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1925–2018

Jencks, Eisenman, FAT, and more remember Robert Venturi
Robert Venturi passed away at age 93 on Wednesday, and there has been an overwhelming response from the architecture community. From dedicated disciples to former intellectual foes, many architects and critics have taken a moment to recognize how deep and impactful Venturi’s legacy really is. We collected some of those tributes here. Deborah Berke: With the passing of Robert Venturi, Architecture has lost one of its greats. But to say Bob belonged to Architecture with a capital “A” is to limit the scope of his contribution. Bob was an artist, an adventurer, an agitator. Architecture, design, planning, and writing were his media, but his goal—brilliantly achieved—was to change culture. Alongside his equally gifted collaborator, Denise Scott Brown, he opened the profession to new possibilities and rewrote the canon of architectural history. He also developed a visual language—infused with wit, color, pattern, and erudition—that reverberates far beyond his buildings. Barbara Bestor: Robert Venturi’s Complexity and Contradiction (written in 1966 the year I was born!) was a revelation for me as a youngster. Though I was immersed in neo-modernist design school, I was drawn to the crazy formal and informal conversations he described between architects from ancient Rome to Victorian England... It taught me that architectural discourse is in fact buildings IN DISCOURSE with other buildings! Also with cities and with people and with art! This is still big news in our current “post-human” design moment! Plus who doesn’t love seeing the decorated sheds of Las Vegas as lovingly explicated by Venturi and his partner Denise Scott-Brown? Personally I relish checking out the lovely little “bird houses” of Block Island (1979 Coxe-Hayden) every summer, and they have had a direct impact in freeing me to reinterpret vernacular forms in my own work. Jean-Louis Cohen: In an age of despair in respect to the practice of architecture, as vulgarized modernization had upstaged poetic modernism, Robert Venturi’s 1966 book came as a revelation. It allowed for a reconciliation between Le Corbusier, Aalto, Bernini and Balthazar Neumann, recruiting apparently incompatible buildings to cast a fascinating menagerie of shapes and patterns. If anything, his writings and his early projects stimulated for my generation the appetite for culture and the ability to play with single objects and the city at large. Bob reminded us that, before generating form, architecture is a discipline of observation, alert to the everyday landscape, as well as towards its own linguistic fetishisms and obsessions. Neil M. Denari: The sphere of influence that Robert Venturi constructed over the course of his estimable career is much larger than we think, because the Postmodern label did not, in the end, constrain the ways in which architects with many ideologies have approached and utilized his theories. I feel like Complexity and Contradiction is the architectural equivalent of Gödel’s Theory of Incompleteness- a set of ideas (maybe even laws) that outlines how complexity is not simply the antidote to boredom, but more importantly, that it is a persistent contemporary condition. His shadow is long, his ideas are transcendent, and I, for one, will always owe a debt to his immense contributions to the field.  
 
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High five from RV.

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Peter Eisenman: Robert Venturi’s Complexity and Contradiction in Architecture, the first book of architectural theory by an American architect, opened the way for a generation of young architects – Charles Moore, Michael Graves, Richard Meier, Frank Gehry, and more – to challenge the platitudes of corporate practice in the 1960s and ’70s. In combining the best of European architectural history—Vignola, Soane, Moretti, etc.—with contemporary iconography, Venturi developed an idea of complexity that became the critical tool for stanching the tide of laissez-faire modernism and changing the face of American architecture. I for one will miss him and his dry sense of humor. Mark Foster Gage: I remember about 20 years ago when I was considering going to graduate school for architecture I met, of all people, Robert Venturi. We ended up having drinks and both got not-quite-but-close drunk. He said, "Don't ever become an architect... unless there's absolutely nothing else you can possibly do..." I was mortified! I thought oh my god, what am I doing if THIS guy who’s at the top of the pile is telling me it’s hard (I also remember thinking that is really was all I could possibly do—the alternative being falling back on my mostly medieval art history degree...). Only in retrospect did I realize that what he was conveying was truly sage advice. Architecture is neither an easy path nor a mere job--but more of an infatuation that involves a significant amount of struggle. He knew this, and it was evidenced in his own work, for instance when he, the ur-figure of postmodernism, was on the cover of Architect Magazine quoted as saying "I am not nor have ever been a postmodernist." You can see the struggle in his work between high modernist training and the whimsy of pop culture. To this day I think the strength of his work is the struggle to reconcile these two directions—rather than merely opening the floodgates of postmodernism through his writing and early work. There was discomfort in his work—hard effort. I don’t think the postmodernism of Venturi was easy and frivolous, I think it was complicated, rich, detailed and intelligent—qualities we should all be so lucky to imbue in our work as we struggle through our own careers for this difficult but beautiful infatuation of ours.
 
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Divine right of kings #RobertVenturi

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Dan Graham: Bob Venturi was one of the one or two best American architects and was a great writer on architecture, architectural history, and theory. His love of pop art infuriated my friend Richard Serra and that is why I wrote a defense of him in Artforum. He criticized Mies, but in the end, came to appreciate him and understand his importance. His background was as an Italian-American and Quaker, and he loved American and English vernacular architecture, billboards and shopping malls. Denise Scott Brown said he loved to watch English soap operas on PBS and he had a great sense of humor. I was lucky to meet him. Paul Goldberger: I am accustomed to thinking of Complexity and Contradiction in Architecture and Learning from Las Vegas as books from a long time ago, and indeed they are. But I don’t know if there could be any better way than to honor Robert Venturi than to open both of them again, and to be reminded that these are, in fact, timeless books: anchored in the 1960s and 1970s, yes, but transcending those years to speak to us now and for a long time to come. Complexity teaches you how to see architecture, and to understand how it is always about both/and, not either/or. Las Vegas, which he wrote with his wife and partner Denise Scott Brown as well as Steven Izenour, shows us how architecture is the making of sign and symbol as much as the making of space, and points the way toward the conflation of electronic media and architecture. Both books were prescient, and far more important than the air of nostalgia that surrounds them is the pleasant reminder of their continued meaning. Bob Venturi, writer of the “gentle manifesto,” was himself gentle, kind, soft-spoken, and absolutely driven. He was as ambitious as anyone in the architecture business, but his ambition was softened by a connoisseur’s love of form, a critic’s incisive perception, and a tourist’s enthusiasms about the world. His architecture was a series of exuberant, inventive, and incisive mannerist explorations, modern even as it appeared to turn modernism on its head. We first met when I was still an undergraduate, and thanks to an introduction from Vincent Scully, I had the chance to talk with him and Denise about their work, a conversation that led to a piece about them in The New York Times Magazine that marked the beginning of my life as an architecture critic, or at least a paid one. What I remember best about that interview, beyond how gracious both Bob and Denise were to a young writer with almost no credentials, was the fact that it took place in a sprawling mansion outside of Philadelphia that was owned by an old friend of theirs for whom Bob had designed a house that was never built. The reason the house, which would have been the most important of Bob’s career up to that point—this was 1971—never went ahead was telling: before construction started, the old house came up for sale, and Bob told his friend he didn’t see how any new house could be as appealing as that old one, and recommended he buy it instead of building the Venturi house. What other architect would willingly say such a thing to a client? Bob was incapable of dissembling. Most people who are as congenitally honest as he was see the world in simplistic, black-and-white terms; Bob always saw it as nuanced, richly complex, ironic, defined by “richness of meaning rather than clarity of meaning.” It is that combination—utter directness tempered by an absence of dogma and ideology, a penchant for truthfulness together with a mind for nuance and subtlety—that marked Bob, and shaped both the extraordinary words and the great architecture that are his legacy.  
 
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💙Another pic from our visit to Vanna Venturi’s house 💙 . . . #architecture #robertventuri

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Sean Griffiths: It goes without saying that he and Denise were huge influences on me personally and on FAT in general. They have also been incredibly supportive over the years. For us, they were simply the most important architects of the second half of the 20th century. They managed the incredible feats of producing highly influential buildings, creating a new architectural movement, and my god—those books—they changed everything,all the while remaining outsiders, never fully accepted by the establishment. For me Learning from Las Vegas is the most important book written on architecture and urbanism in the last 50 years. It completely changed the way we judge architecture, think about places and their meanings, represent space and analyze the relationship between people and environments. It was so much more than a book “about” Las Vegas. It was a totally new way to look at the built environment. Sam, Charles, and I will never forget our first visit to Philadelphia when Bob and Denise welcomed us into their home and took us on a tour of the Mother's house, the Louis Kahn house across the road (in which Bob delighted in pointing out which of the ideas in it were his—most of them according to him!), the Guild House, and their office. They then took us to dinner and we talked about our mutual love of the Sopranos opening titles and he and Denise professed a love for English sitcoms—“What’s the name of the one with the women priest?” he asked, referring to The Vicar of Dibley. We just thought it was hilarious that here we were with our architectural heroes and we were actually discussing The Vicar of Dibley of all things. Best of all, Bob and Denise attended the lecture we gave at UPenn and afterward saluted us with the immortal words, “Terrific…keep up the bad work!” I feel deeply honored to have known them both. Charles Holland: Robert Venturi was without a doubt my favorite architect. His work has been a huge and constant source of inspiration to me. Not just the buildings but the way he combined the, with research, teaching and writing of the highest order. He wrote not one but two enormously influential and undeniably important books, the second with his wife and partner Denise Scott Brown. Together they opened up architecture to so many things; to an appreciation of the everyday and to a way of learning from the things around us. Of all the buildings, my favourite is the Trubek House, one of a pair shingle-clad cottages realised on Nantucket Island in 1970. It has it all this house: the plays of scale, the complex spatiality, the tension between architecture and ordinary life, the two never fully resolved. Robert Venturi’s importance cannot be overstated and he leaves the world of architecture a much poorer place. RIP Bob. Sam Jacob: I don’t think I could express how important Bob Venturi (and Denise) were to FAT, and to me personally. I really came across their work in the bargain bookshops of the mid 90's, picking up that amazing book on the Mother House for nothing. Airbrushed out of the architectural history I'd been taught at school, their work seemed so amazingly fresh and relevant to an age of information and communication (remember the zeal and optimism of digital culture at that time!). So free of all that stale reactionary nonsense that had surrounded them (especially in the UK at the time of Prince Charles' National Gallery interventions) we could find our own resonances. Sampling, cutting and pasting, copying, distorting, playing with conventions, and understanding architecture as a form of information itself, I concocted a private dream that was part Venturi part Marshall McLuhan that helped forge a different path through millennial times and digital culture. Meeting them both in Philly at a small show at Penn we had was incredible, with Bob dropping aphorisms left, right, and center that still stay with me as he toured the show: “Not boring but in a good way,” “keep up the bad work.” I still don't know what he meant when he told me I wrote like Abraham Lincoln. He made us feel like co-conspirators, and we in turn felt like we could learn (and steal) so much from him that could restart the engine of a certain strand of architectural attitudes towards culture and design that had stalled. It's not overhyped or sentimental to stress his absolute centrality to the very idea of architecture in the late 20th and early 21st century. It's why after a long time ignored and shunned by the architectural mainstream, his and Denise’s work has become so important to a younger generation of architects. Ugly and ordinary forever!
 
