Search results for "east new york"
Anything but LAC-luster
Finalists in the LACMA Not LackMA protest design competition unveiled
“TheeAe (The Evolved Architectural Eclectic) considers Los Angeles’ diversity when proposing the museum as ‘a new cultural platform that connects people from different walks of life,’ by simultaeneously offering enclosed cultural spaces and an open, sculpted, outdoor landscape. The tall building (five levels plus garden roof) combines an undulating facade along Wilshire Boulevard to the south with ‘hill’ element sloping into the park on the property’s north side. The jury remarked that the dramatic hybrid design would make it a ‘destination building’ cleverly designed to sustain the urbanity of Wilshire on one side while extending the bucolic nature of the park on the other. ‘The Wilshire facade becomes a kinetic wall, imparting a strong urban experience that changes as you drive by, which is how most Angelenos experience the city,’ noted the jury. ‘The back facade, a built hillside, is a landscape event that adds a surprising new participatory dimension to Hancock Park. This will be a hill you want to climb.’”LACMA Wing: Coop Himmelb(I)au, Vienna (Ground Up)
“Emphasizing ‘an architecture that combines functionality with aspiration,’ Coop Himmelb(l)au designed three main elements: landscape plinth and two, three-level ‘floating’ gallery wings. Public circulation on ramps connecting the volumes would be encased by expressive amorphous forms whose openness to the outside refreshes the museum visiting experience. These public spaces are accessible without a ticket to the museum, but windows into the galleries are meant to entice people inside. The jury appreciated the curatorial flexibility of generous gallery spaces, with 22-foot floor-to-ceiling heights, the possibility of mezzanines and intimate galleries, and open floor plates. ‘This entry combines issues of great efficiency with moments of drama,’ noted the jury. ‘The ‘bubbles’ offer exciting spaces that celebrate the public realm while connecting to straightforward, practical, functional galleries in the wings.’”Reimagining/Restructuring: Saffet Kaya Design, London (Existing Buildings)
“Replacing the 1986 building, Kaya Design proposes ‘to preserve the best elements of the past while creating a more contemporary, multi-use alternative space.’ An elevated volume that respects the scale of the existing structures has solid walls on three sides for curatorial flexibility, then opens to the north with an all-glass façade. Circulation into the entrance is through a gentle ramp/walkway leading into the lobby that directs visitors to the other buildings on other floors—the ramps equalizing the importance of all adjacent floors. The new structure is reserved for exhibition space on six above-grade levels, including the interior of the spiral element. ‘This design achieves a considerable service to the campus, making the east campus more coherent than it’s ever been,” said the jury. ‘The biological form of the spiral—as ancient as seashells and hurricanes—gives value to the floors it connects.’”Re(in)novating LACMA: RUR Architecture, Reiser + Umemoto, New York City (Existing Buildings)
“Reiser + Umemoto’s aim was ‘to create a coherent, retroactive masterplan that builds off the campus’ prior successes and seeks to engage and reinvigorate the full breadth of LACMA’s collection.’ The three-pronged approach includes adding new elements in and around the original 1965 buildings, binding them into a new whole. The Cone sits within and atop the Ahmanson; The Bar, an elevated gallery building, transects the campus from north to south, offering an appropriately scaled Wilshire entrance and new gallery space; The Cluster replaces the 1986 building with a series of interior pod-shaped galleries, as well as exterior exhibition space on a reimagined plaza level. ‘The architects found a way to make the plaza into a connective tissue and strategically make the existing buildings work as an ensemble,’ said the jury, which also commended the clear circulation that employed new interstitial spaces to move people through the building’s interior spaces.”Tabula LACMA: Barkow Leibinger, Berlin, with Lillian Montalvo Landscape Design (Existing Buildings)
“This ‘reconstitution’ is an unusual hybrid of old and new, as it maintains the scale and context of the original LACMA buildings by reconstructing them with modern, sustainable materials, then interconnecting them with a new plinth form punctured by courtyards. Barkow Leibinger—working with landscape designer Lillian Montalvo—stresses this would ‘provide spaces for art, delight, and public encounter.’ The jury thought this flexible, spacious design addressed the changing role of museums by including a good amount of shopping, cafés, and event venues that urbanize the spaces and engender a lively environment. ‘There’s a powerful idea of using the area around the pavilions to create a whole new programmed space,’ according to the jurors. They enjoyed the rediscovery of the inner plaza and could ‘imagine these would be great spaces to be in, as well as fun to discover.’”Unified Campus: Paul Murdoch Architects, Los Angeles (Ground Up)
“To create greater institutional cohesion, Paul Murdoch Architects took a holistic approach to the entire LACMA campus and its relationship to the cultural institutions flanking it. The design, according to the architects, is ‘expressive of LA in its openness, multiplicity of urban, natural, and cultural connections, and abundant use of controlled natural light.’ The jury noted how this horizontal skyscraper—an on-axis version of the neighboring tower across Wilshire—corresponds to the urbanism of the area. ‘It restores the continuity of the Wilshire Boulevard streetfront with a respectful attitude by placing the narrow part of the building facing the street and the broad side framing the park.’ The east glass façade offers a strong, complementary visual connection to Hancock Park and the La Brea Tar Pits, and the west ̧facade forms a long public plaza bordered by BCAM and the Resnick Pavilion, uniting the two campuses.”
