interventions curated by Art Production Fund, incite visitors to witness how this ephemeral canopy might yield reincarnations of itself as a responsive archetype. From New York’s West Village industrial building at the edge of the Hudson river, to a converted indoor/outdoor warehouse in Los Angeles, an exterior waterfront space in Miami, and historic property in Washington, perhaps this project’s greatest luster is achieved by remaining in flux, shifting our perception of light and space as if the knitting machine was compelled to stop at its own intrinsic interval of time, capturing the beauty of the unfinished work of nature. Exhibition dates and collaborating artists: Nov. 8th.: Jeanette Getrost, Los Angeles; Nov. 14th: Michelle Weinberg, Miami; and Nov. 28th Lu Zhang, Washington.
Drawing on Experience
Johnston Marklee completes the Menil Drawing Institute in Houston
The latest addition to the Menil Foundation’s sprawling 30-acre campus in Houston is now complete. The Menil Collection will welcome the opening of the Menil Drawing Institute on November 3, on a Michael Van Valkenburgh Associates-designed landscape that ties the new building to the existing collection’s grounds. Johnston Marklee’s $40 million Drawing Institute is opening a year later than originally expected due to construction delays. The low-slung, 30,000-square-foot building might appear simple—a single-story collection of rectangular volumes and three open-air square courtyards—but the highly-specific technical details contributed in part to the postponement. On a recent tour of the building by the Houston Chronicle, the extremely-thin metal roof, precisely-angled ceilings, all-custom furniture, and vertically-veined marble in the bathrooms were singled out as examples of Johnston Marklee’s attention to detail (and the lengthened schedule) paying off. The Drawing Institute is the first freestanding space specifically built to study, conserve, and display contemporary and modern drawings, and is the Collection’s first new building in 20 years. The Institute’s 3,000 square feet of gallery spaces will be inaugurated with a 50-year retrospective of Jasper Johns’s work titled The Condition of Being Here: Drawings by Jasper Johns. The Condition of Being Here will be on display until January 29, 2019, and like the other four buildings in the Menil Collection, admission to the Drawing Institute will be free. In the construction photos released today, completed pieces of the painted-steel roof, only 4.5 inches thick at the courtyard canopies, can be seen being swung into place. The roofs of the three courtyards open in the middle, exposing each landscaped area to the sky and providing a controlled moment of respite for visitors. The inward slant of the canopies redirects water into the courtyard, where it can be sequestered in the same way as in a bioswale. Resiliency and structural flood prevention were also given a high priority in the new building, especially relevant given the impact of Hurricane Harvey on the city last year. A below-ground art vault was installed to protect the Institution’s archives from water damage, and it includes a waterproof drainage layer sandwiched by two 12-inch-thick concrete walls, as well as floodgates at the vault’s entrance. A concrete curb was also installed at the ground-level slab to protect against flooding in the first-floor galleries. Interested in exploring Houston’s art scene even further? After a tour of what the Menil Collection has to offer, visitors can check out the recently completed Transart building across the street.
Sasaki has designed a 180-acre masterplan in Central Florida for what it's calling the “Central Park of Lakeland.” Bonnet Springs Park, situated between Tampa and Orlando, is set to become a major cultural magnet and an ecological jewel of landscape design in the state. The massive site, which is being privately funded by a pair of local philanthropists, has sat vacant for over 30 years and gone through numerous attempts to reuse it. Now, the over-100-year-old former rail yard is being officially transformed with a vision from the Boston-based planning and design consultancy. By restoring the site's natural ecosystems and removing any harmful contaminants from its days as an industrial throughway, Sasaki will revitalize the land into a mega-park that’s safe for all ages. Because 84 acres of the abandoned brownfield contain arsenic and petroleum hydrocarbons, the team plans to stockpile the toxic materials into large, undulating hills, completely altering the land's topography. The architects will also remove invasive exotic plants and construct wetlands and bioswales to treat stormwater runoff. Four new buildings will also be constructed for the park, including the “Bridge Building,” which will be set between two man-made hills and house a children’s museum. Overlooking Lake Bonnet, a nature center will feature classrooms, an exhibitions space, a café, and a boat rental facility so visitors can learn more about the parkland and the freshwater lake itself. An events center and welcome center will additionally be built out for weddings, corporate events, and other large-scale gatherings. An extensive network of walking and biking trails, as well as a sculpture garden and canopy walk will be incorporated into the park’s design as well. This huge community undertaking, backed by a 20-person advisory committee of local advocates, underscores the town's collective dedication to its fast-growing population by providing a new connection to nature and play. Sasaki and the Bonnet Springs Park Board aim for construction completion in 2020.
Like Chilean Miners...
