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Docomomo Tours In Palm Springs (and across the country)
If you've never seen Richard Neutra's Kaufmann House or Albert Frey's Palm Springs City Hall, now is your chance. This weekend Docomomo is hosing Palm Springs architecture tours, which will show off some of the city's most famous architecture. The tours, which also include visits to the homes of Frank Sinatra, Elvis Presley, and Cary Grant, are part of  Docomomo's US Tour Day, which offers similar events across the country, in 22 states. These includes tours of the Farnsworth House in Illinois, Eero Saarinen's TWA Terminal in New York, and buildings by Felix Candela in Houston.

In the Balance

Close call for fate of Paul Rudolph’s Orange County Government Center
Paul Rudolph’s Orange County Government Center moved a tentative step closer to demolition on April 24 after a subcommittee of the county legislature approved $14.6 million to finance the design of a new $75 million complex. Republican Al Buckbee crossed party lines to vote against the proposal, making the vote a four-to-four tie. Committee chair Michael Pillmeier, also a Republican, cast the deciding vote. The tight tussle hints that plan may not have the two-third majority of the legislature needed to proceed. At press time, a full vote by the legislature was scheduled for May 3. Throughout April, preservationists fanned out over the county. DOCOMOMO New York/Tri-State held three meetings, Rudolph scholar Timothy Rohan gave a lecture in Newburgh, and in Goshen, designLAB delivered a presentation about their Rudolph renovation project at the University of Massachusetts Dartmouth. The building has not been lacking for attention from the mainstream press either. After dedicating front-page coverage to the preservation fight, The New York Times held an online debate under the provocative heading “Are Some Buildings Too Ugly to Survive?” which included the line describing the Brutalist style as one “which uses raw concrete or other materials to make art galleries look like fallout shelters,” from Anthony M. Daniels, a contributor to the conservative arts journal, The New Criterion. The Orange County debate essentially pits liberals against conservatives, though Republicans took pains to distance themselves from the role of aesthetic conservatives. “I would never ask to take a building down because of what it looks like,” county executive director Eddie Diana told AN back in March. Diana attempted to couch his decision to destroy the Brutalist masterwork in conservative financial terms only after his initial $136 million proposal was rejected by the legislature. The new plan costs $75 million. Meanwhile, estimates for renovating the Rudolph building continued to climb, with one estimate reaching $77 million. Plans for the new county building call for a 175,000-square-foot facility. In a letter to Diana, designLAB’s Robert Miklos noted that the Dartmouth building added 22,000 square feet to a 155,000-square-foot existing building, making a total of 177,000 square feet, but at a cost of $35 million. The Times Herald-Record reported that that number is probably closer to $43 million after design fees and furnishings are factored—still less than Diana’s demolition and replacement proposal. Many questioned the proposal’s financing, with scrutiny centered on bond arrangements and whether a new building qualifies for financing from FEMA (the building sustained damage in Tropical Storm Irene). Before voting against the proposal in the committee, legislator Myrna Kemnitz told AN, “You can’t use FEMA monies to build new.” Kemnitz, a consistent critic of the project, said that aesthetic argument aside, the finances just don’t add up. “The entire project was put out there by politicians who are willing to go on the premise that people will never check.”
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Fate of Rudolph's Orange County Government Center in the Balance
Paul Rudolph’s Orange County Government Center moved a tentative step closer to demolition yesterday after a subcommittee of the county legislature approved $14.6 million to finance the design of a new $75 million complex. With the subcommittee vote cleared, a full vote by the legislature is expected on May 3. But committee chair Michael Pilmeier’s vote breaking a four to four split hints that the plan may not have the two-third majority of the legislature needed to proceed. Over the past month preservationists fanned out of over the county. DOCOMOMO New York Tristate held three meetings, Rudolph scholar Timothy Rohan gave a lecture in Newberg this past Sunday, and in Goshen today designLAB will deliver a presentation about a their Rudolph renovation project at UMass Dartmouth. The building hasn’t been lacking for attention from the mainstream press either. After delivering front-page coverage, The New York Times held an online debate under the rather editorial heading “Are Some Buildings Too Ugly to Save?” Not surprisingly, The Times got its most vocal opponent on Brutalism from the masthead of The New Criterion, a conservative monthly arts journal. “Brutalist style — which uses raw concrete or other materials to make art galleries look like fallout shelters,” wrote Criterion contributor Anthony M. Daniels. Key to the tight vote was republican Al Buckbee crossing party lines to vote against the proposal. And there’s the rub. As’s Lee Rosenbaum pointed out after the Times article, the Orange County debate essentially pits Democrats against Republicans, though Republicans took pains to distance themselves from the role of aesthetic conservatives. “I would never ask to take a building down because of what it looks like,” county executive director Eddie Diana told AN back in March. Diana attempted to couch his decision to destroy the Brutalist masterwork in conservative financial terms only after his initial $136 million proposal was rejected by the Legislature. The new plan costs $75 million. Meanwhile, estimates for renovating the Rudolph building continued to climb, with one estimate reaching $77 million. Plans for the new county building call for a 175,000 square foot facility. In a letter to Diana, designLAB’s Robert Miklos noted that the Dartmouth building added 22,000 square feet to an 155,000 existing square foot building, making a total of 177,000 square feet, but at a cost of $35 million. Times-Herald reported that number is probably closer to $43 million after design fees and furnishings are factored in—but the number is still less than the Diana proposal. Plenty question the proposal’s financing, with scrutiny centered on bond arrangements and whether a new building qualifies for financing from FEMA (the building sustained damage in Tropical Storm Irene). Yesterday, before voting against the proposal in the committee, legislator Myrna Kemnitz told AN, “You can’t use FEMA monies to build new.” Kemenitz, a consistent critic of the project, said that aesthetic arguments aside, the finances just don't add up. “The entire project was put out there by politicians who are willing to go on the premise that people will never check.”
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Rudolph in Ruins
Rudolph's Orange County Government Center awaits its fate.
Tom Stoelker / AN