Drop the Bomb
Architecture Billings Index bottoms out to historic lows
We’ll Cross That Bridge ... Sooner
Washington, D.C.’s 11th Street Bridge Park gets blessing from National Capital Planning Commission
COVID’s Creative Outpouring
Check out the speculative design concepts that have emerged from the coronavirus pandemic
Parc de la Distance, Studio PrechtReminiscent of a particularly panic-inducing hedge maze, Parc de la Distance is more a pandemic-appropriate riff on a Japanese Zen garden, where park-goers would be able to enjoy a contemplative and orderly constitutional without worrying about hordes of fellow fresh air-seekers coming from every which way. Studio Precht, a small Austrian firm based in a secluded, mountainous area outside of Salzburg, elaborated on the concept, which is geared toward a vacant lot in Vienna but can be replicated on any unused patch of urban land:
“Although our ‘Park de la Distance’ encourages physical distance, the design is shaped by the human touch: a fingerprint. Like a fingerprint, parallel lanes guide visitors through the undulating landscape. Every lane has a gateway on the entrance and exit, which indicates if the path is occupied or free to stroll. The lanes are distanced 240cm [8 foot] from each other and have a 90cm [3 foot] wide hedge as a division. Along their path, people walk on reddish granite gravel. Although people are visually separated most of the time, they might hear footsteps on the pebbles from the neighbouring paths. Each individual journey is about 600m [1,968 foot] long. The height of the planters varies along this journey and gives different levels to the hedges throughout the park. Sometimes visitors are fully immersed by nature, other times they emerge over the hedge and can see across the garden. But at all times, they keep a safe physical distance to each other.”Studio Precht envisions the concept as being a useful feature for green space-starved cities in the post-COVID era as it “offers something very unique for bustling urban areas: A brief time of solitude. A temporary seclusion from the public. A moment to think, to meditate or just to walk alone through nature.”
Hyperlocal Markets for Shutdown Realities, Shift Architecture UrbanismDescribed by Rotterdam-based studio Shift Architecture Urbanism as a “self-initiated research-by-design project,” the aim of this concept is twofold: To keep fresh, nutritious, and locally grown food flowing into local produce markets while reducing the risk of spreading the virus among shoppers at said markets, which are frequently prone to overcrowding but are also often lower cost than supermarkets in many areas.
“Shift’s proposal is to keep the vital function of the fresh produce markets fully intact, even strengthening it, while at the same time minimizing its potential role in spreading the virus. For this, the large markets have to continue in a different form, place and time. Its former model of concentration has to be replaced by a model of dispersion, both in space and time. This is done by breaking down the large markets into so-called micro markets that are spread over the city and opening them up for a longer time. Instead of you going to the market, the market is coming to your neighborhood. These hyper-local markets are open at least 5 days a week instead of twice a week to further reduce the concentration of people. “The micro market’s standard spatial setup consists of a 16 square grid, aligned with three market stalls, each selling a different kind of fresh produce such as fruits, vegetables, dairy products or meat. The grid is taped on the pavement and fenced off with standard crush barriers. It has one entrance and 2 exits. In order to maintain social distancing each cell can only hold one person. In order to permit movement, the grid can only hold a maximum of 6 people. These rules are made clear at the entrance of the micro market, that has a waiting line taped on the pavement. The stalls will offer packages instead of separate products, to limit the time customers spend in the grid.”Shift added that current restrictions on open-air produce markets vary wildly in the Netherlands from location-to-location and region-to-region.