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Robert Venturi and Denise Scott Brown — Wislocki House, Nantucket Island MA (1971). RIP.

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Charles Jencks: Robert Venturi changed architecture (hard), for the better (even harder) but with some unfortunate consequences (the one-liner-anti-symbolism), and many of his small early buildings and a few of his large later works are epics. Their drawing and argument inspired two generations. His writing was most usually in the service of a polemic, and his version of complexity predictive of the way the sciences of the twenty-first century would turn out. I was saddened I couldn’t get Bob to write on the second stage of Postmodernism, but as a good leader of the movement he was gentle, ironic, generous to others, amusing to many, academic, and will always be remembered by me. Micheal Meredith and Hilary Sample: Robert Venturi transformed architecture (practice and teaching) for those of us after him (America and abroad). He made it better. Together with Denise Scott Brown, he pioneered design partnerships (now there are so many), engaged multiple scales and media (from books to furniture to buildings to urbanism), and brought architecture into dialog with its contemporary culture (both as an intellectual pursuit and a practical/technical one). He seemed to take equal pleasure in both history and the mundane, offering a witty counterpoint to the heroic artist-architect and to the essentialism of his time with an articulate ambiguity, complexity, and inclusivity (something that is more and more important nowadays). Robert Ivy: Robert Venturi, appreciated for high intelligence, erudition, and a benevolent viewpoint, brought humanism to architecture. His work shone with wit and fit—creating a colorful dialogue between past and present, between high seriousness and contemporary irony. Signification, pattern, relationship, and memory. Together with his partners, this improbable radical tinted the world with joy. Sylvia Lavin: Although I have known Bob for what seems like forever, both at a distance as an august luminary in the field and a bit closer, as a person with whom to talk about Rome and main street, it is only in the past few years that I have gotten to see him work in intimate detail. Spending time in his archive, I have been systematically struck by the astonishing intelligence that permeates everything but that is often most intense when hidden in office memos, hand-drawn key codes to material specifications and sketches made on legal pads evidently drawn in a library. His sharp acumen and wit has always been abundantly clear to everyone through the discipline-changing work we all know, but the creative timbre of his intellection is different in these less mediated expressions. Kind acknowledgments of the contributions made by secretarial staff, surprisingly precocious interest in digital technologies, and outbursts of frustrations with the ordinary obstacles confronted by architects, are evidence that in his daily life, he operated in accordance with the principle—often publicly stated but also often misunderstood as mere professional rhetoric—that architects are not heroes but people with interesting jobs to do. And in these documents, there is also evidence of perhaps the smartest thing he ever did – which was to marry Denise, to whom I offer my deepest condolences. Elena Manferdini: Very few texts captured a cultural paradigm shift as Robert Venturi and Scott Brown’s Complexity and Contradiction in Architecture and Learning from Las Vegas. Their influence on generations of architects is as fresh as it was when those texts were first published. They destabilized the form-function determinism of modernist architects and opened our field to hybrid forms, super graphics, and pop-style culture. They liberated architecture from anachronistic dogmas with intellectual depth, innate sense of humor, unexpected juxtapositions and playful colors. They looked at architecture as a cultural inclusive expanded field. Michael Meredith and Hilary Sample: Robert Venturi transformed architecture (practice and teaching) for those of us after him (America and abroad). He made it better. Together with Denise Scott Brown, he pioneered design partnerships (now there are so many), engaged multiple scales and media (from books to furniture to buildings to urbanism), and brought architecture into dialog with its contemporary culture (both as an intellectual pursuit and a practical/technical one). He seemed to take equal pleasure in both history and the mundane, offering a witty counterpoint to the heroic artist-architect and to the essentialism of his time with an articulate ambiguity, complexity, and inclusivity (something that is more and more important nowadays).
 
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Found this dedication in a 1st edition of Complexity and Contradiction

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Ivan Saleff: Ciao Bob, Bob has left the building. His spirit will roam the universe for eternity always nigh his beloved Denise and Jim. The maestro’s boundless work remains behind with us. It will thankfully perplex pundits, colleagues and students for centuries to come. Bob and Denise’s work has always been inclusive speaking to all ages, cultures, endeavors, and genders. Bob chose to write in common language however his work also provides the challenge of peeling back its deeper layers. Bob’s daily life and work formed one unified whole full of the complexities and contradictions of which he wrote. There was no other Venturi lurking. He was the real deal, authentic, loving and committed in everything he did. Bob was courageous in his efforts to combat pretentious trends which traded substance for drama and one-liner. His arsenal included wit, artistry, ambiguity, irony and academic prowess. He was well armed and ready to engage. I remember him telling me of how he struggled at the time when placing the fractured horizontal white band at the fifth floor of Guild House. It took me a while to fully understand that. It made me think. That is what Bob does. He makes us think. Ashley Schafer and Amanda Reeser: Picking up copy edits on the day of Robert Venturi’s passing, we were struck by the pertinence of the image on the last page of our last issue. It is a photograph of Bob and Denise taken from the back seat, framed by a windshield, ahead of which are signs, strip malls, decorated sheds. It captures so perfectly how they asked us to look at the world differently. Their embrace of Americana, of the city, of what is worthy of our attention, opened the discipline to a more diverse set of interests and narratives long before it was politically correct to do so. The inclusivity Bob championed in Complexity and Contradiction expanded ways of operating in the field, which deeply influenced us at PRAXIS (not to mention generations of architects). His and Denise’s intellectual generosity is a reminder of how we should all strive to practice. Martino Stierli: We have lost a giant, but also an incredibly warm, witty, and generous human being. I remember once cooking a simple pasta with tomato sauce for Bob and Denise in their beautiful Philadelphia home, when I had just started working on my PhD thesis on their Learning from Las Vegas. When Bob saw the sauce, he commented: “How exotic!” He really did see the extraordinary in the ordinary. Venturi, through his pointed observations, is rhetorical brilliance and his puns, forever changed how we think and talk about architecture. One of his most famous drawings illustrated his concept of the decorated shed with the words “I AM A MONUMENT.” That he is. Michael Sorkin: One of the first articles I published after finishing school was a screed attacking Complexity and Contradiction in Architecture. Not altogether originally, I charged Bob Venturi with promoting an escapist, purely visual, aesthetic at time of social crisis. How wrong I was! That book and his work were really all about the political and its imbrication not simply in artistic invention but in expansive choice and respect for the choices of others. Bob was eternally and ever gently subversive and changed – liberated - the way we think about architecture. He realized what we were so piously fighting for: the authenticity of difference and the freedom of the imagination.
 
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He even signed his name in a fun way 💔 RIP Bob Venturi

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Léa-Catherine Szacka: “Main Street is Almost all Right” Robert Venturi (1925-2018), probably the best representative of American Postmodernism, was one of the twenty participants of the spectacular Strada Novissima at the 1980 Venice Architecture Biennale. In fact, together with Denise Scott Brown and John Rauch, he probably stayed at the most important address on that street, behind a façade that took the form of a colorful pop cartoonish temple with, in the back, and visible from the street, a large reproduction of the 1964 Vanna Venturi house painted by Cinecittà technicians. Venturi’s presence in the exhibition was seen as not only desirable but as absolutely essential to the success of the show. So much so that chief curator Paolo Portoghesi made sure to include architectural historian Vincent Scully amongst the advisory board of the exhibition, as he knew, only Scully would be able to convince the father of postmodernism to come and play with the other kids on the block. Stanley Tigerman and Margaret McCurry: Bob Venturi led the way backward to a “gentler, simpler time.” His was a postmodernists’ wail that in the late 1960’s spoke a more complex language than that enunciated by canonical modernism. Always the gentleman, he seemed uncomfortable with the mantel of notoriety which nonetheless he wore with great dignity. Never the “starchitect” Bob was too retiring to be bothered by the machinations of fame. He never aimed to be the leader of the “loyal opposition” party either and while his words spoke volumes about complex values, his architectural production sometimes fell a bit short of the mark but not by much. Curiously, like Mies van der Rohe before him he lived to see the discipline of architecture diminished by the false gods of “Marketing and Branding,” but the ethos that has ennobled architecture throughout the ages has already touched the youngest generation who would aspire to that which has been missing in our epoch- “value.” James Wines: “Bob and Denise” In my mind, Bob and Denise are a single entity... a consolidation of infinite intellect and creativity that changed the very foundations of how we think about the built environment. Their unified presence has been totally embedded in both my conscious and subconscious views of architecture since the 1970s; so, it is impossible to believe that one half of this divine team is missing. Denise will surely go on to ever more amazing triumphs of art and theory, but the unity and expansiveness of their ideas will always endure in the design world as a supreme example of love and vision in one package. Mark Wigley: Robert Venturi was hugely influential and hugely misunderstood. He most famously called for complexity and contradiction in architecture but he was actually a new kind of minimalist, always looking to maximize the effect of the least--as revealed by the very compactness of the self-undermining mantra “Less is a Bore.” He was a truly laconic architect, efficiently belittling what others celebrate and celebrating what others belittle. More than anything, he savored the uncontainable ripples produced by slow-motion collisions between seemingly incompatible little things. Together with Denise Scott-Brown, he kept asking architects to think again, and smile a bit, even if the offer was rarely taken up.
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Yankee Modern