Photographer Aracelis Diamantis accompanied AN on a recent tour of Paul Rudolph's Orange County Government Center and produced a photo essay documenting the building's many details. View the pictorial essay here.

Passing through the colonial charm of Main Street in Goshen, New York, the last thing you expect to find is a Brutalist masterwork, but there it is: Paul Rudolph’s 1971 Orange County Government Center, a series of long windowless boxes stacked ajar as if blown by the force of the cars whooshing past. From the parking lot, the composition reorganizes—transformer-like—into dozens of glass-fronted boxes still unevenly stacked. Over 80 individual roof planes cover the boxes. They leak. They leaked from day one. On April 5, legislators will vote whether to grind Rudolph’s multilayered concrete composition to dust and build anew.

Needless to say, preservationists are alarmed at the prospect of losing yet another Rudolph building in Orange County, having just lost the battle to save Chorley Elementary School in nearby Middletown. Chorley’s delicately exposed trusses beneath opposing angled rooftops gave that building a birdlike appearance. If Chorley looks as though it were about to take flight, then the monumental effort at the government center seems to convey the gravity of complex decisions being made inside, particularly through the variety of concrete. Several distinct combinations of aggregate and formwork butt up against corduroy split block.

Early proposals for new Orange County Government Center.
Courtesy Orange County

But after Hurricane Irene swept through last August, the mechanical room flooded and the county’s executive director, Eddie Diana—who had already been proposing a new building—had had enough. The building was vacated and the push to tear it down went into full gear. “I would never ask to take a building down because of what it looks like,” said Diana. “But I would for its effectiveness and the ongoing problems, or concerns for the building’s health and of the workers’ health.”

On March 5, Diana proposed a $75 million replacement of the 153,600-square-foot building in a style that would be more in keeping with the village’s colonial past. At 175,000 square feet, the proposed complex is scaled back from an earlier 330,000-square-foot proposal. That proposal would have brought all county government offices to one locale and closed several satellite buildings at a projected cost of $136 million. But preservationists argued that closing the older buildings would sap village street life, to say nothing of county coffers. Diana said the new plan addresses the concern by allocating $10 million to renovate existing buildings, with the total cost now coming in at $85 million.

Cantilevered volumes lend a kinetic quality to Rudolph's facade.
Tom Stoelker

Diana also presented two renovation estimates. One from LaBella Associates adds 22,000 square feet to the Rudolph building for $67 million. Another from Holt Construction, without an addition, came in at nearly $77.5 million. Both propose gutting the Rudolph interior and bringing the entire complex up to current energy codes and ADA standards. “The report pandered to Eddie Diana’s cause,” said Sean Khorsandi, co-director of the Paul Rudolph Foundation. “All the numbers for renovation were inflated, and the numbers for a new building are not qualified.”

Left to right: Detail of the multi-planed facade; the building's form responds to the movement on the street; a canopy forms the entrance to an interior courtyard.
Tom Stoelker

In a subcommittee, legislator Myrna Kemnitz attempted to allocate $40,000 for another study, but the proposal was tabled until the LaBella report came out. Kemnitz said superficial efforts were made, such as core concrete samples and mold tests, but a true forensic study with recommendations was never completed. Instead, the emphasis was placed on new construction.

Frank Sanchis, director of U.S. Programs at the World Monuments Fund, gave LaBella the benefit of the doubt. “They don’t appear to be incompetent, but they just don’t understand the building,” he said. During a February 27 hearing, Kemintz said she had asked LeBella reps if they ever went to see other nearby Rudolph buildings, such as IBM or Yale, to better understand Rudolph’s significance and dwindling legacy. The answer was no.

The World Monuments Fund, Docomomo US/New York Tristate, and the Paul Rudolph Foundation are doubling up on efforts to get the word out in Orange County by holding public forums. The final forum will be held in Port Jervis on March 25.