Airport Superhospital, Opposite OfficeEverything from convention centers to soccer stadiums have been transformed into temporary medical hubs during the coronavirus pandemic. Benedikt Hartl of the Munich-based Opposite Office, the same firm that pitched transforming Buckingham Palace into a co-living complex, envisioned this form of emergency adaptive reuse as also being extended to incomplete airport terminals. Under construction since 2006 with a potential completion date of 2021, Hartl sees promise in the delay-plagued Berlin Brandenburg Airport—or other underserved and non-operational airports, really—during the crisis (although said crisis in Germany has now largely passed). Hartl’s concept involves populating the uncompleted airport’s vast floor space with round modular steel cabins that serve as self-contained treatment units for patients.
“Flying was no longer in vogue even before the outbreak of COVID-19 and now the avenge of shame has given way to a deadly risk of infection. We agree that we will certainly not need this new airport in the near future,” read a press release from Opposite Office. “An advantage would be that infected people would be completely isolated at the airport area and would not come into contact with other patients. The main building alone, with an area of 220,000m2 [2.4 million square feet], offers plenty of space for medical (emergency) care. The existing airport offers untapped potential.”
Container Ship Hospitals, Weston Williamson + PartnersWhile converting seafaring vessels into floating hospitals is far from something new, a concept from London-headquartered architecture firm Weston Williamson+ Partners proposes the specific repurposing of container ships to serve a similar purpose. Well, kind of. Ideally, the containers would be unloaded at different ports in hard-hit regions and then used as makeshift intensive care units on land. “The idea came to us because we work around the world and wanted to try to encourage a global response,” firm co-founder Chris Williamson told AN in an email of the scheme, which is somewhat similar to an initiative underway in India with modified rail cars. “Many countries do not have an exhibition centre waiting to be fitted out as a hospital as we have done in Manchester and London.” “The speed at which Excel in London and GMex in Manchester have been repurposed suggest that the idea is possible and the container module is ideal for an intensive care bed and equipment for the benefit of emerging economies,” Willamson elaborated. “We have ascertained from the shipping companies that there is an available capacity of around 1,000 ships with around 3,500 containers per vessel.” Williams goes on to make clear that “patients would not stay on the ship except in circumstances where there is no place to deploy the containers” and that the container-based care units would have one of the steel doors removed and a transparent Perspex door installed in its place. The modules would also include built-in air conditioning units. “All we need is the political will to make this work and we are working with a few influential people to that aim,” Williamson said. It should be noted that, as with many shipping container-based projects, the feedback online hasn't been entirely positive.
Mobile PPS (Personal Protective Space), Plastique FantastiquePlastique Fantastique, a Berlin-founded art collective known for eye-popping inflated installations, has created a PPS (personal protective space) for healthcare workers that can be swiftly deployed to a wide array of environments. As Plastique Fantastique explained, this “pneumatic space where doctors can treat patients in transparent protective space. It has constant overpressure, which means, the air flows only toward [the] outside of the space, not letting the virus coming inside. The clean air supply is guaranteed by a ventilator located outside or in an extra decontaminated space.” The bubbly blow-up Care Units, made from transparent polyurethane, can be attached to each to form larger contiguous spaces, and are accessed through special airlock chambers that maintain air pressure and provides medical workers with a space to prepare and disinfect before entering.
AD-APT, Woods BagotWith offices shuttered across the globe and workforces now operating in domestic trappings without any clear end in sight, global architecture firm Woods Bagot has envisioned a super-versatile living modular system dubbed AD-APT that “supports a range of activities throughout people’s days” while more easily accommodating “spaces for exercise, entertainment, digital collaboration, connection, and focus (without becoming isolated), alongside the traditional activities of eating, sleeping, and washing.” “While this trend has been on the rise over recent years the immediate, en masse shift to WFH exposes the benefits (and challenges) to a far wider range of the population than ever before,” explained the firm. “This will lead to significant change in people’s work habits and expectations. As more people become comfortable with working remotely, they will expect to be able to do so more often. This will change the way we design and use our workplaces, schools, and homes.” In response to this quickly changing dynamic, AD-APT enables WFH-ers to modify open-plan apartments to suit their needs whether they're in a so-called “split-shift” residence where working parents tag-team childcare responsibilities and job-related tasks or a “double desk” living environment where roommates rotate to different work-friendly spaces throughout the day. “Creating a spine of the fixed needs of a home (bathroom, entry, storage etc.) allows us to create an open and flexible apartment that can adapt to varying needs across modes, ” elaborated Woods Bagot. “The AD-APT includes a range of consistent elements which support the mode switching of the main spaces. AD-APT includes an entry porch which provides both an opportunity to meet and stay in touch with your neighbours and additional storage for bikes, coats and shoes. Beyond the entry porch the spine includes a bathroom and two flexi-booths. Around the entire apartment extensive storage is provided to allow for filing/appliance and other materials needed to blend living, working, and learning.”
- Therma, a startup with offices in San Francisco and the Philippines that’s also currently playing a role in pandemic response, showcased its “IoT-based, 24/7 equipment monitoring solution that eliminates product loss, improves food safety, and provides data-driven refrigeration management.”
- Toronto-based ChargeLab pitched its open software platform for electric vehicle charging that makes the process smarter, more precise, and less onerous. Per the company, the proprietary management system “enables key features like billing and energy management, ensuring more EV drivers can charge without disrupting the grid.”
- Based in Tel-Aviv, Firmus will presented its AI-based error-curbing technology for the construction industry—an industry where, as the firm points out, companies have “increasing difficulty learning from past mistakes.” The solution “provides real-time alerts on potential errors, constructability issues and risks, based on industry's historical data and experience.”
- Nodding to the god of the underworld, Swiss startup Hades elaborated on its automated assessment system for sewage infrastructure. Per the company: “Using deep learning, Hades automatically identifies defects in sewer inspection videos and tells engineers when and how to repair the sewers, saving time and money while protecting the environment.”
- Metalmark, a Boston-based nanotechnology startup, presented a highly innovative solution to sometimes lethal urban air pollution in the form of “nanoarchitectured materials for highly efficient catalytic destruction of air pollutants, making clean air globally accessible and affordable.”
- Last but not least, Brooklyn-based Unety pitched a sustainability-minded real estate financing platform that “empowers building owners and contractors with new capabilities, enabling them to make complex financial decisions and to match with the best capital providers.”
Payroll Protection Program (PPP)The PPP created forgivable loans that come with the following stipulations:
- The loans cover 8 weeks of payroll and “most mortgage interest, rent, and utility costs,” according to the Treasury Department.
- Companies can borrow up to $10 million, though the loan will only cover $100,000 of payroll per employee.
- Only about 25 percent of the loan can cover non-payroll costs.
- Companies have to keep or rehire employees laid off or furloughed since February 15, 2020, in order for the loans to be fully forgiven, though partial forgiveness will also be offered.
- The loans have a 0.5 percent fixed rate, and payments are automatically deferred for six months.
- The loans do not require collateral.
- Applications are available and are being received now, and they need to be processed by June 30, 2020.
Economic Injury Disaster Loan Program (EIDL)The EIDL is not a new program, but the CARES Act gave it more money and took away some restrictions. It’s run through the federal government’s Small Business Administration (SBA), and is meant to support businesses in areas that have declared emergencies (all 50 states have active states of emergency because of the COVID-19 pandemic). The EIDL provides low-interest loans that do not have to be completely paid back. The EIDL has run out of money and is not currently accepting applications, but the government may expand the program in the future. Application information should be available here if the program reopens. Part of what was new about the EIDL program is that the first $10,000 of the loan was supposed to be available within three days of applying and was offered as a grant called the EIDL Emergency Advance. Here are the basics about EIDL:
- Borrowers apply directly through the SBA, not a third-party lender.
- Applications were open through December 30, 2020.
- Loans were typically available in amounts up to $2 million, although…
- The New York Times reported that loan amounts may be capped at just $15,000 because of a lack of funding.