What is New England architecture?
New England might not garner the attention that other places get for contemporary architecture, but the region has a legacy of world-class architecture, including some great works of modernism. Two iconic monuments of modern architecture in America are in New England—Le Corbusier’s Carpenter Center at Harvard and Alvar Aalto’s Baker House at MIT—along with seminal late-modern buildings such as Boston City Hall and the Yale Center for British Art. Today, many contemporary design stars have built structures across New England, including Frank Gehry, Rafael Moneo, Norman Foster, Herzog & de Meuron, Michael Hopkins, Renzo Piano, Charles Correa, Fumihiko Maki, and Tadao Ando. The finalists for a competition for a new contemporary art museum on Boston’s waterfront included Switzerland’s Peter Zumthor and Studio Granda from Iceland. The only local firm considered for the museum was the then relatively young Office dA; principals Nader Tehrani and Monica Ponce de León went on to fame as architectural educators beyond Boston. Although not unique to New England, the whole mentality of "if-you-are-good-you-must-be-from-somewhere-else" is found here. As one might expect, Boston is the center of most architectural activity in the region. Yet, despite a heroic postwar age of Brutalism, too much contemporary architecture barely rises above the level of commercial real estate. With the exception of Diller Scofidio + Renfro’s Institute of Contemporary Art and David Hacin’s District Hall, much of the frantic new downtown construction features the kind of glass boxes that pierce city skylines from Dubai to Shanghai. The city’s embarrassingly named Innovation District (often called the Inundation District due to its propensity for flooding) is scaleless, overbearing, and disconnected from the soul of Boston. OMA’s new scheme for the area—which the architects gratuitously refer to as “a dynamic and vibrant area that is quickly emerging as one of the most exciting neighborhoods and destinations in the country”—is an 18-story glass cube with the dreary moniker of 88 Seaport Boulevard. One might have hoped for more from OMA’s first Boston commission. The block will offer almost half a billion square feet of office space, 60,000 square feet of retail, and a paltry 5,000 square feet for civic and cultural use. Its gimmick is slicing the building into two sections with some terracing and plantings sandwiched in between. OMA disingenuously claims this double-volume exercise “creates diverse typologies for diverse industries,” and furthermore “generates an opportunity to draw in the district’s public domain.” In short, Boston will get an off-the-shelf dystopian nightmare. However, the Engineering Research Center at Brown University by KieranTimberlake is not just another knockoff. Although flush from the controversial but triumphant U.S. Embassy in London, the Philadelphians’ latest New England project is what good contemporary architecture ought to be. The $88-million, 80,000-square-foot laboratory and classroom building is both understated and environmentally responsible. Its 22 pristine labs steer the Ivy League school into uncharted territory in nano research, energy studies, and information technology. The ERC is a triumph, especially given Brown’s decades of struggle to find an appropriate contemporary architectural voice. Recent work on the Providence campus includes an international relations institute by Rafael Viñoly—the design of which was dumbed down to mollify historic preservationists; a tepid Maya Lin sculpture; and an awkwardly sited Diller Scofidio + Renfro art center that was commissioned to show that Brown could do trendy and edgy. These common missteps are best exemplified by the university’s first competition for an athletic center. Although the competition was officially won by SHoP, the donor sponsoring it declared his dislike of modern architecture and demanded the school hire Robert A.M. Stern instead. The cutesy Georgian result is predictably bland. The ERC was ahead of schedule and under budget, and rather than treating Rhode Islanders as rubes, the architects created what Stephen Kieran calls “a nice piece of Providence urbanism.” While the firm’s great strength is diminishing the environmental impact of their buildings, the ERC also contributes a handsome facade to the campus’s traditional buildings. The fiberglass-reinforced concrete fins, the building’s signature element, impose a timeless probity worthy of Schinkel. If KieranTimberlake grows weary of being identified as the designers of the $1-billion embassy that Trump slammed as “lousy and horrible,” imagine how tired Tod Williams and Billie Tsien must be of consistently being tagged with the label “designers of the Obama Library.” Is a client choosing them because of the reflected fame? Will all new works by the New York-based architects be measured against that Chicago shrine? Yet Williams and Tsien have created a number of noteworthy academic works in New England that deserve similar attention, including buildings at Bennington and Dartmouth. Their theater and dance building at Phillips Exeter Academy in Exeter, New Hampshire, is almost complete. Here, the very long shadow is not cast by the architects’ own projects, but by Louis Kahn’s library across campus. Kahn’s brick tribute to 19th-century Yankee mills—and the symmetry of Georgian style—is one of the great pieces of architecture in New England. The big block of the drama building by Williams and Tsien wisely does not choose to echo Kahn but is curiously almost a throwback to the early Brutalism of I. M. Pei. It establishes a more rugged character with a marvelous texture composed of gray Roman bricks. A more satisfying Granite State structure by Williams and Tsien is a library, archives, and exhibition complex at the MacDowell Colony in Peterborough, New Hampshire. MacDowell is a century-old artists’ colony where thousands of painters, writers, and musicians, including James Baldwin, Leonard Bernstein, Aaron Copland, and Willa Cather, have sought quiet and isolation in a collection of rustic cabins in the woods. Thornton Wilder wrote his classic play Our Town during his time here. Williams and Tsien’s sensitive addition to the colony’s 1920s library is only 3,000 square feet, cost around $2 million, and is an exquisitely crafted gem. The single-story library is constructed of a nearly black granite. Set in a birch grove created by the leading modern landscape architects in Boston, Reed Hilderbrand, this gathering place for residents appears at one with the rocky soil and forests of Northern New England. A 23-foot-tall outdoor chimney flanking the entrance plaza to the library makes reference to the hearths in all of the MacDowell studios. It also looks like a primitive stele, giving the entire ensemble an aspect that is more primal than modern. Another prominent New York architect, Toshiko Mori, has produced a simple yet elegant warehouse for an art museum in the faded seaport and art destination of Rockland, Maine. Built to house a long-time contemporary art cooperative that had no permanent collection and only inadequate facilities for exhibitions and classes, the saw-toothed clerestories at the Center for Maine Contemporary Art (CMCA) make reference to New England factories while bringing in what the architect calls “that special Maine light.” Like those functional structures, Mori used economical, non-custom materials such as plasterboard and corrugated zinc that wrap the exterior, embracing the lack of funds to her advantage. Despite the nod to Rockland’s working class vibe, Mori created a thoughtfully wrought sophisticated work of art on an unremarkable side street. Mori’s Japanese heritage comes through in her subtle proportions based on a 4-foot grid. The CMCA offers a refreshing contrast to extravagantly costly new museums by superstar architects—the 11,000-square-foot arts center cost only $3.5 million. Mori has crafted a museum based on flexibility rather than attitude. A summer resident of nearby North Haven, she endowed her simple statement with an air of Yankee frugality. But perhaps the most encouraging new project is the $52-million John W. Olver Design Building at the University of Massachusetts, Amherst. A cooperative venture of three departments in three different colleges—architecture, landscape, and building technology—the autumn-hued, aluminum-wrapped school embodies the dynamic spirit of New England’s first publicly supported architecture program. The 87,000-square-foot studio and administrative space is the work of Boston–based Leers Weinzapfel and landscape designer Stephen Stimson, with contributions from the faculty-cum-clients. Construction Technology chair Alexander Schreyer, for example, a guru of heavy-timber structural systems, helped fashion what is perhaps the largest wood-frame building on the East Coast. The zipper trusses that span the 84-by-56-foot, two-story-high common area demonstrate the inventiveness of wood technology. The glulam trusses arrived on-site precut and were snapped together with pins. In short, the academic contributors got to show off their research and also benefit from it. In a region noted for some of the nation’s oldest and most renowned design schools, the Design Building announces the arrival of the new kid on the block. Its handsome envelope is pierced by asymmetrically placed tall and narrow fenestration as a nod to the doors of the tobacco barns that are the university’s neighbors in Massachusetts’s Pioneer Valley. From its roots as a fledgling offering in the art department in the early 1970s, design education at UMass has grown into a powerhouse. As the core of a complex of postwar and contemporary architecture, the Design Building helps to bring Roche Dinkeloo’s Brutalist Fine Arts Center into contact with a business school designed by the Bjarke Ingels Group (BIG). While BIG’s work is sometimes incredibly innovative, the firm’s UMass project looks as if it might be another example of a second-tier work foisted on a boondocks location. Less flashy than its newer neighbor, Leers Weinzapfel’s Design Building is nonetheless a bold, homegrown achievement. New England’s patrimony is a tapestry of local and outside talent. A significant regional building would not be a postmodern structure in the shape of a lighthouse or a neotraditional re-creation of a Richardson library, but something like the UMass studios. Capturing the spirit of the best of New England design depends little upon reputation and huge expenditure. Rather, there is a direct correlation between realizing a quality work of art and understanding the region’s history of wresting a hard-won life from the granite earth. The challenge for successfully practicing architecture in New England is accepting an uncompromising intellectual toughness that demands respect for the eminently practical as well as the aspirational.
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Learning From Scott Brown

Denise Scott Brown wins the 2018 Soane Medal
Today Sir John Soane’s Museum in London honored architect and planner Denise Scott Brown as the 2018 recipient of the Soane Medal, the second annual award given by the museum to an architect who has made a major contribution to the field through their built work, education, or theory. Scott Brown's award will be celebrated at a special public ceremony on Wednesday, October 17, at the Sainsbury Wing of the National Gallery, an extension she designed with her husband Robert Venturi in 1991. While Scott Brown will not be in attendance, the event will feature a lecture by the award winner, pre-recorded from her home in Philadelphia along with rarely seen photographs from the architect’s life and work. Sir David Chipperfield, Soane Medal juror and trustee of the museum, will issue a live response to Scott Brown’s message. In a press release, Chipperfield noted that Scott Brown was the obvious choice out of the array of candidates the jury looked into. “Denise Scott Brown stood apart and was the jury’s unanimous choice. Scott Brown’s contribution across architecture, urbanism, theory, and education over the last fifty years has been profound and far-reaching,” he said. “Her example has been an inspiration to many, and we are delighted to honour her with the award of the Soane Medal.” As one half of the revered firm Venturi Scott Brown, she’s created multiple master plans for projects around the world from the Département de la Haute-Garonne provincial capitol building in Toulouse, France, to the Mielparque resort in Kirifuri National Park in Japan. She’s also led highly-touted research projects, most notably Learning from Las Vegas, which turned into her’s and Venturi’s seminal book that helped usher in the postmodernist era in architecture. The Soane Medal was established in memory of the museum’s founder, Sir John Soane, a 19th-century, English, neo-classical architect. The museum is composed of his historic house, museum, and library that make up an “academy of architecture” for visitors interested in history and design. Rafael Moneo was the inaugural recipient of the Soane Medal in 2017. Tickets for the October event honoring Scott Brown can be found here.
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Maritime Makeover

Philly is set to open new arts pier inside a century-old maritime warehouse this fall
Downtown Philadelphia will debut its newest cultural space this fall: an unlikely arts venue, marketplace, bar, and public park set inside a converted 99-year-old maritime warehouse. Cherry Street Pier, designed by Groundswell Design Group and Interface Studio Architects, will open on October 12 at Pier 9 along the Delaware River. The $5-million project will transform the 55,000-square-foot municipal structure into a mixed-use waterfront destination and studio facility for 14 local artists. Located south of the Benjamin Franklin Bridge and the Race Street Pier, the long-neglected, 19th-century building has undergone major renovation work over the last year. The project, dreamed up by the Delaware River Waterfront Corporation (DRWC), aims to introduce a new space for civic engagement as well as a collaborative home for the city’s visionary artists and entrepreneurs. The group announced Wednesday that the park will open ahead of the three-week arts celebration, Festival for the People, put on by the Philadelphia Contemporary. According to Philly Magazine, DRWC president Joe Forkin said that the Cherry Street Pier will serve as a foundation for the arts to flourish along the city’s waterfront. The historic building will house affordable studios and offices for emerging artists within repurposed shipping containers featuring glass walls. Community members and visitors to the dock can peer inside the studio spaces—dubbed the Garage— and watch the artists at work throughout the day. Tenants will be able to showcase their art in a 10,800-square-foot open space dedicated to large-scale art installations and performances. The site will also include room for a pop-up retail market, public events, and food vendors. A café and bar are being built for the open-air garden at the edge of the facility. The architects will peel back the roof of the warehouse in this section, exposing the steel trusses and stone masonry to reveal the historic structure’s core and unveil a unique perspective of the river. Wood benches, railings, plants, and trees will fill the space so people can relax and enjoy one another’s company.
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Alamo City

San Antonio’s architecture has a bright future illuminated by a rich heritage
When it comes to notable architecture in Texas, it would seem strange to place San Antonio on par with Houston or Dallas. As the second-largest city in the state, San Antonio seems to only mimic the kind of architectural largesse seen in those cities. There are plenty of jewel-like late modern skyscrapers and austere civic buildings by Skidmore, Owings and Merrill, Caudill Rowlett Scott, and Marmon Mok in the city, but these are not the kinds of projects one would mention in the same breath as Houston landmarks like Johnson/Burgee’s Pennzoil Place and Williams Tower, Renzo Piano’s sublime Menil Collection, or Fort Worth's iconic Kimbell Art Museum by Louis Kahn. A selective itinerary of San Antonio’s past and future architectural projects reveals a steady commitment to buildings with bold, expressive forms that reference the city’s unique environment, history, and culture. Alamo City warmed up to these compelling architectural additions as it expanded during the late 1940s and early ’50s, and became a home to energy and utility companies during the 1970s and ’80s. Funded by philanthropic organizations and influxes of oil cash, many of these buildings are now hidden by giant, swooping highway overpasses, corporate plazas, and other developer-driven projects. Despite the earlier innovative and controversial projects, San Antonio remains overlooked. This will soon change. Newly appointed mayor Ronald Nirenberg has re-energized discussions about creating new housing, battling gentrification, and committing to more public art. This will certainly place a spotlight on San Antonio’s rich architectural offerings while reminding us of how these and other past projects have embodied this city’s distinctive topography, Latino heritage, and dry, arid environment. Emilio Ambasz’s Lucile Halsell Conservatory, completed in 1988 at the San Antonio Botanical Gardens, is a good starting point. Located on the city’s northeast side, Ambasz’s scheme took advantage of the sunken site with a series of prismlike canopies that appear to rise out of the bermed earth like upturned shards of glass. Each canopy creates its own kind of climate and features particular plant ecologies—architecture designed, as Paul Goldberger observed in 1987, for the interaction between plants and humans. The project is notable for its combination of building, landscape, and infrastructure into a seamless whole. The Lucile Halsell Conservatory accommodated some very particular environmental and topographical conditions, and did so with a formal and technological expressiveness unlike anything that had been built in San Antonio. Mexican architect Ricardo Legorreta’s San Antonio Central Library, completed in 1995, continues in this vein. Here, cubic volumes are stacked at various angles, creating a series of triangular-shaped courtyards intended to be outdoor reading rooms. Legorreta’s debt to Mexican architect Luis Barragán’s minimalist polychromy is clear. Working with the painter Mathias Goéritz, Barragán created spaces framed by walls and surfaces doused in highly saturated reds, blues, yellows, oranges, magentas, and pinks. At his Central Library, Legorreta appears to invert Barragán with a simple, playful interplay of volumes that seem to be wrought from its own color palette as well. The reddish-brown colored cubes appear gutted in some places, revealing inner planes of yellow, blue, and purple. When viewed from the air, the Central Library appears otherworldly, framing circular plazas made from grass and limestone and located on a triangular-shaped site near the geographical center of the city, as if something from another time had arrived here. That a Mexican architect was chosen for this project is important. As the seventh-largest city in the United States, San Antonio has one of the biggest Spanish-speaking populations. Over 62 percent of its residents are of Latino origin. The appeal of Legorreta’s Central Library stemmed as much from the need for more public libraries as it did from the desire to reflect the city’s heritage. Though this was the first building in San Antonio designed specifically to reflect the city’s Mexican-American heritage, there are older buildings that expressed the cultural richness so important to the city. The Alamo and the four Spanish Missions (recently designated as UNESCO World Heritage Sites) all combine Spanish and Catholic influences while referring to the rituals and structures of indigenous peoples. This is to say that San Antonio’s architecture continues to find a way to embody its venerable cultural geography. It also incorporates its distinct environmental geography. San Antonio is a city hewn from mesquite-dappled hills, limestone quarries, and deep-set aquifers. Lake|Flato continues to be the standard-bearer among the city’s firms for a kind of tectonic and environmental sensitivity that is immediately recognizable for its ingenious references to these conditions. Imagine a version of John Lautner’s spacious geometric forms where large cornices made from corrugated metal peer over meticulous compositions of glass, limestone, slats, and brise-soleil made from local woods, all culminating in views that privilege the rolling, arid mesquite and persimmon landscapes of the Texas Hill Country. This would not do justice to Lake|Flato’s work, but perhaps it is as close as we can get to a kind of South Texas regionalism. Yet some of Lake|Flato’s current work points to something altogether different. Their recently completed pavilion at Confluence Park designed in collaboration with Matsys connects the joining of the San Antonio River and San Pedro Creek, to nearby Mission Concepción, an 18th-century basilica. This is a highly-charged site in predominantly Spanish-speaking South San Antonio. The most visually arresting parts of Lake|Flato’s project are the concrete “petals” that reference the local flora while reminding the most architecturally astute observer of Spanish-born Mexican engineer Felix Candela’s sweeping hyperboloid structures, like Los Manantiales Restaurant (1958) in Mexico City’s Xochimilco Park, or the Chapel Lomas de Cuernavaca (also 1958) in Cuernavaca. Confluence Park is also part of the larger San Pedro Creek Cultural Park. This scheme is projected to transform a once-neglected 2.2-mile-long drainage spur into a cultural attraction with water features, public art, and areas dedicated to the preservation of local grasses and wildlife. In a nod to its aspirations, lead architect Henry R. Muñoz and others have embraced this project’s more common nickname—the “Latino High Line”—which may say more about Diller Scofidio + Renfro/Field Operation’s celebrated scheme than the actual goal of the project, which is to create a version of the Riverwalk devoid of its tourist traffic while celebrating Latino heritage. Urban designers are finding new ways to move San Antonio forward while referring to curious artifacts from the history of American cities. Architect Antonio Petrov, who teaches at the University of Texas at San Antonio and is the founder of Urban Future Lab, is one of the most outspoken voices when it comes to redevelopment in the city. He is a proponent of bringing back skyrides, which were already used during HemisFair ’68 as a means of connecting the city’s downtown with San Antonio International Airport. Petrov’s proposal, though evocative of pie-in-the-sky urban transportation schemes, is to be taken seriously. Similar proposals were actually in use at the 1932 Century of Progress Exhibition in Chicago as well as in Disneyland and Disney World (which were, in a sense, attempts to envision cities of the future.) Other schemes, though funded by corporate dollars and serious placemaking advocacy firms, are barely more pragmatic in their approach. A case in point is the proposed Alamo Plaza Redevelopment. Philadelphia-based Preservation Design Partnership authored one of the first master plans, a scheme that caused controversy when it called for relocating many of the businesses surrounding the Alamo and converting them to privately run cultural attractions. Current versions of the plan have done little to improve on the previous proposal. For example, the recent Alamo Comprehensive Interpretive Plan—spearheaded by St. Louis–based “placemaking” firm Peckham Guyton Albers & Viets; the heritage consulting firm Cultural Innovations; and landscape architects Reed Hilderbrand—still hinges on the creation of a pedestrian-friendly “Alamo District” designed to turn this historically charged site into an open-air museum. A previous scheme took this idea a step further by encircling the Alamo with a glass wall, as if preserving this architectural artifact in a kind of amber. There are plenty of other projects that are reenergizing the architectural scene in San Antonio. The city is in a bit of a gut-rehab frenzy, as landmarks like the Pearl and Lone Star Breweries have been renovated as pricey hotels and higher-end restaurants, all with the end goal of molding San Antonio into a destination for design-savvy millennials with money to burn, in hopes they will ditch an Airbnb in the picturesque King William District in favor of the Hotel Emma’s posh industrial-chic. It is in this milieu that Adjaye Associates’ Ruby City arrives as one of the most exciting projects to break ground in the Alamo City. This 14,000-square-foot gallery and contemporary arts center—scheduled to open later this year near the city’s burgeoning arts district—appears as a strange hybrid, part OMA Casa da Musica, part Legorreta Central Library. Adjaye’s building appears as a literal jewel, a faceted brick-red form whose speckled, punctured surfaces make it seem fleeting and otherworldly. But it is anything but that, for this building, which sits precariously on the edge of the one-acre CHRISpark in downtown San Antonio, will anchor the San Pedro Creek redevelopment scheme, and provide the Linda Pace Foundation’s extensive collection of modern and contemporary art with a bold, exciting home. Adjaye is still earning accolades for his groundbreaking National Museum of African American History and Culture in Washington, D.C., and with Ruby City soon to be completed, this will be the most significant architectural gesture for San Antonio—one that will hopefully inspire an influx of more commissions and projects of a similar caliber. How should we look at San Antonio’s architectural legacies and gestures? It is tempting to stack them up against those in Houston or Dallas, but in doing so, we would risk ignoring how one of the fastest-growing cities in the United States is busy generating its own architectural identity. Don’t call it haphazard, however. The pace of architectural developments in San Antonio may appear slow, but like the city, its architecture is humming busily from what once was an undetectable purr to something greater. This sleepy South Texas city is anything but, and its architecture will demonstrate how this is the case.
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In Memoriam

Thomas Todd, former partner of Wallace Roberts & Todd, passes away

Thomas Abbott Todd, a retired architect, planner, and artist who was a partner in the Philadelphia firm of Wallace, Roberts & Todd (WRT), died on June 14 after a long battle with Alzheimer’s Disease. He was 90.

Born in Connecticut and raised in the Philadelphia area, Todd was educated at Haverford College and the University of Pennsylvania, where he earned a bachelor’s degree in architecture and a master’s degree in city planning, respectively. A licensed architect from 1963 to 1991 and professional planner starting in 1970, he was a named a Fellow of the American Institute of Architects in 1980.

Along with David Wallace, Ian McHarg, Bill Roberts, and others, Todd built a large firm that was known for its multidisciplinary approach to design, combining architecture, landscape architecture, and planning. Based in Philadelphia, it has a second office in San Francisco.

Among Todd's best-known projects were the master plans for Baltimore’s Inner Harbor renewal area, the U. S. Capitol area in Washington, D. C., and Abuja, the Capitol of Nigeria. He worked on landscape architecture projects for Battery Park in New York and was part of the design team behind Philadelphia’s Liberty Place towers, which broke the longstanding gentleman's agreement that no structure could be taller than William Penn’s statue atop City Hall.

Working in a variety of idioms, Todd also designed smaller works, including three houses for his own family as well as urban sculpture. His 1982 McKeldin Fountain, also known as The Waterfall, was designed to be an explorable waterfall formed by a series of concrete prisms with water cascading down on all sides and collecting in pools below with platforms at different levels containing plants and walkways for people. Both a utilitarian part of the city’s infrastructure and a sophisticated work of Brutalist architecture, it was part of Baltimore’s official inventory of public art until it was demolished by the city in 2016.

Joseph Healy, architect and managing principal of WRT, said employees in the Philadelphia office spoke about Todd last week during a staff gathering, reflecting on the key role he played in the firm.

“To this day, the underlying beliefs and integrated practice that Tom helped shape at WRT hold great value for the talented professionals and aspirational clients drawn to the firm,” Healy said in a statement. “The positive impact of their collective work is more relevant than ever.”

Todd was “a versatile designer, not always a Modernist,” Healy added. “He was very attentive to context and craft.”

Todd’s professional career began with the Philadelphia City Planning Commission, led for many years by the noted planner Edmund Bacon. After winning a fellowship that allowed him to travel in Europe for a year, Todd joined the University of Pennsylvania as a campus planner and designer, then started a planning firm known as Grant & Todd, then worked for Geddes, Brecher, Qualls & Cunningham.

In 1963, Wallace and McHarg hired him to work for Wallace-McHarg Associates, which was taking on land planning projects and other commissions around the country, including a much-publicized plan to control development in Baltimore County’s Green Spring Valley. After Todd and Bill Roberts became full partners, the firm was renamed Wallace, McHarg, Roberts & Todd.

Todd’s penchant for planning and his attention to detail extended to his leisure time activities, including model shipbuilding, music, and painting. He could speak and read Latin, which he studied at Germantown Friends School and Haverford, and enjoyed translating common phrases and quotes into that language. He traced his family history back to the colonial era, discovering that he was related to Benedict Arnold. He made a harpsichord and taught himself to play it. He sang in choral groups. He painted portraits, landscapes, cityscapes, and still lifes.

After WRT’s master plan for Baltimore called for the USS Constellation to be the sculptural centerpiece of the Inner Harbor, Todd built a scale model of it, down to the miniature cannon balls on the upper deck. His model is on display at the U. S. Naval War College in Newport, R. I.

In 1956 Todd married the former Carol Roberts, who died in 2014. They had a son, Jonathan Christopher “Chris” Todd, and two daughters, Suzannah Elizabeth Arnold Todd Waters and Cassandra Roberts Todd.  Besides his children, he is survived by a sister and four grandchildren.

In 1991, Todd retired from WRT and moved to Rhode Island, where he continued to consult professionally. In 2008 he moved to Duxbury, Massachusetts. He lived in Plymouth, Mass., at the time of his death.

Todd’s son paints a picture of a restless Renaissance man who saw the glass as half full and threw himself into whatever he chose to pursue, whether it was traveling to see the lands discovered by the Norse explorer Leif Erikson or building frames for his own oil paintings.

“He loved bad jokes and good company,” Chris Todd said. “I wouldn’t say he didn’t have his moments of concern about finances or health. But by and large, he led a rich life.

“He was absolutely the most industrious person I have ever met,” his son continued. “TV was uninteresting to him. He would get up after a few minutes. He wasn’t interested in passive entertainment. He wanted something more. He wanted to make things, and he wanted to learn about things in order to make them, to be able to discuss them intelligently. He had a questing mind.”

A memorial service for Thomas Todd will be held on October 27 at 10 a.m. at the Germantown Friends Meeting, a Quaker church at 47 West Coulter Street in Philadelphia. In lieu of flowers, the family has suggested a donation to the Alzheimer’s Association.