UPDATE: The April 5 legislature vote has been postponed until May.

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Theodore Prudon
View from the Aerial Tramway of Roosevelt Island today with the new residential development in the foreground and the original 1970s complex in the rear.
Greg Goodman

Public opinion of modern architecture has come a long way from the days of lambasting Boston City Hall and scapegoating architecture in the demise of the Pruitt-Igoe housing project in St. Louis. With its demolition in 1972 Charles Jencks, almost triumphantly, declared modern architecture dead. Today with our nostalgia for the first half of the twentieth century and all things Mad Men, PanAm, and such, we can say that this is far from the case. It is actually ironic that while PanAm is revived as a show, its terminal at JFK, now used by Delta, is scheduled to be demolished.

Over the last five years Docomomo US (the acronym of the US Chapter of Documentation and Conservation of Buildings Sites and Neighborhoods of the Modern Movement) has been organizing a national Tour Day. The format of a tour was selected because it is a good way to introduce people to what modern architecture actually looks and feels like and, after all, we are all mighty curious about places we are otherwise not able to visit. Focused around the second weekend in October, tours are conducted of modern buildings and neighborhoods across the country. This year is no exception. Participating in the event include Docomomo’s thirteen regional chapters as well as local organizations with similar interests such as Houston Mod, Historic Albany Foundation, Palm Springs Modern, Phoenix Modern, and the Chicago Architectural Foundation, to name a few. This year we are also collaborating with the National Trust for Historic Preservation for special events at the Philip Johnson Glass House in New Canaan and with the Society for Architectural Historians (SAH) and its regional chapters. With 34 tours in 29 cities in 21 states, Tour Day is the nation’s largest annual architecture event.

Tour Day gathers a wide variety of people and organizations with similar missions and interests but who normally do not work together or do not even know about each other. Across the country tours vary widely in focus or building typology. Many of them are focused on single-family residences, one of the significant building types to emerge after the war. On one such tour in Rhode Island, we will be visiting homes designed by Ira Rakatansky, an early graduate of the GSD. The presence of the original architect on the tour will add an extra and interesting dimension to the visits. Similarly tours in Palm Springs, California, Maine, and New Orleans will give an opportunity to visit houses and buildings not normally open to the general public.

Aerial view of Roosevelt Island.
Courtesy Docomomo

The New York regional area has always been an integral part of this event and the regional chapter Docomomo US/NY TriState is hosting a tour of Roosevelt Island. The island, unknown to many New Yorkers except for its unique aerial tramway completed in 1976, is actually an interesting example of modern architecture in both its planning and for many of its 1970s buildings.

The history of Roosevelt Island and its development is of note in both a social and an architectural sense, with discussions around its use that are sometimes reminiscent of those today around Governors Island. It is remarkable that an island that started off with the less than auspicious name of Varcken Island (varcken is the 17th Century Dutch word for hog), then Blackwell Island after the family’s farm, and Welfare Island given in 1921, finally emerges in the 21st century some 400 years later once again with a Dutch name, Roosevelt Island. In between, institutions such as hospitals for infections diseases, prisons, and facilities for the poor were banned from the city proper (in medieval times outside the walls), and the island became that location for New York.

In the late 1960s, Mayor John Lindsay appointed a committee to plan for the island, and in turn the committee recommended that it become a residential community. New York State’s Urban Development Corporation (UDC) began a 99-year lease in 1969 and Philip Johnson and his partner John Burgee created a plan that called for 5,000-apartment units housing some 20,000 people. The plan identified two major residential areas, Northtown and Southtown, with much of the 1970s development located in Northtown. The island was re-christened Roosevelt Island in 1973, at the same time that Louis Kahn was commissioned to design the FDR memorial, now called the Four Freedoms Memorial and currently under construction.

Contemporary view of Main Street and Westview apartments designed by Sert, Jackson and Associates (left) and view of Main Street with the restored Chapel of the Good Shepherd originally designed by Frederick Clark Withers (right).
Katherine Malishewsky

In the late 1960s and early 1970s, a commitment to interesting and affordable, quality housing still existed on a public level. In particular the Roosevelt Island project was one of two that benefited from a HUD program titled New Town-In Town, a provision in the Housing and Development Act. That particular program sought to stimulate large-scale multi-use development projects adjacent to, or in, existing cities. Cedar Riverside in Minneapolis designed by Ralph Rapson is another example of this program and well known as the fictitious home of Mary Tyler Moore in her eponymous show. As the title of the federal program New Town-In Town suggests, Roosevelt Island and its main artery called Main Street, is very reminiscent of the new towns in Britain executed under the various iterations of the Town and Country Planning Acts. This is also reflected in its original social goals of mixed income housing.