AN interviews six emerging designers to watch
Who are the names you need to know? Who are the designers to watch? These six up-and-coming talents in architecture and design should be on your radar. Alda Ly New York City Alda Ly likes a good piece of custom millwork. “I like to think about the purposefulness of each cut,” she says. Her namesake practice is built around a similar mission. “We’re pursuing end-user research to develop a more human-centered approach with our designs.” For Ly, both qualitative and quantitative data are imperative to design spaces that break the molds of conventional architectural programs. She designed the Wing’s private women-only professional clubs for flexibility, knowing that users might be recording a podcast on one day, and on another, working solo on their laptops. In this way, she sees herself beholden not only to the client, but also to the client’s stakeholders. Ly has made a name for herself by designing shared spaces, from incubators to offices and apartments. Most recently, the firm designed Bulletin, a store merchandising products from female-led brands that features a social area and a venue for live programming. “There are an infinite amount of situations you have to plan for, but a key point is knowing how to make people feel comfortable.” –Jordan Hruska Brian Thoreen LA/Mexico City “I didn’t really know what I was doing,” said Brian Thoreen. Reflecting on the first show where he unveiled his namesake furniture company at the Sight Unseen outpost during Collective Design in 2015, he admitted: “I was thrown in the deep end—I didn’t even know how to price the pieces.” Since then, Thoreen has gone on to show his works several times at Design Miami, create custom commissions, and be the subject of the first solo exhibit at Patrick Parrish. All of this was born out of his new focus on furniture and a recent move to Mexico City—both of which he was able to fully commit to after leaving his L.A.-based architecture practice, Thoreen+Ritter. In the context of “being somewhere else,” Thoreen now finds himself collaborating with local artists, including Hector Esrawe and Emiliano Godoy on a sculptural series of metal furnishings accentuated by hand-blown amorphous orbs of glass. The material will continue to be at the heart of his future work in a new studio, which he formed with Esrawe and Godoy to continue to collaborate their collaboration on glass and metal projects. As for his own studio, Thoreen also plans to design installations, spaces, and architecture where he can continue work with local artists. –Gabrielle Golenda CAMESgibson Chicago CAMESgibson is a Chicago-based partnership between Grant Gibson and the fictitious late T.E. Cames. Gibson, also a professor at the University of Illinois at Chicago (UIC) School of Architecture, works at multiple scales, from small residential rehabs to a popular community arts center. The practice is not limited to conventional built work. Some of the office’s exhibition work includes a 20-foot-tall quilted column installed in the Graham Foundation foyer and a skyscraper design in collaboration with Skidmore, Owings & Merrill at the 2015 Chicago Architecture Biennial. In each of its projects, a playful sensibility fills spaces with color and soft forms. A recent project involved converting a laundry room into a cool ethereal lounge for the UIC basketball team. Deep blue tones and carefully controlled lighting brand the space instead of the typical kitschy, logo-laden locker rooms of most teams. It is this approach to cleverly transforming spaces, whether they are institutional or private, that sets CAMESgibson apart from the average small practice. –Matthew Messner Material Lust New York City Partners in life and partners in practice, Lauren Larson and Christian Lopez Swafford are indifferent to mass production timelines and trends. Together, they work with artisans to conjure otherworldly objects that cross the boundary between sculpture and decorative art, producing a series of furniture with true grit. Known as Material Lust, their Lower East Side-based company was officially established in 2014 but began long before that. It has been producing works that reflect the historical context of design, including the Alchemy Altar Candelabra inspired by pagan and alchemical symbolism; and the Fictional Furniture Collection of gender-neutral, monochromatic children’s furniture inspired by surrealism. Now the pair is venturing into lighting with their new sister company, Orphan Work. As the story goes, it began when they found lost designs from the Material Lust archive and after they visited Venice’s Olivetti Shop, by Carlo Scarpa. The result? A collection that is somewhere between Scarpa’s richly layered forms and the couple’s unapologetically “metal” aesthetic, with nods to both the musical genre and the material itself. –GG MILLIØNS Los Angeles Los Angeles–based MILLIØNS dubs itself an “experimental architectural practice” that liberally explores space-making as a “speculative medium” that can be manifested in any number of objects, structures, or experiences. Founded by Zeina Koreitem and John May, the growing practice recently designed a communal wash basin that aims to reintroduce shared social interactions into the act of bathing for an exhibition at Friedman Benda gallery in New York City. In the show, a 3-D printed mass reveals itself as a fluted drum containing a sink and a slender, brass spigot that is approachable from all sides. Though better known for writing heady treatises and engineering glitchy, digital media works that use televisions and closed-circuit cameras to create new spatial dimensions, MILLIØNS has some more grounded works on the way. A forthcoming, Graham Foundation–supported exhibition designed and curated by the duo that aims to revitalize the experimental spirit of modernist housing, for example, is headed to L.A.’s A+D Museum early next year. MILLIØNS also has