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Successful Pitches

2026 World Cup preview: Which U.S. cities will host?
 As France and Croatia prepare to face off in the 2018 FIFA World Cup final this Sunday, North American cities are already thinking about 2026, when the United States, Mexico, and Canada will co-host the games. Announced last month, it’s perhaps one of the only unifying moments that’s happened lately between the three neighboring countries given the continent's current political rifts. But a lot can happen in eight years, and while North Americans wait to find out how relationships might repair, we can logistically consider how the world’s favorite sport will play out in our own backyard. Per the aptly named United Bid, the U.S., Canada, and Mexico argue that existing infrastructure, local partnerships, and state-of-the-art stadiums will decrease costs and encourage sustainable practices within the games. Sixty of the eighty planned matches are set to take place in the U.S., including all games from the quarterfinals onwards. As of now, 17 U.S. cities have begun campaigning to secure their individual bids, while Mexico City, Monterrey, Guadalajara, Toronto, Montreal, and Edmonton have already been named as official hosts. By 2021, FIFA will pare down the list of U.S cities to 10. Boston Consulting Group, a global management firm, recently projected that the tournament will generate over $5 billion in economic activity for the three host countries, while single cities in the U.S. might expect a net benefit of up to $480 million each. Which top towns will make the cut? A few of FIFA’s general requirements give insight into the possible results. To host a World Cup match, each city must be able to hold at least five matches in a stadium with a capacity of at least 40,000 people. Seating for 80,000 people must be available for the opening and final matches. With FIFA’s expanded format going into effect in 2026, 48 teams will be able to participate in the tournament. That’s 16 more teams than previous World Cups, making it more important than ever for the host countries to showcase strong transportation, solid hospitality services, and modern sports arenas with the ability to accommodate the increased number of fans. One of the United Bid’s strongest points, according to FIFA, was that it could ensure the long-term use of each stadium following the World Cup. Each building in the proposal is fully-functional and already services major sports events year round. The following cities and stadiums (architects listed) are contending for 2026: Atlanta - Mercedes-Benz Stadium by HOK, tvsdesign, Good Van Slyke Architecture, and Stanley Beaman & Sears Baltimore - M&T Bank Stadium by Populous Boston - Gillette Stadium by Populous Cincinnati - Paul Brown Stadium by NBBJ Dallas - AT&T Stadium by HKS Architects Denver - Mile High Stadium by Stanley E. Morse Houston - NRG Stadium by Populous and Houston Stadium Consultants Kansas City, Missouri - Arrowhead Stadium by Kivett and Myers and Populous Los Angeles - Rose Bowl by Myron Hunt Miami - Hard Rock Stadium by HOK/360 Nashville - Nissan Stadium by Populous and McKissack & McKissack New York - Met Life Stadium by HOK, Bruce Mau, Rockwell Group, and EwingCole Orlando - Camping World Stadium by HNTB Philadelphia - Lincoln Financial Field by NBBJ San Francisco - Levi’s Stadium by HNTB Seattle - CenturyLink by Ellerbe Becket and LMN Architects Washington, D.C. - FedEx Field by Populous This is a major opportunity for the U.S. to both bring in new capital and upgrade infrastructure in conjunction with the games. The U.S. hasn’t hosted a World Cup since 1994 when Brazil beat Italy at Rose Bowl Stadium. The famous arena is one of the rumored spots to anchor the 2026 final match in addition to the new L.A. Rams Stadium by HKS Architects, MetLife Stadium in New York—which hosted Copa America in 2016—as well as the proposed, Bjarke Ingels-designed new home for the Washington Redskins. The U.S. will most likely be guaranteed a place in the games, following tradition that the host country's team will be included in the tournament.
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Cooper Kudos

Weiss/Manfredi, Neri Oxman among winners of 2018 Cooper Hewitt Design Awards
The Cooper Hewitt, Smithsonian Design Museum has announced the winners of the 2018 National Design Awards, recognizing ten individuals and firms who have used design to shape the world for the better. This year’s winners include: Lifetime Achievement: Writer, educator, and designer Gail Anderson has taught at the School of Visual Arts in New York for the last 25 years, and is an active partner at the multidisciplinary Anderson Newton Design. Anderson has written or co-authored a total of 14 books on popular culture and design, and formerly served as the senior art director at Rolling Stone. Design Mind: Landscape architect, award-winning author, and Professor of Landscape Architecture and Planning at MIT Anne Whiston Spirn. Spirn was recognized for her longtime advocacy for balancing urbanism with nature, as well as her continued direction of the West Philadelphia Landscape Project. Corporate & Institutional Achievement: Design studio Design for America, which empowers communities to solve local problems through design. Architecture Design: WEISS/MANFREDI was recognized for the way their projects consistently bridge the gap between architecture, art, and the surrounding landscape. The firm’s been on a roll lately, having picked up several cultural commissions and an invite to exhibit at this year’s Venice Architecture Biennale. Communication Design: Digital identity and experience firm Civilization was recognized for its ability to create empathetic connections and commitment to working with companies who are advocating for the greater good. Fashion Design: The Los Angeles-based fashion designer Christina Kim was recognized for her use of traditional hand working techniques and sustainable business practices. Interaction Design: Architect and designer Neri Oxman was recognized for her experimental material usage and continual boundary-pushing forms. Oxman leads the Mediated Matter Group at the MIT Media Lab, a group whose work frequently bridges the gap between art and technology; their most recent project, Vespers, is a contemporary reinterpretation of the death mask typology that uses living microorganisms. Interior Design: The Miami-based Oppenheim Architecture + Design was recognized for its sense-invoking interiors that are often inspired by local vernacular. The firm has realized projects all over the world from towers in Dubai to the Williamsburg Hotel in Brooklyn, but like many of the other winners, Oppenheim balances their projects within the surrounding natural environment. Landscape Architecture: Boston-based landscape architecture firm Mikyoung Kim Design was honored for its vast body of public work, much of it focused on improving urban resiliency. The firm has tackled projects large and small around the world, from the Chicago Botanic Garden Learning Campus to the Songdo International Plaza in Incheon, South Korea. Product Design: Minneapolis-based Furniture designer and manufacturer Blu Dot was recognized for its playful and modern stylings (including some less-than-functional objects). The National Design Awards have been recognizing exemplary names in the design world since 2000. Nominees must have seven years of professional experience under their belt, while the lifetime achievement nominees must have at least 20 years of experience. Caroline Baumann, director of Cooper Hewitt, will announce the winner of the Director’s Award at a later date, to be given to an outstanding patron of the design world. This year’s awards ceremony will be accompanied by National Design Week, which will run from October 13 through the 21st.
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Expo-presentation

Who’s missing from this AIA Conference promo video? (Hint: It’s not men)
Usually I speed past ads on social media as quickly as possible without breaking my infinite scroll, but when I saw the video ad for the AIA Conference on Architecture 2018 pop up, I was curious to see what the all-knowing algorithms had deemed worthy of my consumption. I expected a standard promotional video highlighting familiar New York City landmarks mixed in with information about conference dates, parties, keynotes–all that good stuff. Something to get me excited about what the AIA describes as the “architecture and design event of the year!” The video is only one minute long. It’s a lighthearted, fast-paced overview of exciting things to come. But it is also a visual, visceral reminder of the status quo of architecture in the United States. Here’s the video. For those of you who cannot view it, a summary of key scenes will follow, with a general description of those present in these scenes. I’ve assumed the genders of the people in the video. At 11 seconds: shot of the Expo floor, approximately 14 cisgender men. Cisgender (or simply "cis") denotes a person whose gender identity corresponds with their birth sex. At 12 seconds: shot of the Expo floor, 1 cis man. At 14 seconds: shots of a panel consisting of 3 cis men and 1 cis woman. The woman’s gender expression, which refers to her appearance in this case, is masculine. At 21 seconds: scene of 5 cis women exercising in a park. At 45 seconds: 2 cis women sitting in front of the Whitney Museum. Did you catch it? A total of at least 18 cis men are shown attending the Conference, while only one cis woman makes a fleeting appearance on a panel (where she is outnumbered by three cis men). No women are shown on the Expo floor otherwise. When cis women do show up, there are only 7 of them, and they are represented as mere consumers of architectural designs by cis men. They’re leisurely exercising at Four Freedoms Park on Roosevelt Island, designed by Louis Kahn, and enjoying the view out in front of the Whitney Museum designed by Renzo Piano. The numbers are telling: roughly 70 percent of people in the ad are cis men, while only 30 percent are cis women. 100 percent of the cis men are depicted as architects. 0 percent of the cis women are. Let’s face it: this advertisement mirrors architecture’s long-running and notorious gender diversity problem. According to Equity by Design, the organization formerly known as The Missing 32%, in the United States, cis women represent less than 50 percent of students graduating from accredited architecture programs, and the number of cis women who are AIA members, licensed architects, and senior leadership fluctuates between 15 to 18 percent of the total. The data gathered from their surveys in 2014 and 2016 confirm what we already know about the architecture profession: women and non-binary people (those who do not identify as male or female) are pushed out of the profession at certain points in their careers, and decision-making power is still largely in the hands of cis men.   What does a one-minute video have to do with it? The AIA is aware of its gender diversity problem and, to the Institute’s credit, has been hammering away at it for several years. In 2011, the AIA Diversity Council was formed to confront issues such as the shortage of minority representation in leadership roles, unconscious bias, and sexual discrimination. In 2014, architectural organizations conducted an industry-wide study, Diversity in the Profession of Architecture, which highlighted the gross disparities in the field and the urgent need for a profession that more accurately reflects the demographics of our nation. The results led the AIA to issue a call to action by ratifying Resolution 15:1,“Equity in Architecture,” at the 2015 AIA National Convention. The resolution established the Equity in Architecture Commission. In 2017, the Commission released a report with five “keystone” areas of focus: leadership development; firm and workplace studio culture; excellence in architecture; education and career development; and, last but certainly not least, marketing, branding, public awareness, and outreach. This video, then, is part of the fifth “keystone” area of focus identified by the Equity in Architecture Commission. But the AIA seems to have lost its focus on working toward equity in this arena. Given all of the time, energy, and institutional power that has been invested in increasing gender equity in architecture, this ad betrays the AIA’s appalling lack of intention and commitment to doing the necessary work that the Equity in Architecture Commission recommends. This is disappointing for an organization that has extensive data on its own gender diversity problem and is keenly aware of its own representation to the public. The way architects are portrayed reveals a disturbing image of how the profession views itself. I understand that representation in an AIA Conference ad is not likely to affect gender diversity in architecture. Change doesn’t happen overnight, much less through algorithmically-placed adverts. But this ad does have a real effect on how women and non-binary people (like me!) feel about our inclusion within the architectural profession. Watching the video made me feel invisible, as though I’m not a real architect and I’m not invited to the conference. Barely seeing any women in represented in the ad was a shocking, surreal experience. During my second viewing, I was acutely aware of the implicit message: even if I do attend the conference, people like me don’t visit the Expo floor. I recalled attending the 2016 AIA Convention in Philadelphia and feeling wildly out of place. I could feel my hope for a better, more inclusive experience at A’18 drain away as the messaging sank in. The AIA, despite all of its efforts and good intentions, should do better. As a historically (and currently) cis male-dominated profession, the structure for supporting architects who are not cis men is severely lacking. Women and non-binary people face professional and academic settings that are hostile towards their career advancements. We receive messages in so many ways that we should not be architects. Just last year, a group of more than 50 architectural professionals wrote a letter to the Architect’s Newspaper imploring the AIA to reevaluate their keynote speakers (6 out of 7 were cis men; one was a cis woman and not an architect). We need a cultural change in architecture that also goes beyond representation.The architects who are honored by the AIA and other organizations merely reinforce dominant, patriarchal power structures. When will the five keystones for equity in architecture become a serious priority? When will architectural education become accessible enough to reflect the gender and racial diversity of the country? When will women and non-binary people finally feel represented and welcome at all stages of their architectural careers? I’m tired of having the same diversity and inclusion conversations. We have announced ourselves and have been speaking out. The future of the architectural profession lies in how well it welcomes the next generation. The next generation is here, but we don’t see ourselves reflected and seen. We need you to do better. See you on the Expo floor. A.L. Hu is an architectural designer, organizer, and activist living in New York City.
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Everything Old Is New Again

Docomomo US announces 2018 Modernism in America Award winners
The preservation nonprofit Docomomo US has announced the winners of its 2018 Modernism in America Awards, recognizing 13 people or projects that have sensitively preserved, or advocated for the preservation of, modern icons throughout the country. “By recognizing the important design and preservation work being done around the country that often is overlooked,” said Docomomo US president, Theodore Prudon, “the Modernism in America Awards program is bringing further awareness to the substantial contribution that preservation in general - and the postwar heritage in particular - makes to the economic and cultural life of our communities. " The 2018 recipients of the annual Modernism in America Awards, now in its fifth year, will be honored on Wednesday, June 20, 2018 at the Design Within Reach Third Avenue Studio in New York City. This year’s jury was composed of Docomomo US’s Board of Directors. The prizes were awarded in the following categories: Design Award of Excellence, one Special Award of Restoration Excellence, and the Citations of Merit. Design Award of Excellence winners: General Motors Design Dome and Auditorium Location: Warren, MI Original Architect: Harley Earl and Eero Saarinen Restoration Team: SmithGroupJJR (See Docomomo US for full list) Client: General Motors Award: Commercial Design Award of Excellence From the jury: “This is the perfect example of how to treat an icon.” Jury member Eric Keune adds, “The renovation demonstrates the great care that was given to the original design team’s vision, while simultaneously bringing the spirit forward with a gentle guiding hand and using contemporary technology. It is noteworthy and commendable that General Motors was willing to invest and upgrade the building for the same use even though the company has continued to transform themselves over time.” Lenox Health Greenwich Village Location: New York, NY Original Architect: Albert C. Ledner Restoration Team: Northwell Health, Perkins Eastman, CANY, Turner Construction, BR+A, Silman, Cerami & Associates, Russell Design, Sam Schwartz, VDA, Langan Engineering, Louis Sgroe Equipment Planning Client: Northwell Health Award: Commercial Design Award of Excellence From the jury: “This beautiful and unique building is an incredible piece of urban architecture whose restoration respectfully honors the building’s original concept while creatively adapting a dramatic structure to a new purpose. This project offers clients and cities alike valuable lessons about the transformative impacts of architecture and design; specifically, the often-surprising elasticity which waits patiently, and at times unexpectedly, in certain works of modern architecture.” Hill College House Renovation Location: Philadelphia, PA Original Architect: Eero Saarinen and Dan Kiley (landscapes) Restoration Team: Mills + Schnoering Architects, LLC (Architecture), Floss Barber Inc. (Interior Design), Keystone Preservation Group (Materials Conservation), OLIN (Landscape Design) (See Docomomo US for full list) Client: University of Pennsylvania Award: Civic/Institutional Design Award of Excellence From the jury: “This project highlights the commitment to restore a beautiful but overlooked campus structure and honors the lasting values found in modern architecture. The work accomplished by the design team not only respects the original vision, but also addresses the needs of students today, improving functionality and gaining a LEED certification – Saarinen for the 21st century.” George Kraigher House Location: Brownsville, TX Original Architect: Richard Neutra Restoration Team: Lawrence V. Lof (Project Lead), Texas Southmost College Client: City of Brownsville and Texas Southmost College – Dr. Juliet V. García, president, and Dr. José G. Martín, provost Award: Residential Design Award of Excellence From the jury: “Restoration of the Kraigher House is a compelling story of the power of public and private partnerships. Beginning with the grassroots advocacy efforts of Ambrosio Villarreal, to the Kraigher House's inclusion on Preservation Texas’ and the National Trust for Historic Preservation's endangered lists, restoration of this rare and significant Neutra residence by the Brownsville community is a strong testament to the power of partnerships.” Imagining the Modern: The Architecture and Urbanism of Postwar Pittsburgh Location: Pittsburgh, PA Project Team: Chris Grimley, Michael Kubo, and Rami el Samahy with Ann Lui, Mark Pasnik, Cameron Longyear, Shannon McLean, Brett Pierson, Andrew Potter, Rebecca Rice, Valny Aoalsteindottir, Silvia Colpani, Lindsay Dumont, and Victoria Pai - over,under (Architects-in-Residence) (See Docomomo US for full list) Client: Heinz Architectural Center, Carnegie Museum of Art, Pittsburgh Award: Survey/Inventory Award of Excellence From the jury: “This comprehensive and multi-dimensional project established a broad context to understand a cross section of modernism through multiple lenses in the context of a single city. The project team is recognized for this deeply researched and beautifully presented exhibition that encouraged participants to take a fresh look at the architecture and urbanism of postwar Pittsburgh.” Starship Chicago: A Film by Nathan Eddy Location: Chicago, IL Project Team: Nathan Eddy (Director) Award: Advocacy Award of Excellence From the jury: “When most preservation efforts are reactionary, Nathan Eddy has taken a unique and proactive approach and sparked much-needed conversation and action before a building faces demolition. Starship Chicago is thoughtful, beautiful, informative, and engaging and brings to light what a powerful medium film can be.” Tom Little: Georgia Advocacy Location: Atlanta, GA Recipient: Docomomo US/Georgia chapter president Tom Little Award: Advocacy Award of Excellence From the jury: “As a result of Tom’s dedication and advocacy, he has been instrumental in saving a number of significant buildings in the region. As the founding president of the Georgia chapter of Docomomo US, Tom continues to be a steadfast advocate for modern buildings and we acknowledge his dedication in sharing the organization's mission through local leadership and advocacy.” Special Award of Restoration Excellence: Unity Temple   Location: Oak Park, IL Original Architect: Frank Lloyd Wright Restoration Team: Harboe Architects, PC (Restoration Architects), Project Management Advisors, Inc. (Project Management), Berglund Construction Company (Contractor) Client: UTP, LLC From the jury: “This is a comprehensive restoration of one of the canonical and pioneering works of American modern architecture. It allows future generations to not only use, but learn from, and see this building as it was originally designed by Wright.” Citations of Merit: 115, Geotronics Labs Building Location: Dallas, TX Original Architect: Printz and Brooks Restoration Team: DSGN Associates (Architecture), Constructive – Rick Fontenot From the jury: “It is important to call attention to a project that takes a typical, small company office building and revitalizes it as an example to others who may embark upon similar projects.” Jury member Meredith Bzdak added, “This is a well-executed restoration and a good model for the treatment of other modest mid-century buildings like this around the country.” George Washington Bridge Bus Station Location: New York, NY Original Architect: Dr. Pier Luigi Nervi Restoration Team: The Port Authority of NY & NJ – Engineering Department, Architectural Unit, STV, Inc. From the jury: “As bus stations continue to be lynchpins of modern urban transportation infrastructure, the restoration of the GWB Bus Station was thoughtfully executed and serves as an important example of a government agency choosing to invest in the restoration of a significant modern resource instead of opting for new construction.” Lurie House Location: Pleasantville, NY Original Architect: Kaneji Domoto Restoration Team: Lynnette Widder (Lead) (See Docomomo US for full list) From the jury: “This is a beautiful and well-considered renovation done with extreme care and appreciation of environmental efforts as well as the Japanese-American architect’s cultural orientation.” Banking on Beauty: Millard Sheets and Midcentury Commercial Architecture Location: California Project Team: Adam Arenson From the jury: “Arenson’s research has uncovered an extensive legacy of ‘every man modernism’ that was largely unknown and underappreciated, and brings attention to main street architecture with real design value and the impact of individual grassroots efforts.” UC San Diego Campus-wide Historic Context Statement and Historic Resource Survey Location: San Diego, CA Project Team: Architectural Resources Group – Katie E. Horak, Principal, Andrew Goodrich, Associate, Micaela Torres-Gill, Paul D. Turner, PhD, NeuCampus Planning – David Neuman UC San Diego, Physical and Community Planning - Robert Clossin (AICP, Director), Catherine Presmyk (Assistant Director of Environmental Planning), Todd Pitman (Assistant Director and Campus Landscape Architect) (See Docomomo US for full list) Client: UC San Diego  From the jury: “This project is significant because of the ever-increasing pressures universities face in improving their campus building portfolios while maintaining significant architectural resources. The inventory will help better protect these resources and has the potential to educate this particular campus community and other college and university systems across the country.”
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Pitts Stop