The list of architects connected with the project reads in many ways like a history of modern architecture in itself. The island almost becomes an architectural museum not only with its surviving examples from early farming and hospital days but also with these modern buildings. The first phase of the original plan to be built was Northtown and included four buildings: Westview and Eastwood as well as Island House and Rivercross, respectively the work of Jose Lluís Sert, Jackson & Associates, and Johansen & Bhavnani. Motorgate, the parking garage built adjacent to the bridge to Queens was the work of Kallmann McKinnell.

Architects and designers attached to what ultimately happened on Roosevelt Island include Johnson and Burgee; John Johansen (of the New Canaan Five) and his partner Ashok Bhavnani; Jose Lluís Sert (of CIAM, Harvard and Peabody Terrace), Kallmann McKinnell (of Boston City Hall fame); landscape architects like Dan Kiley (of Lincoln Center), Zion & Breen (of Paley Park), and Lawrence Halprin (of the now demolished Skyline Park in Denver). Rem Koolhaas submitted an entry for one of the competitions as shown in his book Delirious New York but was not selected. The FDR memorial as designed by Louis Kahn in 1974 will be the most recent addition and certainly adds to the idea of a collection of modernist architecture.

The significance of the architecture is not limited to modern buildings. The 1888 Chapel of the Good Shepherd, was originally designed by Frederick Clark Withers and described as “the most beautiful church in the city for its most neglected class of humanity.” Its restoration in 1975 was the work of Giorgio Cavaglieri, an early restoration architect known for his innovative adaptive use of the Jefferson Market Courthouse into a New York Public Library.

The island is changing again not only in the number of residential buildings but also in terms of moving away from the ideals that were once the underlying philosophy for its design. One of the factors to which the flight to the suburbs in the 1960s and 1970s was attributed was the lack of quality and affordable housing. The result was not only the Roosevelt Island plan but also many other architecturally significant buildings throughout New York. Today’s residential construction is mostly market rate and in condominium ownership.

Times have changed and, to contradict Charles Jencks, modern architecture is far from dead. In fact, interest in the period is growing and maybe, for once, we can learn from our mistakes and build better housing that is affordable but also architecturally innovative.

The Docomomo US/NYTriState tour will feature the participation of architects Theodore Liebman, once an architect working for UDC; and Bhavnani, who with his partner Johansen was responsible for the design of some of the residential buildings, among others. The result will be an inside view of the past and a tour of the present. For information on the Roosevelt Island tour or for a complete and up-to-date listing of other tours during the Docomomo US Tour Day, please visit

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Remembering Louis Sullivan, Seed-Germ Savant
There’s been no shortage of worthy architectural documentaries in recent years, but you’ll want to make room on your DVD rack for the latest look at a major American figure: Louis Sullivan: The Struggle for American Architecture. Recently given its New York premiere courtesy of the good people at Docomomo New York/Tri-State, this touching and tragic film offers a portrait of the man who perhaps more than anyone aspired to create an American style of architecture, yet was left behind by a nation on the cusp of a century that Sullivan himself did much to define. First-time director Mark Richard Smith frames Sullivan’s story as a battle between the architect's original vision—one explicitly crafted as an expression of American democracy—and historicist styles imported from Europe that would sweep the nation in the late 19th century. The latter are embodied by Sullivan’s Chicago archrival Daniel Burnham, whose triumph at the World’s Columbian Exposition in 1893—where the sprawling White City was an ode to Beaux-Arts classicism—drove the nail in the coffin of modern experimentation, and, as Sullivan bitterly remarked, was the place where “architecture died.” Even for devotees of Sullivan’s astonishing output, the details of his life are not well known, and the film puts his career in the context of a Chicago surging from the ashes of the Great Fire of 1871, the “Katrina of its day” that created huge opportunities for architects. Into this boom stepped Dankmar Adler, a renowned acoustician but lackluster designer who saw just the creative spark his firm needed in a young Louis Sullivan. Adler & Sullivan would design landmarks such as Chicago’s Auditorium of 1889, taking cues from H.H. Richardson’s brawny Romanesque but leavening it with Sullivan’s unusual decorative programs. When Frank Lloyd Wright joined the team as chief draftsman, one of the great ensembles in architecture was born. (The firm’s work is chronicled in the recent Complete Architecture of Adler & Sullivan, another must-have volume for Chicago architecture aficionados.) The film, itself just released on DVD, taps experts like City University’s Robert Twombly and Chicago historian Tim Samuelson to add depth to Sullivan’s story, including the major innovations marked by his early skyscrapers. Of seven tall buildings he managed to complete, five are left, and the influence those few structures would have on American architecture, with their emphasis on verticality and functional design, is the architect’s last word over his historicist contemporaries. It wasn’t the later Mies or Corb, of course, but Sullivan who coined the phrase that would define the century to come: “form ever follows function.” Nearly all of Sullivan’s major surviving buildings are gorgeously photographed here, with close-up pans across the upper reaches of Buffalo’s Guaranty Building and inside the Auditorium, for example, revealing ornamental details hardly visible from below. Among the discoveries of his late career is a string of one-off bank buildings in small midwestern towns that are delicate masterpieces made by a man who knew history had left him for dead. Chronicling the last years of Sullivan’s life, during which the destitute designer was forced to sell his personal effects at auction, the film pauses over a devastating note inscribed on a drawing made as Sullivan sat in borrowed quarters to compose a primer on ornament. As if reaching back to the inspirational wellspring of his youth, Sullivan writes: “Remember the seed-germ.” For the architecture-obsessed, this is spine-tingling stuff. Louis Sullivan may not pack the psychodrama of Nathaniel Kahn’s My Architect, but its close focus on the buildings themselves makes it equally affecting. By the end of this journey through the rafters and across the cornices of a great architect’s career, you feel the film’s sweeping subtitle—the struggle for American architecture—just about hits the mark.
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Mindful Preservation Saves Early Modern Landmark
Zonnestraal Sanatorium after renovations by Bierman Henket architecten and Wessel de Jonge architecten.
Courtesy WMF

The World Monuments Fund has named Bierman Henket architecten and Wessel de Jonge architecten the recipients of the 2010 World Monuments Fund/Knoll Modernism Prize for the restoration and rehabilitation of the Zonnestraal Sanatorium in Hilversum, the Netherlands, a complex of delicate concrete-and-glass structures with an elegant glazed tower.

Designed in 1926–1928 by Johannes Duiker and Bernard Bijvoet and completed in 1931, the sanatorium is considered a seminal work of early modernism. Though it was well known when it was built, the structure was eventually abandoned, and since then nearly subsumed by the surrounding landscape. Portions of the three-building complex were almost completely lost, so many parts of the sanatorium had to be meticulously reconstructed, including formerly mass-produced elements that had to be recreated by hand.

Zonnestraal Sanatorium before restoration.
The abandoned Zonnestraal Sanatorium was in very poor condition before restoration.

“The prize recognizes projects that are completed through a heroic effort,” said Henry Ng, executive vice president at the World Monuments Fund. Projects, which are solicited through an open call, are evaluated for their architectural significance, the urgency of the project’s plight, and the success and practicality of the solution. According to Ng, the architects directed a careful restoration, while simultaneously devising adaptation and funding strategies that would make the project succeed over the long term. “They crafted a practical and sustainable solution that was also programmatically possible,” he said.

Much of the complex is again being used for medical facilities. In addition, the Zonnestraal project is important not only for its architectural significance, but also for its pivotal role in the preservation of modernism. The project grew out of a cultural resources survey and preservation plan, which eventually led firm principals Hubert-Jan Henket and Wessel de Jonge to found Docomomo.

Zonnestraal Sanatorium in Hilversum.
Restoration efforts that saved the Zonnestraal Sanatorium were described as "heroic" by the World Monuments Fund.

Jurors for the prize include chair Barry Bergdoll, chief curator of architecture and design at the Museum of Modern Art; Kenneth Frampton, Ware Professor of Architecture at Columbia; Jean-Louis Cohen, Sheldon H. Solow Professor in the History of Architecture at New York University; Dietrich Neumann, professor of the history of art and architecture at Brown; Theo Prudon, president of Docomomo U.S., and writer, teacher, and critic Karen Stein.

“Now that Hubert-Jan Henket’s and Wessel de Jonge’s stabilization work on the restoration is complete, it reconfirms Zonnestraal’s standing as one of the most experimental designs in the fervently creative decades of modernism between the two world wars,” Bergdoll said in a statement. “It is at once a beacon of Dutch rationalism and a major work of modern architecture internationally, one that can now be experienced in a way that resonates with its architect’s intentions.”

View a slideshow of of the Zonnestraal Sanatorium before and after restoration at the AN Blog.


This is the second time the biennial prize has been awarded, which, according to Ng, is meant to highlight the role architects play in modern preservation. “The preservation of modernism often requires the knowledge and advocacy of architects,” he noted. The winners will receive a $10,000 award and a Barcelona chair.


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Frankfurter Lloyd Wright?
The proposed kiosk, shown here in a rendering, would have been placed under the famed Lloyd Wright-designed cantilevered entrance portico, accessible through a service window facing the bookstore.
Photo by Alan G. Brake

At a public hearing this afternoon, New York City's Landmarks Preservation Commission denied an application by the Solomon R. Guggenheim Foundation to build a food kiosk outside the entrance of its Frank Lloyd Wright–designed home on 5th Avenue’s Museum Mile.

Designed by Andre Kikoski Architect, the proposed design called for a teardrop-shaped, double-skinned structure, clad in brushed stainless steel with an outer layer of cast resin panels. During the hearing, museum officials, including the institution’s council and deputy officer for operations, expressed the desire to clean up the area around the museum, which is popular with food and merchandise vendors, as well as capture some of the revenues that go to the vendors. Kikoski described the atmosphere outside the museum derogatorily as “carnival-like” and “cluttered.”