several brick-and-mortar projects on the way, including a retail storefront in Manhattan and a lake house in upstate New York. –Antonio Pacheco Savvy Studio NYC/Mexico City Savvy Studio, an interiors and branding firm with offices in New York City and Mexico City, has been busy this summer with an array of projects popping up in New York. It has just launched a Tribeca seafood restaurant (A Summer Day Cafe) which features a beachy interior with light woods, primary-colored metal accents, and of course, nautical stripes. The studio also redesigned Alphabet City mainstay Mast Books using plywood to elevate the space, making it a “gallery of books, rather than simply another bookstore.” And by combining interior architecture with visuals befitting a fashion campaign, Savvy Studio developed branding language, communications, and interiors of the rental offices and showrooms for the Mercedes House, a Hell’s Kitchen luxury condo designed by TEN Arquitectos. Founder and creative director Rafael Prieto points out that there are “no specific boundaries” between branding and interior design. “The reason we do both is based on our interest in creating and designing experiences, and being able to make an impact in every interaction.” For Savvy Studio, their multifaceted practice is about making sure each space or branded element is simultaneously “emotional, aesthetic, and functional.” –Drew Zieba
Send in the Clouds
Tony Oursler's Tear of The Cloud activates a Riverside ruin
In multimedia artist Tony Oursler’s site-specific installation Tear of The Cloud, commissioned by the Public Art Fund (PAF), five video projections converge onto the gantry of Manhattan's landmarked West 69th Street Transfer Bridge and its surroundings in Riverside Park. The images that unfold at the banks of the river comprise a nodal network of symbols, texts, and figures from both reality and myth to establish a vertiginous system of ideas and themes that illuminate the complex and still-evolving past of the Hudson River Valley. The histories and historiographies of this region have been a site of recurrent interest for Oursler since his first mature efforts in the early 1980s. Illuminated by a flowchart designed by the artist and displayed on one of the five projection booths that surround the gantry, the subjects of the video sequences range from the Headless Horseman to Timothy Leary, Morse code, the 19th-century utopian community Oneida, digital facial recognition technology, and the Manhattan Project. Approached from the south, dreamy music accompanies the crouched bodies of various youths crawling across the trusses slanting into the water. This soon gives way to the disembodied faces of various actors reciting characteristically enigmatic phrases written or found by the artist. To the right, a weeping willow gently bends toward the river, its swaying branches animating a montage of sequences projected onto its foliage. The primary structure of the bridge acts as the support for the most extensive section of the work, where a series of scenes describe the evolution of various systems of information distribution across the last few centuries. This theme is apt, as the bridge, which was built in 1911, once functioned as a dock that assisted the transfer of railroad cars to the barges that connected Manhattan to the Weehawken Yards in New Jersey. To the north of the structure, a projection onto the salty waters of the Hudson is visible—and audible—from the pier, providing deeper insight into some of the characters who inhabit the scenes projected onto the gantry. For example, we learn that Dexter and Sinister are the problematic names of a sailor colonist and a Lenape Native American, respectively, who uphold the 1915 official Seal of the City. The northern face of the gantry provides a portraiture-type space for some of the most primary characters in Oursler’s repertoire, including the figure that heads his flowchart: an anthropomorphic white horse head in the form of a knight chess piece. “Reprogram is everything,” she states, reciting a series of chess moves as her image slowly slips off the gantry’s supporting beams. Manifesting the flow of information through a site designed to aid the shipment of raw materials, Tear of The Cloud embodies the rhizomatic complexities of the present moment through the archival impulse that brings us the region’s past. Tear of The Cloud is on view Tuesday through Sunday from 7:00 p.m. to 10:00 p.m. in Riverside Park through October 31. The artist will discuss the work during a talk at The New School’s Tishman Auditorium on November 1.
At an awards ceremony at Manhattan’s Center for Architecture on October 8, representatives from AIA New York (AIANY) and the New York chapter of the American Society of Landscape Architects (ASLANY) gathered for the first annual Transportation + Infrastructure Design Excellence Awards (T+I Awards). The winners, winnowed down from a pool of 67 entrants, showed excellence in both built and unrealized projects related to transportation and infrastructure, with a heavy emphasis on work that integrated sustainability and engaged with the public. Outstanding greenways, esplanades, and transit improvement plans were lauded for their civic contributions. A variety of merit awards were handed out to speculative projects, and the Regional Plan Association (RPA) was honored a number of times for the studies it had commissioned as part of the Fourth Regional Plan; it was noted that many of the solutions proposed in past Regional Plans had eventually come to pass. The jury was just as varied as the entrants: Donald Fram, FAIA, a principal of Donald Fram Architecture & Planning; Doug Hocking, AIA, a principal at KPF; Marilyn Taylor, FAIA, professor of architecture and urban design at the University of Pennsylvania; David van der Leer, executive director of the Van Alen Institute; and Donna Walcavage, FASLA, a principal at Stantec. Meet the winners below: