Search results for "Public Design Commission"

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Built In Secret

Details emerge on the architecture of China's Uighur re-education camps
A chilling news documentary released by VICE News Tonight late last month highlighted the mystery behind China’s Uighur people, a minority Muslim group that’s been disappearing under the cover of night. The United Nations believes at least one million members of this community are being detained in "re-education camps" around the Xinjiang province in northwestern China, and their children are being taken to state-run orphanages—renamed “kindergartens”—where they’re indoctrinated into Chinese culture and customs.  Earlier this month, 22 countries sent a joint letter to the UN’s High Commissioner for Human Rights urging China to stop the mass detention and allow UN officials to investigate. According to government officials in Beijing, these camps have been created to curb Islamic extremism and ensure the safety of the Chinese people. Other reports have noted allegations of torture.  VICE News Tonight went undercover in Xinjiang to capture the dystopian world that’s been set up to control locals through a massive network of surveillance infrastructure and constant policing. The reporters even got footage of eight Uighur men being taken away after midnight in total silence. While it seems most people within Xinjiang know about these Uighur holding facilities, they don’t exactly know where they are located. So VICE News Tonight’s Isobel Yeung and her crew followed Google Maps and a series of coordinates to find the internment architecture that’s been both built and adapted for “vocational training” of the Uighur people. AN spoke with Yeung over email about her experience in Xinjiang and what her team uncovered about the Uighur’s plight during the production of They Come for Us at Night: Inside China's Hidden War on Uighurs, which premiered on VICE News Tonight on HBO on June 27th.  AN: What was your initial reaction to all the security infrastructure and policing set up in Kashgar?  IY: It’s a really intense set-up. There are surveillance cameras every few meters, facial recognition cameras, full-body scans, facial and iris scans, groups of armored police roaming the streets with big spiky clubs, police cars and armored trucks patrolling the streets… It’s unnerving and chilling to be in.  Did you notice how other Uighurs or Chinese people approached these interactions? It’s all become eerily normal for the people living there. I asked one Uighur woman who had just had her phone scanned and been strip-searched while entering a public space how she could handle being constantly treated as a security threat. She just shrugged and told me that she’d got used to nothing making sense anymore.  The documentary showed the rows of surveillance lights at the Urumqi bazaar. Were there other spaces in which you were overwhelmed by the number of cameras? Cameras were everywhere. Only when I was in the safety of my hotel room did I feel like I wasn’t being watched (and even then, we didn’t know if they’d bugged our rooms). In public spaces where there are likely to be gatherings, or on the front of public buildings like schools, hospitals, and markets there were more. Around any mosque there were clusters.  Can you explain the spatial context of the re-education campus you saw in Kashgar?  From AN: Yeung referred us to University of British Columbia law student Shawn Zhang and his work completed over the last few months pulling up satellite imagery of the camps throughout Xinjiang. See them all here Did anyone in the group of former detainees you spoke with in Istanbul talk about the architecture of the camps and their layout?  Over the course of six months, we spoke to many people who had spent time in the camps—in Istanbul, the US, and elsewhere in Europe. Some of them had been in detention centers that had been converted into camps, others had been in newly erected camps. One woman told us that there were many cells, with around 20 people per cell, and that interrogation and isolation cells were underground. Many of them spoke of the sounds they heard such as people arriving in the night, screams from other cells, people being beaten, chains dragging, and endless propaganda songs. Many of them said that there were cameras inside the rooms and cells, so they were being watched the whole time. This made it difficult to communicate with each other. They talked about having to make their beds with military perfection and about having to sit with their feet crossed, facing the front for hours on end while they were taught Chinese law. Can you explain the spatial context of the kindergartens in Hotan?  They were mostly in the outskirts of town often in run-down neighborhoods quite far from the city center. They look somewhat out of place given their surroundings. In your opinion, what is the architecture of the large kindergartens communicating to both the children, the Uighur adults, and the rest of the Chinese public?  These buildings look like brightly colored, garish castles. There are Mickey Mouse’s painted on the walls and bright patterns on the ground. They’re clearly designed with children in mind. Several local Han Chinese adults told us that these are examples of how the Chinese government is looking after Uighur children, which I think is the impression they’re trying to give. But they’re also heavily fortified with big barbed wire fencing, high brick walls, and guards at the entrance.  Did anyone discuss with you the programming within the schools and whether it was similar or drastically different than what normal Chinese schools look like?  No one really discussed the programming. One young Uighur child told me that they have “ethics” classes and Han Chinese classes and written on the front of one of the kindergartens are slogans emphasizing that ‘ethnic unity’ must be taught and the Chinese language must be spoken. So that’s clearly a big focus for these kids. 
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Noblesse Oblige

Big Plans: Picturing Social Reform employs photography and drawings to capture a movement
The United States of America of the 19th century was a civilization in rapid flux, subject to spiraling economic and demographic growth coupled with staggering socioeconomic inequality that manifested in deleterious urban poverty. Big Plans: Picturing Social Reform, on display at the Isabella Stewart Gardner Museum in Boston through September 15, 2019, effectively encapsulates the bold visions of the era's patrician reformers with the living conditions of the urban poor that influenced their sweeping plans. The exhibition is curated by Charles Waldheim, the Harvard Graduate School of Design's John E. Irving Professor of Landscape Architecture, Director of the Office for Urbanization, and the Ruettgers Curator of Landscape, and is largely made up of highly-detailed topographical and landscape maps, historical photographs, and personal mementos. According to Waldheim, "the show started with a very simple idea; could we take large urban plan drawings from the 19th century and treat them like works of art?" For Big Plans, Waldheim hones in on four protagonists; Frederick Law Olmsted, the historic doyen of landscape architecture; Isabella Stewart Gardiner, the museum's namesake and prominent member of the Boston Brahmins; Charles Eliot, Olmsted's apprentice and prominent city planner in his own right; and Lewis Wickes Hine, the sociologist and prodigious photographer of the American urban condition. Although contemporary controversies surrounding park construction largely center on budgetary or zoning constraints, the execution of such projects during the 19th century was remarkably radical in ideology and scope. Big Plans highlights the revolutionary nature of public landscape design with an initial focus on Olmsted & Vaux's design for Central Park in New York, juxtaposed with an original hand-colored map by William Bridges for New York's 1811 Commissioners' plan that would place the gridiron street layout of Manhattan. In comparing these two disparate visions of Gotham at the onset of the exhibition, the curatorial direction quickly lays out the reformers' visions of reshaping the rigid rationality of the industrial city into one that cultivated both economic and social progress. The theme of correcting the societal ills of the industrial metropolis is continued in the second room of the exhibition with five-by-seven-inch silver gelatin prints produced by street photographer and sociologist Lewis Hines. Similar to contemporaneous New York-based social reformer Jacob Riis, Hines advocated for photography as an effective tool to prod for social reform. The images are not beautiful; as is the case with much early photography, many are overexposed and out of focus. However, aesthetics were not their purpose. The photos are a searing indictment of child labor, depicting young men and women toiling in industrial mills and sifting through fetid landfills in search of scrap materials. The remainder of the exhibition is largely a collection of drawings that plot out the expansion of the public realm and park space in Boston and Chicago, ranging from the Back Bay Fens to Jackson Park. Absent from the curatorial direction of Big Plans is a perspective from the urban working class and impoverished for whom the grandiose schemes were tentatively laid out for. This top-down perspective was a conscious decision by Waldheim to highlight the uneasy paternalism, or noblesse oblige, of the era's social reformers. While not explicit, the exhibition begs the question of whether this condescension laid the groundwork for similarly grandiose urban renewal plans during the mid-20th century. Big Plans: Picturing Social Reform Isabella Stewart Gardner Museum 25 Evans Way Boston Through September 15, 2019
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Newseum News!

Ennead to transform its Newseum building for Johns Hopkins University

Ennead Architects, the New York-based firm formerly known as Polshek Partnership, will team up with SmithGroup to redevelop the Newseum building in Washington, D.C. for Johns Hopkins University. The Baltimore-based university announced its plans to purchase the building from the nonprofit Freedom Forum earlier this year for $372.5 million. Johns Hopkins will consolidate its existing real estate holdings in the city at the new offshoot building on Pennsylvania Avenue, which will host various academic and administrative initiatives.

Ennead is an appropriate choice to head the project for obvious reasons. Led by architect James Polshek, the firm designed the current Newseum building before changing its name from Polshek Partnership in 2010. Opened in 2008, the building has several distinct features, including a 75-foot-tall marble slab engraved with an excerpt from the First Amendment. A so-called “window on the world” also occupies the structure’s Pennsylvania Avenue frontage, allowing for views between the street, the National Mall, and visitors inside the museum. Ennead has handled multiple high-profile museum projects around the world, such as the Rose Center for Earth and Space at New York’s American Museum of Natural History and the Clinton Presidential Center in Little Rock, Arkansas.

Ennead submitted initial drawings for the major remodeling to the U.S. Commission on Fine Arts (CFA) on July 3. Before construction can begin, the commission must provide informal feedback and officially approve of the final design. The filing sent to the CFA indicates that certain aspects of the building’s facade will change. The marble tablet with the excerpt from the Constitution, as well as the newspaper headlines that line the avenue, will be removed. The entrance will be reimagined as more transparent and open. Due to boundary line regulations on Pennsylvania Avenue, though, much of the structure’s original massing will remain in place.

The interior will undergo a significant transformation as well. The university has announced plans to reconfigure floor slabs and circulation within the building—currently, much of the museum is positioned around a large, multistory central void. With more than 400,000 square feet of floor space available inside, the facility will house classrooms, offices, and event spaces that will be open to the public. No plans for alterations to the 135-unit Newseum Residences have been released.

As for the Newseum itself, administrators at Freedom Forum have not yet announced where the museum will move. After years of serious budget deficits, the institution will close temporarily at the end of 2019. Employees will work out of a provisional office in Washington until a new home is found. Hopkins has suggested that construction on its facility could begin as early as 2020, and as late as 2023, with no estimated completion date.

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Out of Season

Investors blame Isay Weinfeld’s design for the closing of the new Four Seasons Restaurant
The iconic new Four Seasons Restaurant has officially closed after reopening less than 10 months ago and following a $32 million renovation. In 2016 the original and much-venerated restaurant was forced to relocate because the owner, Aby Rosen, would not renew its lease. Now, investors are reportedly pointing fingers at design flaws as the cause of failure. The original restaurant was located in Mies van der Rohe’s New York-renowned Seagram Building. The interior, designed by Philip Johnson, remained nearly unchanged since 1959, and in 1989 it received an interior landmark designation from the New York City Landmarks Preservation Commission. The Four Seasons Restaurant carries hefty, modernist roots, although, in recent years, Rosen has been caught trying to make changes to the space without prior approval from the LPC. With the guidance of architecture critic Paul Goldberger, Brazilian architect Isay Weinfeld was selected to design the restaurant's new home at 42 East 49th Street. A New York Post article claims that, according to unnamed sources behind the scenes, the restaurant's well-heeled investors are blaming its failure on two private dining areas on the second floor that were supposed to attract high dollar events. The article names large columns, blocked views, "disagreeable" furniture, and construction delays as design-related issues leading up to the restaurant's demise. Meanwhile, owner Alex von Bidder mentioned to the New York Times that he, “thought the new restaurant was great, looked great and had a great team in place.” Nevertheless, investors made the decision to close. AN reached out to Isay Weinfeld for comment and received the following response: “I could not be prouder of our designs for the Four Seasons Restaurant. But I respect all opinions, including the silly ones.” The restaurant is owned by Alex von Bidder and members of the Bronfman family, and previously Julian Niccolini. In the same year that the restaurant announced its move, Niccolini pleaded guilty to sexual assault but remained a co-owner. Since the re-opening and in the wake of the #MeToo movement, critics and the public have scrutinized the restaurant for still involving Niccolini. In December 2018 he was finally forced to resign.
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Go Long