The proposal called for a 12-and-a-half-by-6-foot kiosk with a solid wall facing out to the street. The only opening in the 9-foot-tall structure would face the bookstore, just north of the entrance, and a series of menu stanchions would guide lines around the curved perimeter. The structure would be placed underneath the museum’s cantilevered entrance portico. Kikoski argued that the “diaphanous” effect of the steel and resin skin would differentiate the structure from Wright’s design, while paying subtle homage to his formal language.

A plan of the structure shows its teardrop-shaped profile.
Photo by Alan G. Brake

Preservation groups ranging from the Historic Districts Council to the Friends of the Upper East Side to Docomomo all spoke against the project. Speaking on behalf of Docomomo, John Arbuckle warned that the kiosk would disrupt Wright’s famed entry sequence, the feeling of compression upon entering the portico followed by the release of entering the vast rotunda.

The size, location, and permanence of the structure all proved objectionable to the commissioners. “While I admire the design and find the material selection interesting,” said Fred Bland, a commissioner and principal at Beyer Blinder Belle, “at no level can I accept the design. The quality of the museum and particularly the cantilevered entrance would be violated.” Chairman Robert Tierney concurred: “All the standards by which we judge applications are not met in this proposal.”

Kikoski previously designed the eye-catching Wright restaurant inside the museum, as well as a discreet coffee and wine counter within the galleries. Several commissioners suggested that a movable cart, like those of the street vendors lining the sidewalk, would be more appropriate.

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Dennis Sharp, 1933-2010
In part because he helped popularize the architect with a 1992 show, Sharp served as executive architect on many of Santiago Calatrava's projects in Britain, including the Trinity Bridge in Manchester.
Bonifacio Barrio Hijosa

Dennis Sharp, who died of cancer on May 6 at age 76, was one of the most globally-minded figures in British architecture, with a ready internationalism that expanded the profession’s horizons. Whether working as an architect, editor, historian, or curator, his gregarious outlook both defined and enriched a remarkable period of postwar modernism in England and beyond.


Trained originally as an architect at the Architectural Association in London, which continued to hold a special place in his heart, Dennis went on to study architectural history at the University of Liverpool in the late 1950s before teaching there and at other schools. He returned to the AA in 1968, where among other duties he was general editor for publications until 1982 and served as founding editor of AA Quarterly. His links with America began with a visiting professorship at Columbia University in 1980, followed by his involvement in the Graham Foundation Lecture Awards.

Exhibitions were another of Dennis’ specialties, and again his open-minded, catholic tastes came to the fore. Dennis organized shows on Oscar Niemeyer and Kisho Kurokawa, among others, and his blockbuster exhibition on Santiago Calatrava in 1992 helped establish the architect’s global reputation while triggering the formation of the Architecture Centre at the Royal Institute of British Architects. Around this time, Dennis was appointed RIBA vice president for a two-year stint.

It is as an architectural historian of modernism that Dennis will be best remembered. His book Sources of Modern Architecture: A Critical Bibliography (1981) went into several editions, as did Modern Architecture and Expressionism (1966). In 2008, he brought out his magnum opus on the practice of Connell Ward & Lucas (written with Sally Rendel), a fitting topic in that the firm both designed the first truly modernist house in Britain—High & Over, near Amersham, in 1930—and was a combination of New Zealand and British architects.

Dennis was executive editor of the journal World Architecture for many years, as well as a nominator for the Aga Khan Awards. He was awarded the prestigious Médaille d’Argent by the French Academy of Architecture, and also the UIA’s Jean Tschumi Prize. Dennis loved the architecture of all countries, not least the U.S. In 1984, he mounted a bold exhibition about Alfred Bossom, a British architect who had run a commercial practice in Manhattan before returning home in the 1920s to become a Conservative politician (and the butt of Winston Churchill’s jokes).

As a natural enthusiast with seemingly boundless energy, Dennis was devoted to modernist architecture in all its guises. This passion drew his own practice into designing award-winning and ultra-modern buildings, as well as restoring modernist gems in Britain. He served for countless years as a lynchpin of DOCOMOMO UK, the modernist conservation group. In practice, Dennis worked closely with his partner, Yasmin Shariff, whom he had met at the AA.

Dennis celebrated the turning of the millennium in the Grand Canyon, and he was a long-term supporter of Paolo Soleri’s utopian desert experiment at Arcosanti, writing a major book about it with Jeff Cook. Just prior to his death, Dennis was writing a new book on Frank Lloyd Wright in Britain, one we sadly won’t get to read.

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JFK Burns Out On Jet Age Terminals
SOM is designing an expanded Terminal 4 at JFK, which will include nine new gates for Delta Airlines.
Courtesy Delta

JFK airport is entering a new jet age—one without many of the iconic terminals that defined the previous one and established the cool, hyper-modern look of flying for generations of travelers. To that end, the Port Authority of New York and New Jersey announced an agreement today with Delta Airlines for a $1.2 billion expansion of Terminal 4 that will lead to the subsequent demolition of Terminal 3, the former Pan Am Worldport.

Designed by Tippetts-Abbett-McCarthy-Stratton, the 1960 Terminal 3 is famous for its flying saucer–like shape and rooftop parking, and for receiving the Beatles for their historic arrival in America, though a 1972 expansion has marred its original character and led to numerous complaints about it being the worst of JFK’s eight terminals. The Port Authority and Delta insist the building is beyond repair, arguing that its replacement with taxiways and plane parking will improve efficiency at JFK, by some measures the most congested airport in the world.

The original Terminal 3 was considered revolutionary when it opened, but it soon became outmoded due to larger planes and a later expansion that destroyed much of its charm.

“There are always people who want to preserve our heritage and I sympathize with that,” Mayor Michael R. Bloomberg said at a City Hall press conference, where the new plans were unveiled today. “But you can’t preserve everything. You have to strike the right balance and make room for new airports, new parks, new development.”

Even if there were room for Terminal 3, Delta CEO Richard Anderson said the Worldport would not be worth keeping. “The terminal is fully depreciated,” he said. “It’s not an asset you can recover at this point. We put a lot of money into it to keep it going, and we will for three more years, but we can’t put anything more into it.”

Top to Bottom: Terminals 2, 3, and 4 today.

When the project is finished, Terminal 4's Concourse B will expand by 9 gates, a connector will extend to Terminal 2, and Terminal 3 will be replaced by plane parking and taxiways.

Terminal 3 will not be demolished until 2013, when the expansion of Terminal 4 is due to be completed. That project is being designed by SOM, who designed the rest of Terminal 4, and will include nine new gates for Delta, for a total of 25, 16 of which will be used by Delta for its international flights. A connection will be built with Terminal 2, which will continue to serve Delta’s domestic passengers, and security and baggage handling facilities will be expanded to accommodate the additional passengers. Otherwise the terminal will look much as it did when it opened in 2001.

Port Authority executive director Chris Ward said there will be no interruption in service due to the project, nor would the expanded terminal cause additional delays at the busy airport. “If anything, it will improve it, providing Delta with a more efficient operation,” Ward said. This is because the elimination of Terminal 3 will allow for double taxiways for both Terminal 2 and 4, and parking for planes so they may move between the gates, runway, and hangar more readily.

A new connector between Delta's Terminal 2 and the expanded Terminal 4.

The announcement has still given preservationists some pause. “Perhaps the Port Authority should have some preservation plan of action,” said Nina Rappaport, chair of Docomomo-New York/Tristate. “And not just for airports but all their properties. Because transportation involves so much modern technology and architecture, perhaps they need to look more closely at preservation.” As for the Port Authority and Delta’s contention that it would be a hindrance, financially and functionally, to keep even part of the building, she replied: “It just takes foresight.”

Rappaport said her larger concern remains the preservation of I.M. Pei’s Terminal 6, which is slated for demolition next year to make way for another expansion of JetBlue’s facilities. Susan Baer, who was named the Port Authority’s director of aviation last fall, said that neither has been deemed worthy of retaining. “In the environmental review, all our experts said that Terminal 6 could come down but that we should save Saarinen, the significant one,” Baer said. She added that the $20 million renovation of Terminal 5 is nearly complete, though a Port Authority spokesperson said an opening date has not yet been set.

Security facilities will be expanded to cope with more passengers as well as new measures implimented since the terminal opened in 2001.

John Morris Dixon, the former editor of Progressive Architecture, said he remembers Pan Am’s Terminal 3 fondly, from when he wrote about it for the magazine when it first opened. “You had this great statement, this canopy, with the planes nuzzling in beneath it,” he said. “But it was outdated almost immediately” due to the trend toward ever larger planes. He agrees that the 1972 addition has made the terminal “miserable,” akin to what Robert Moses did to Penn Station, and noted that mounting a case for its salvation will be difficult.

“It’s such a great idea, and so unique,” Dixon said. “I don’t know if there’s another circular terminal like it. But I just think it’s damned anyway. I don’t know if any amount of preservation lobbying would make a difference, and I don’t know what the argument would be. What are they going to do with another structure there with no assigned use? They’ve already got that with TWA.”

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I.M. Pei's JFK in Terminal Trouble
I.M. Pei's Terminal 6 could soon be gone.
Courtesy Amiaga Studios

Preservationists have been trying for years to obtain a landmark designation for the 1970 I. M. Pei–designed Terminal 6 at JFK Airport, but they may have run out of time. On April 29, the Port Authority of New York and New Jersey announced its intention to demolish the terminal, calling it “obsolete,” and arguing that maintaining it was not a prudent use of resources. “This came as quite a surprise to us, and a great disappointment,” said Pei Cobb Freed partner George Miller.

The building was one of the first to use glass mullions. (Click to zoom)
George Cserna

The terminal, which originally housed National Airlines and later JetBlue, is due to be razed, along with six cargo buildings and hangars, at a cost of $42.3 million, yielding estimated savings of $1.7 million each year thereafter. Although no precise date for the demolition has been set, the Port Authority predicts it will happen next year, after which time JetBlue will use the space to build an expansion for their growing international operations.

Terminal 6 sits next to another pedigreed building at JFK, the 1962 Eero Saarinen–designed Terminal 5, which the Port Authority agreed to preserve largely intact after heavy lobbying from the public and preservationists several years ago. However, without the landmark designation that Saarinen’s building enjoys, Terminal 6 will have a more difficult time obtaining a stay of execution. “The Saarinen building has historic status. The I. M. Pei building does not,” said Port Authority spokesperson Ron Marsico.

Pei Cobb Freed, along with preservationists like New York Tristate DOCOMOMO, disagree. They cite the terminal’s expansive, clear-span pavilion space, a style that set a precedent for later I. M. Pei buildings such as the Louvre Museum’s pyramid and the John F. Kennedy Presidential Library and Museum in Boston. Its all-glass facade was created with an unprecedented use of glass mullions in place of the typical metal ones, above which hangs a series of glass panels, one of the first suspended glazing systems built in the United States.

To add to the terminal’s airy feel, Pei’s team devised an innovative drainage system that feeds into the terminal’s exterior concrete columns, to avoid having to extend a vertical column of ductwork down from the ceiling. “The transparency of the glass and the uninterrupted ceiling are what give the building its character,” said Pei Cobb Freed partner Michael Flynn.

Inside the terminal.
George Cserna

The design is also notable for its approach to managing congestion, which in 1970 was just beginning to be a major pressure at airports. “We were designing just as there was this colossal expansion in the capacity of planes,” Flynn said. Rather than placing the arriving and departing passenger traffic in the same location at the front of the building as was the norm, Pei separated the main terminal from the airline gates with a raised walkway, creating space behind the building for arrivals and leaving the front of the building exclusively for departures. An innovative approach then, separation is now standard.

DOCOMOMO is now in talks with other local organizations to band together in support of Terminal 6, and is calling for public support for preservation or reuse. “It would be a total waste of energy and money and resources to demolish a building of this scale,” said DOCOMOMO-New York chair Nina Rappaport. JetBlue did respond to calls for comment.

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U.N., Me, and Everyone We Know
One might think that the $1.9 billion overhaul of the United Nations Headquarters would be a multiple-stakeholder quagmire of Ground Zero proportions. However, as Michael Adlerstein, executive director of the U.N. Capital Master Plan, put it in a fascinating April 27 presentation, the consensus-based organization actually made it easier to push major decisions through, since the “joint stepping on of many toes” allowed various U.N. members to at least feel that they were being inconvenienced equally. And to alleviate the hefty price tag, the long-overdue renovations will be an object lesson in historical reuse, with 50 percent of interior fixtures and 95 percent of non-window exterior elements being refurbished. First to be renovated is the Secretariat, which according to project curtain-wall consultant Robert Heintges was the first true curtain-wall tower in the U.S. Because the weight of the originally-specified insulating glass was too much for the sash mechanism of the double-hung windows within the unitized wall system, it had to be substituted with monolithic glass of such low performance that a reflective film was soon necessary, destroying the intended effect of transparency. Heintges’ new wall will restore this transparency, and to give the glass a historically accurate, monolithic appearance, a simple gray substrate is used instead of a double-skin facade. Because the new wall is also pressure-equalized and insulated, its performance will be boosted significantly. Although the old curtain wall had to be almost completely replaced, the other quintessentially modern materials in the building (besides asbestos) will be restored: Vermont white marble, checkered terrazzo, brushed stainless steel, Naugahyde, and Formica. The original typical floor plan, with toilets perversely placed in the middle of the long west facade, blocking circulation and hogging the best views, will be adjusted to create a circulation loop around the core. To ensure that daylight is not blocked by walled private offices, open-plan workstations fill most of the area along the windows, with zones of walled offices placed at wide intervals. The other major interior adjustment described by John Gering, managing partner in charge for HLW International, involves punching holes in the robust structural beams to run mechanical, plumbing, and data services through, thus allowing a substantially higher ceiling and making room for a (previously missing) sprinkler system. The presentation, organized by the Skyscraper Museum in partnership with the Architectural League and DOCOMOMO-New York/Tristate, covered other performance upgrades, as outlined by mechanical engineer Keith Fitzpatrick of Syska Hennessy Group. These include the use of CO2 sensors to control fresh air intake, rainwater harvesting, and other features that will reduce water and energy use by over 30 percent. According to the U.N. master plan, all renovations are scheduled to be completed by 2013. In the meantime, staff have been moved to 1 million square feet of rented space in 10 separate buildings nearby, with the most important people and functions being relocated to a temporary structure on the North Lawn. When all is said and done, the oldest modern skyscraper in New York will also be one of the best-performing—proof that time can often redeem techno-utopianism’s heady ambitions.