57th Carnegie International will bring artists who engage spatial politics around the world
The Carnegie International is the oldest exhibition of contemporary art in North America, founded by industrialist Andrew Carnegie in 1896 just one year after the first Venice Biennale. The exhibition was designed to help identify the “Old Masters of tomorrow.” The recent announcement of participating artists in the 57th iteration of the International, which opens on October 13, 2018 at the Carnegie Museum of Art (CMoA) in Pittsburgh, is a look at who these new "old masters" might be. Curated by Ingrid Schaffner, who was chief curator at the Institute for Contemporary Art in Philadelphia before taking the helm of the International in 2015, the list lives up to her reputation for taking an expansive approach to contemporary art. While only one artist has an architectural background—Saba Innab, an architect and urban researcher practicing between Amman and Beirut—several of the exhibition’s artists explore questions of territory, body, commodity, craft, agency, and spatial practice. The participants are all working on site-specific works for the CMoA, so this International will certainly be an immersive and provocative museum experience. Here’s a look at what’s to come. Innab’s work, pictured above, explores the relationship between architecture and territory, exemplified by her cast depicting the rock of Gibraltar in the 2016 Marrakech Biennale. It is fitting, then, that she will install work in dialogue with the Carnegie Museum of Art’s Hall of Architecture, a historic collection of plaster casts of building fragments from around the world. Postcommodity, an interdisciplinary arts collective that explores “Indigenous narratives of cultural self-determination,” will also address spatial and cultural politics head-on. Their recent work, Repellent Fence (2015), for example, was a 2-mile work that consisted of 26 balloons stretching across the U.S.-Mexico border. The design of the balloons references both indigenous iconography and “an ineffective bird repellent product,” and signal unity between indigenous peoples, the land, and history. Park McArthur is a New York-based artist whose work examines notions of accessibility, agency, and the city. Her 2014 exhibition at ESSEX GALLERY, for example, gathered the improvised ramps used by twenty galleries in Lower Manhattan in a minimalist arrangement on the gallery floor. Similarly, at SFMOMA in 2017, where she displayed design drawings and improvised ramps made by family and friends to accommodate her wheelchair in everyday spaces. The Carnegie Museum of Art’s Heinz Architectural Center will host works by Jessi Reaves, known for her sculptural furniture that looks both familiar and somewhat grotesque, with common materials assembled in unsettling combinations that plays with ideas of incompletion in art and design. Reaves’ voluptuous recliners will neighbor work by Beverly Semmes and her Feminist Responsibility Project (FRP), which explore issues of censorship and the female body overlaying paint onto pages of “gentlemen’s magazines.” The FRP is one project in Semme’s practice, which otherwise operates at an architectural scale. Schaffner describes Beverly Semmes' art as flowing “from the female body and out into the landscape,” with flowing dresses the scale of a room. New Dehli-based photographer Dayanita Singh’s concern for the physical relationship between the viewer and the photograph has led her into an exploration of architectural and spatial arrangements for her work. Singh designs standalone “museums” for her photographs that, as she described in a recent talk at the Silver Eye Center for Photography in Pittsburgh, “liberate the photograph from the wall.” Koyo Kouoh, a Dakar-based “exhibition-maker,” will similarly take the visitor’s relationship to artwork into her own hands. Kouoh is founding artistic director of RAW Material Company in Dakar, Senegal, and for the International she will organize “Dig Where You Stand.” This exhibition within an exhibition will mine the Carnegie Museums’ collections to reconfigure the galleries devoted to “Pre-1300, African, and Asian Art.” “Koyo’s piece would be a lever for clearing this out, something the museum has wanted to do for a long time, a rupture so that we can begin again,” Schaffner said. Though probing the term “international,” the exhibition meaningfully ties into Pittsburgh’s artists and histories. Conceptual artist Mel Bochner will make a homecoming, and Pittsburgh-based artists Lenka Clayton & Jon Rubin will develop a new work based on the International’s archives. This International will feature sculptor Thaddeus Mosley, whose wooden carvings were inspired by the Internationals of the early 1950s. Photograph from the archives of Teenie Harris, a prolific photojournalist for the Pittsburgh Courier, will offer a new look at the post-industrial city’s past. Though the International opens in October, the fun is already underway. One of Schaffner’s aims is to spark “museum joy” in visitors. In fact, the curatorial team is sharing the delight of all aspects of the exhibition, from the design process to the curatorial research, through the International’s website. Wkshps founder Prem Krishnamurthy’s article chronicles the charrettes that brought the editorial, curatorial, and design teams together early in the process to, in Schaffner’s words, “design for the unknown.” Travelogue essays written by writers who weren’t with Schaffner on her extensive travel research take the reader into new territories nonetheless. Illustrator Maira Kalman’s fanciful interpretation of Schaffner’s pilgrimage to Zaha Hadid’s Heydar Aliyev Center in Baku, Azerbaijan and historian Markus Rediker’s analysis of Vodou Surrealism in response to a curatorial trip to the Caribbean are particularly worth a read. Following Andrew Carnegie’s ambitions for the museum, Schaffner has tasked each artist to lead a public workshop, or “Tam O’Shanter drawing session.” Thaddeus Mosley has already done a workshop on jazz playlists, and a class used coffee to paint with Ho Chi Minh City-based collective Art Labor. In April, visitors can make zines with Mimi Cherono Ng’ok and artifact critters with Lucy Skaer. With many more events to be announced in coming months, this is already a very playful and political exhibition not to be missed.
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Earth Daze

AIA honors the top eleven sustainable buildings of 2018
As a fitting kickoff to Earth Day weekend, the American Institute of Architects (AIA) Committee on the Environment (COTE) has announced the 2018 recipients of its COTE Top Ten Awards. Honoring ten projects that have surpassed rigorous thresholds in integration, energy use, water conservation, and wellness benchmarks, the award showcases cutting-edge buildings that are not only sustainable, but that contribute to the surrounding neighborhood. This year’s jury included:
  • Michelle Addington, Dean, School of Architecture, The University of Texas Austin Austin, Texas
  • Jennifer Devlin-Herbert, FAIA, EHDD. San Francisco
  • Kevin Schorn, AIA, Renzo Piano Building Workshop, New York
  • Julie V. Snow, FAIA, Snow Kreilich, Minneapolis
  • Susan Ubbelohde, LOISOS + UBBELOHDE, Alameda, California
The 2018 awardees ranged in usage from libraries to art galleries, as well as one single-family home. While the COTE Top Ten Awards are given to buildings that meet certain requirements, an additional “Top Ten Plus Award” is handed out to a single project with exceptional post-occupancy performance. The winners are as follows: Albion District Library; Toronto, Ontario, Canada Architect: Perkins+Will According to the jury: "This project clearly demonstrates the immediate positive impact of good design. A district library that serves a diverse and newly-immigrant community, the library has a dramatically increased visitorship (with a notable 75 percent increase for teenagers) over the old facility." Georgia Tech Engineered Biosystems Building; Atlanta, Georgia Architect: Lake|Flato in collaboration with Cooper Carry According to the jury: "The Georgia Tech Engineered Biosystems Building weaves a large array of active and passive strategies into a highly tuned machine for this university research laboratory." Mundo Verde at Cook Campus; Washington Architect: Studio Twenty Seven Architecture According to the jury: "A 25,000-gallon cistern holds rainwater for reuse, while the gardens have increased site vegetation from zero to 40 percent." Nancy and Stephen Grand Family House; San Francisco Architect: Leddy Maytum Stacy Architects According to the jury: "This cost-effective building serves a community of sick children and their families while prioritizing environmental performance." New United States Courthouse; Los Angeles; Los Angeles Architect: Skidmore, Owings & Merrill LLP According to the jury: "We were impressed with the quality of the calm, light-filled interior spaces for occupants who are often in the courthouse under difficult circumstances." The Renwick Gallery of the Smithsonian American Art Museum; Washington, D.C. Architect: DLR Group According to the jury: "The Renwick Gallery renovation wove complex and robust new systems while preserving the impressive historic design and collection and allowing opportunities for new works to be displayed." San Francisco Art Institute - Fort Mason Center Pier 2; San Francisco Architect: Leddy Maytum Stacy Architects According to the jury: "The design team recognized the assets of the existing structure and created a great, low-energy building with a healthy interior environment." Sawmill; Tehachapi, California Architect: Olson Kundig According to the jury: "The team is commended for their site-specific analysis, as evidenced by the decision to let rainwater recharge the water table rather than collect it. If a single-family dwelling is to be built in a desert climate, this is how to do it." Sonoma Academy’s Janet Durgin Guild & Commons; Santa Rosa, California Architect: WRNS Studio According to the jury: "This project demonstrates that, even with an energy-heavy program that includes a commercial kitchen, a fully integrated and dedicated design team can produce a beautiful and extremely well-performing building." Top Ten Plus winner: Ortlieb's Bottling House; Philadelphia, Pennsylvania Architect: KieranTimberlake According to the jury: "An exceptional example of passive strategies used in adaptive reuse of an historic urban building."