Barry Bergdoll showcases a new wave of modern architecture on Long Island
The “North Fork” of Long Island, from the town of Riverhead to Orient Point at the eastern tip, is one of the most varied and beautiful landscapes in the New York region. A peninsula jutting out into Long Island Sound, it is the last place where one can still find open space devoted to farming, alongside fresh and saltwater inlets, bays, and ponds in the state. It also has a unique regional style of cedar shingled “Cape” homes and handsome pine potato barns that date back to the 18th century. But North Fork is also home to a handful of modernist post-World War II summer homes, that have remained largely unknown in comparison to those in the Hamptons, it’s more glamorous neighbor across the Peconic Bay. Now, thanks to Columbia Art History Professor and ex-MoMA architecture curator Barry Bergdoll, the story of modern architecture on the peninsula will be better known. Somehow Bergdoll found the time last year to stage A New Wave of Modern Architecture, a small but alluring exhibition on the region’s post-war modern architectural history. Now, the exhibit has moved six miles east to the Oysterponds Historical Society in Orient, New York, and Bergdoll has added to the show’s survey of contemporary housing and expanded our understanding of the region’s architectural uniqueness. He begins with the area’s fascinating early history of artists who gathered around the legendary art dealer, Betty Parsons, who came to the area in the 1950s. Parsons commissioned the architect-slash-sculptor Tony Smith to build a guest house and studio above the Long Island Sound. He designed a pavilion fronting the sound out of large railroad ties. He then designed and built a house for Abstract Expressionist painter Theodoros Stamos in 1951. For Stamos, Bergdoll writes, “Smith designed a dramatically innovative variant on the American timber frame house, elevating a single-story space sandwiched between two trusses, one upside down to create a large open floor plan. Elevated off the ground, the house’s living space afforded sweeping views over Long Island Sound from its bluff-top site.” Finally, he points to the double pavilion house Charles Moore designed for Simone Swan in 1975, a few houses away from Parson’s home, as an influence to newer designs. This second exhibition highlights a number of new houses, including a modest but beautiful wood-shingled Peconic bayside house by Toshiko Mori, and a TTC passive house designed by Wayne Turett on a back lot in Greenport, New York. But Bergdoll’s most insightful addition to the show is his description of what makes the area’s modern houses unique. He points to the North Fork’s environmentally sensitive farm and wetland landscape as an influence in the innovative new houses being constructed “with structural openness” and elevated platforms capable of capturing views of the landscape. This modest little show identifies a singular new style evolving just a few hours east of New York. The exhibit is open to the public Wednesdays through Sundays, 2:00 pm to 5:00 pm, as well as Saturdays from 11:00 am through 5:00 pm. Admission is free.
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City of Design

First-ever Detroit City of Design Competition brings kinetic energy generators and a nap room
Detroit is known as the birthplace of Motown and techno, lauded for its thick pizzas and Coney dogs, and scrutinized as a decadent example of urbanism under late capitalism. For better or worse, the city and its reputation fascinates city-fixers, attracts artists, and galvanizes community action. Some Detroiters hope to spin a different kind of change with the first-ever Detroit City of Design Competition, an event that will bring three winning installations to select city neighborhoods. Designers from the 31 UNESCO Cities of Design, a designation bestowed by the United Nations' UNESCO on urban areas with distinctive design cultures, were asked by neighborhood organization to design "solutions" (a loaded mandate) to boost safety and walkability in Hope Village, Southwest Detroit, and Grandmont Rosedale. A jury of locals, city officials, and designers from elsewhere chose installations from Detroit's SmithGroup; Detroit's Other Work, and Montreal's Collectif Escargo. Design Core Detroit, an organization that promotes design as economic development, spearheaded the competition. The John S. and James L. Knight Foundation contributed funding for the initiative. "Urban spaces have a tendency to become hard and cold if left unattended," said Caitlin Marcon, deputy director of Complete Streets at the Detroit Department of Public Works, in a press release. "Durable materials that meet our need for longevity sometimes do not spark our desires for beauty. These prototypes harness the creative and softer qualities we seek while being functional for street life and gathering." The projects will debut in September during the Detroit Month of Design and will be relocated to their chosen neighborhoods in April 2020. Each winner received $20,000 to design and build their prototype. Take a look at the images below to learn more about the selected designs. All quotes are designers' statements from the media release: Cyclerate SmithGroup Hope Village "Cyclerate aims to enhance public safety through unity, lighting, communication, and play. The installation, which lights up using kinetic energy generated by hand-powered cranks and stationary bike generators, encourages the community to work together to illuminate the structure. Participants can also engage in a friendly competition with one another to identify who can produce the greatest power output on the cycles. Expect to be surprised by the power produced through real-time statistics. The installation currently features LED lighting, Bluetooth speakers, and USB power charging stations. With its built-in expansion capability, the scalable structure can accommodate additional cycles, componentry, and lighting." Garden Novella Other Work Southwest Detroit "Garden Novella is a platform to express cultural, collective, and individual identity. It weaves together recorded stories from Southwest residents to serve as a guide through a modular system of welcoming vessels. Sun-powered lanterns, hanging gardens, seating, and the recorded stories combine to create an interactive environment. The featured stories express the double consciousness experienced by many in the Southwest community; they aim to connect generations, repair the damage caused by repatriation and explore the process of translation in a bilingual community." 3Rooms Collectif Escargo Grandmont Rosedale
"3Rooms consists of three spaces that are intimately linked to the world of the house—simultaneously conveying a sense of belonging and celebrating the beauty of united communities. The first 'room' is 'LeJardin' (The Garden), where the community is invited to participate in agriculture. 'Le Boudoir' is for nap lovers, readers and anyone who desires [siq] a rest in the shade of fruit trees. Finally, 'The Hut' features a steeper incline, making it a perfect spot for anyone who wants to be a little more playful. Each module lights up in the evening with a soft glow, functioning as a fireplace in the middle of the neighborhood. The hue alternates from red, blue, mauve or multicolored. 3Rooms is a safe cocoon for improvised gatherings. Like a poetic metaphor of the surrounding houses, it is merry, bright, colorful and full of life."
In a statement, Olga Stella, executive director of Detroit Design Core, noted the project's potential impact: "We are inspired by the innovation presented in the winners and finalists and the way they demonstrate the value of design to the community. We hope these installations will peak [siq] the interest of private and public groups to commission the winning design teams to create permanent fixtures in these and other neighborhoods.”
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The Bigger Picture

Mapping Community unveils how public buildings get built in NYC
A new exhibition now on view at the Center for Architecture explains how money moves across New York’s public building sector. It’s a complex system that, if you’re not directly involved in it, can seem unnecessarily confusing and slow. Mapping Community: Public Investment in NYC demystifies how things like libraries, schools, and parks pop up, as well as the players behind them. Curated by Faith Rose, former executive director of the NYC Public Design Commission, and David Burney, professor of urban placemaking management at the Pratt Institute, the showcase walks viewers step-by-step through the process of capital planning. It’s spread out over two floors and utilizes a very clear and graphic layout so that the information is distilled to the audience in a digestible yet still visually distinctive manner.  “No one entity is responsible for the entire process, and even people deeply involved in one part aren’t always aware what the other pieces entail,” said Rose in a statement. “I don’t believe there has ever been an exhibition that tracks the mechanisms of capital planning from start to finish.”  There probably hasn’t.  That’s likely because New York City boasts one of the largest local government systems in the United States and its beast-of-a-procurement-process is less than transparent. But things are changing and this big-picture view of the “ecosystem of agencies” involved reveals the work it takes to make tangible improvements to the city. This knowledge, for better or for worse, arguably gives a viewer (or in this case, a local resident), the agency to insert themselves into the planning process and help shape their own neighborhood.  To communicate the complexity of the subject, the curators pieced together an in-depth look into one public project per borough, separated by typology, and detailed the planning process at the community level. One of those case studies centers on Essex Crossing, the massive, mixed-use development on Manhattan’s Lower East Side. A contentious construction project from the start, it was once an empty six-acre lot but now houses everything from luxury condos by SHoP Architects, to an affordable housing complex by Beyer Blinder Belle, a senior living community by Dattner Architects, and the newly-opened Essex Market.  This part of the exhibition tells the story of how Manhattan Community Board 3 and other local organizations fought over a series of negotiations with the NYC Economic Development Corporation, as well as the site’s developer, to get a new K-8 school in the program. Here, it explains why the Department of Education has currently decided not to move forward with building a new school. It also reveals how local needs in other areas can affect capital projects.  Whether it was the right thing to do or not, garnering this information allows locals and exhibition audiences to better understand how the 1.9-million-square-foot Essex Crossing has come to be, what its future may look like, and how they can have a say in that. According to Hayes Slade, 2019 AIANY President and principal of Slade Architecture, that’s the key to improving the city. “New Yorkers should feel empowered to be part of community-building,” she said, “and that is only possible if they are knowledgeable of the process.” Mapping Community will be on view through August 31. 
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Future Fellows

Knight Foundation announces its first class of Public Spaces Fellows
Seven influential leaders, experts, and practitioners have been selected for the inaugural class of Knight Public Spaces Fellows. Launched this year by the John S. and James L. Knight Foundation, a non-profit committed to fostering community in service of democratic ideals, the program will grant each individual $150,000 to put towards building effective public space initiatives around the United States. Selected from an open call that drew of over 2,000 candidates, the Knight Fellows stood out for their track records of influencing or creating spaces that advance community engagement and connection in cities. Sam Gill, the Knight Foundation vice president for communities and impact, describes the individuals recognized in this inaugural class, saying in a statement, “These rare people see something different when they look at streets, parks, and sidewalks—they see a vision of how our communities could look, feel, and be different.” Knight has expressed a desire for their chosen nominees to incorporate and build upon their existing and former projects, while also using the fellowship to break ground on new projects and ideas for the field. Check out the list of seven recipients below:  Anuj Gupta (Philadelphia) As general manager of Reading Terminal Market, Philadelphia's famous 125-year-old food and retail hub, Gupta has helped bring a record number of visitors to the space in his tenure. He's integrated innovation distribution models for service, selected new and trendy vendors, and figured out special ways to keep people coming back to the market. He's widely recognized for his initiatives that connect people of different cultures through food.  Robert Hammond (New York) Hammond is the cofounder and executive director of the High Line on Manhattan's West Side. A vision that began 20 years ago, it's now one of the biggest tourist attractions in the city and has spurred a wave of development in the Chelsea neighborhood. In 2017, he established the High Line Network, which assists communities in the infrastructure reuse projects.  Walter Hood (Berkeley, California) Widely known for designing award-winning urban spaces for cultural institutions such as the Cooper Hewitt Museum, the Broad Museum, and the Solar Strand at the University of Buffalo, Hood creates projects that intersect with art, fabrication, landscape, research, and urbanism. He's a professor at the University of California, Berkley where he teaches landscape architecture and urban design, and is the founder and creative director of Hood Design Studio Eric Klinenberg (New York) As the Helen Gould Shepard Professor of Social Science at New York University, Klinenberg thinks and teaches on urban public spaces. He most recently served as research director of Rebuild by Design, the federal competition that sought innovative ideas for rebuilding after Hurricane Sandy in 2012. Last year, he published “Palaces for the People”, a book about how social infrastructure such as libraries, parks, and playgrounds can revitalize democratic culture and civic life. Chelina Odbert (Los Angeles) Odbert is co-founder and executive director of Kounkuey Design Initiative, a nonprofit design firm based out of Los Angeles, the Coachella Valley, Nairobi, and Stockholm. Her studio heavily focuses on community participation and its role in public development, as well as how design can integrate the strongest environmental, social, and economic strategies to help solve inequity.  Kathryn Ott Lovell (Philadelphia) Lovel currently serves as the commissioner of Philadelphia Parks and Recreation, one of the nation's largest parks systems. Appointed in 2016, she established the first strategic plan for the agency, "Our Path to 2020," which emphasizes citizen-centric service, a commitment to the city's well-maintained assets, and creating relevant and accessible programming such as the Parks on Tap mobile beer garden, and the Philadelphia International Unity Cup soccer tournament, among others.  Erin Salazar (San Jose, California) Salazar is the founder and executive director of Exhibition District in San Jose, a woman-owned and operated arts nonprofit that's helping create economic opportunities for artists to do work in downtown San Jose. A muralist herself, she is committed to city beautification and redefining the concept of public space while also drawing out the cultural authenticity of a city that's rapidly urbanizing and full of large corporations. Most recently, Exhibition District started Local Color, an incubator project that reactivates neglected buildings. 
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Slate-d for Greatness

Junya Ishigami reveals completed Serpentine Pavilion
Junya Ishigami’s sinuous stone 2019 Serpentine Pavilion is now complete and will open to the public this Friday, June 21, on the grounds of the Serpentine Gallery in east London. Ishigami worked closely with AECOM to design a lightweight, open-ended structure that floats a canopy of slate tiles above an occupiable void. Ishigami, the fourth Japanese architect to be tapped for a Serpentine commission since 2000, has designed a structure meant to evoke the feeling of wandering into a cave or forest as an extension of the natural landscape that complements the traditional architecture of the Serpentine Galleries. Sixty-seven tons of slate were used to create a swooping shingle roof that references a traditional building material found worldwide as well as natural rock formations. The triangular pavilion curves downwards at the corners and visitors can enter through the uplifted middle sections, imbuing the roof with a “billowing” motion. Inside, a forest of white columns has been randomly distributed and once open, the pavilion will be filled with simple tables and chairs designed by Ishigami. This year’s Serpentine Pavilion will be open to the public from June 21 through October 6 from 10:00 a.m. to 6:00 p.m. The Serpentine Gallery will be staging its usual site-specific movie screenings, dances, written work, art, and dance as part of its Summer at the Serpentine series. Of course, if you’ve been following the news, this year’s pavilion hasn’t been without its share of drama. The discovery that Ishigami + Associates was requiring its interns to work 13-hour days, six a week for free (on top of having to supply their own equipment) set off a fervor online, and the Serpentine Gallery ordered the studio to pay anyone who was working on the pavilion. The controversy doesn’t end there. Just this morning, the head of the Serpentine Galleries, Yana Peel, resigned, one week after the Guardian revealed that Peel co-owns the Israeli tech firm NSO Group, which licenses out spyware used to crack down on protestors and dissidents around the world. The Serpentine Galleries released the following statement this morning, lauding Peel’s tenure: “Yana leaves the Serpentine Galleries deeply grounded in its mission to provide both established and emerging artists with a dynamic platform to showcase their work, and well-positioned to thrive. While we have every confidence in the Serpentine’s ability to continue to serve artists, visitors, and supporters in the future, she will be sorely missed. The arts sector will be poorer without her immeasurable contributions to our cultural lives.”
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Weld-To-Do

Beleaguered Transbay Transit Center to reopen in July
Nine months after cracks were discovered in two structural steel beams of the Pelli Clarke Pelli Architects–designed Transbay Transit Center in San Francisco, the transit hub will finally reopen on July 1. However, busses won’t roll through the $2.2 billion terminal until the end of the summer; at first, only the 5.4-acre rooftop park will be open to the public. The repair plan announced in January appears to have worked, and, according to the San Francisco Chronicle, the building was declared safe by a panel of engineers yesterday. The Metropolitan Transportation Commission, which covers the entirety of the San Francisco Bay Area, had determined that welding access holes in the two cracked beams had been incorrectly cut during construction, resulting in stress fractures. After the city paid $6 million in testing and $2.5 million a month in security for the closed center, contractors decided to reinforce the two affected beams, and two untouched beams they connect to, with steel plates. Although the three-block-long transit center is safe to occupy again, the interior was stripped during the repairs and workers need more time to reinstall the ceiling and column coverings. Bus drivers, who had previously been picking up and dropping off passengers at a satellite terminal on Folsom Street a block away will need to be retrained as well. So in the meantime, fitness classes will resume on the transit center’s roof and pedestrians can once again explore the park. Still, there’s no news on the progress to bring rail to the complex’s basement, which was built to accommodate high-speed trains but remains empty. No timeline or budget has been agreed upon for a BART and Caltrain extension to the Transbay Transit Center, although politicians and the Transbay Joint Powers Authority, the independent agency responsible for bringing rail to the station, have agreed upon the need to do so.
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Carpet Diem

Miniature undulating cityscape comes to Madison Square Park
Manhattan’s Madison Square Park has opened its 38th outdoor installation to the public today, dropping an evocative, interactive “cityscape” from sculptor Leonardo Drew into the park that will stay up until December 15. The 100-plus-foot-long City in the Grass stands as a solitary statement on its own but also makes ample reference to the city surrounding it, including the Empire State Building, which looms over the park. The piece is a tapestry of colors, textures, and materials that simultaneously evokes growth, comfort, ruins, and intimacy on the park’s Oval Lawn. Three stepped spires, the tallest of which tops out at 16 feet, anchor City in the Grass and are an obvious allusion to the Empire State Building to the north. Each spire is made from a mixture of plaster and latex paint, and Drew says that their eclectic appearance is a reference to Cuba’s dilapidated hotels, where peeling paint reveals the underlying structure. Surrounding each spire is an abstracted landscape of black and white wood offcuts of varying heights, reminiscent of buildings, but without a specific reference. These urban islands “float” in between waves of steel panels adorned in colored sand and patterned after Persian carpet designs, literalizing the “ebb and flow” of urban life through peaks and valleys. The peeling, layered look of the carpet, complete with holes and seams that let the grass below poke through, is meant to evoke the feeling of a familiar, well-worn home item. While the piece may look like it was assembled from found materials, Drew was quick to point out that he doesn’t use found objects; every piece and tear is deliberate. Drew is typically known for his wall pieces and City in the Grass is his first outdoor public installation. Appropriately enough, the piece is meant to encourage public interaction. While City in the Grass might look fragile, visitors are encouraged to sit, stand on, and explore it from every angle (just don’t climb on the spires). City in the Grass was commissioned by the Madison Square Park Conservancy. As the exhibition will remain up throughout the fall and winter, visitors can experience the materials weathering in real time in response to the natural landscape around it.
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Beyond Stonewall

Six LGBTQ-related sites could be landmarked in New York City
Six sites significant to LGBTQ history have been calendared by the New York City Landmarks Preservation Commission (LPC), a significant step towards formal landmark designation. The Gay Activists Alliance Firehouse at 99 Wooster Street; the Women’s Liberation Center at 243 West 20th Street; the Lesbian, Gay, Bisexual & Transgender Community Center at 208 West 13th Street; the Caffe Cino at 31 Cornelia Street; the James Baldwin Residence at 137 West 71st Street; and the Audre Lorde Residence at 207 Saint Paul’s Avenue on Staten Island are all one step closer to greater protection. This official calendarization arrived four years after the groundbreaking 2015 designation of the Stonewall Inn, the long-standing Greenwich Village gay bar that witnessed the 1969 Stonewall riots, as an official New York landmark. However, this official protection came nearly a half-century after the riots immortalized the bar, illuminating the tepid pace at which the LPC has moved to acknowledge LGBTQ-related landmarks. This month's calendaring could be seen as a response to this, spearheaded by activists and advocates who see the potential for progress through the landmarking process. Many pioneers are encapsulated in the selections—Caffe Cino is considered a hotbed of early gay theater, and both James Baldwin and Audre Lorde, whose homes were recognized, revolutionized the possibilities for gay people of color. The Lesbian, Gay, Bisexual & Transgender Community Center, also known as The Center, has been a vital meeting place since the early days of the AIDS crisis. While many of these spaces are no longer actively serving their original purposes, the physical spaces are visual reminders of the struggles for justice that so many faced, and continue to face, today.  Now that the calendar process has been completed, the next step for the Commission is to hold a hearing on June 4, where the general public can testify before commission members. A formal vote will follow.