How architecture is exacerbating the coronavirus crisis for minorities and Black Americans
Innovation in Arkansas shouldn’t be overlooked
Michael Sorkin might appropriately be called a visionary with a heart. He has understood that, with the universal buzz about people living in cyberspace and communicating primarily through global wavelengths, this is already a reality and just another convenient set of tools that will soon be assimilated into the realm of routine. In this respect, computers are just like every other exotic technology that has nourished science fiction hyperbole and ended up as nostalgic curios in antique auctions. In designing for the future city, Sorkin has acknowledged that people are weary of looking at digital screens all day and sit-coms all night; so why on earth would they want their neighborhood to be another extension of virtual reality? The fact is that people need and value human interaction more than ever because of computer technology. In the Sorkin city, they walk, talk, sit on stoops, tend their gardens, and breathe cleaner air. Preserving this desirable reality is the basic goal of sustainability and the primary urban design challenge of the future.Moshe Safdie, principal, Safdie Architects For several decades, Michael Sorkin has been a unique voice in architecture. In a period of competing schools of thoughts, transitioning from one “-ism” to another, his critical voice was clear and constant, unwavering, with a focus on the impact of architecture on peoples’ lives and well-being; on the principles that must sustain urban life. He spoke about morals, values and ethics as others reviewed architecture as an ongoing fashion parade. Michael’s commitment to the idea that architecture must be in the service of those for whom we build, led him to strip the discourse of architecture from jargon and private lingo; expressing ideas clearly and articulately to the general public. As a critic at The Village Voice, he reached many outside the profession. He became propagandist for architecture, both within the profession and to the public at large, expanding horizons of the impact of our built environment has on our planet. Michael was a great and passionate teacher. I vividly remember his attendance at design reviews at the GSD, where sometimes faculty comments verge on the esoteric. Michael responded with surgical precision, getting to the essence of a design, and doing so in plain-talk. In his practice, both in Michael Sorkin Studio and Terreform, he was a prolific provocateur, embracing scales from small neighborhood parks to entire cities. The studio produced numerous proposals. Alas, not enough were realized, but the impact on the current generation is profound. It is not often that we find, in one person, an architect, urban designer, educator, theorist, critic and writer. I will miss his voice, cut-off suddenly and untimely, at a time when it is most needed. I hope that the coming generation will embrace the professional ethic his life represents. Deborah Berke, partner, Deborah Berke Partners, and dean of the Yale School of Architecture Michael Sorkin was a great critic, inspired teacher, and a brilliant thinker. And happily for me, he was my friend. We would have a drink together once or twice a year and talk about New York. From old New York to the New York we loved to the New York we missed to the New York we hoped for in the future. Michael was a searing and insightful critic, all the way back to his days at The Village Voice, as well as in his many books and in his more recent criticism for The Nation. He was also an insightful teacher—he taught at Yale twice, first in 1990 as the William B. and Charlotte Shepherd Davenport visiting professor, then in 1991 as the William Henry Bishop visiting professor. He brought these same teaching skills to his strong leadership as the director of the master of urban planning program at the Spitzer School of Architecture at City College (CCNY). He was also one of the most learned and well-read people I’ve ever met. His interests were diverse and his memory was expansive. Michael argued for the greater good in every aspect of the built environment—from the smallest detail of a building to the largest gesture of a regional plan. He will be missed. His convictions, his voice, and his heart are irreplaceable. Barry Bergdoll, Meyer Schapiro Professor of Art History and Archaeology, Columbia University I can still rerun lines in my head verbatim from some of Michael’s Village Voice pieces—especially the ones I just couldn’t stop rereading while howling with laughter. His send-up of the Charlottesville Tapes was a true classic, a teddy bear to reach for in the most desperate moments of trying to survive postmodernism. Michael was an arsonist to be sure, yet he also wanted to rebuild something of value and commitment in the place of pretension and posturing. He held out hope for all engaged in architecture to his last moments—as the bright moral light on the horizon that he was—that architecture could still be an instrument for building community. When Reinhold Martin and I looked to launch our experimental Foreclosed: Rehousing the American Dream project in 2011, amid the ongoing foreclosure crisis, we turned to Michael, inviting him to participate in the opening panel discussion. He offered cogent analyses of our all-too vague brief as well as suggested lines of attack for making architecture that mattered. Along the way he also offered the audience gathered at MoMA PS1 and online a very moving description of his own upbringing in Hollin Hills, Northern Virginia. Hollin Hills was a place where Americans cultivated living together, Michael said, in language that starkly contrasts with the language of intolerance that has since invaded American life, virus-like. Ironically, I think he feared this virus more than the one that took him from us. Michael left us right when we needed him most. With his lucid intelligence, sense of purpose, and biting satirical way of writing, he could cut away the flack even as he focused us on the essential. Nothing he wrote is dated, even if much of it was provoked by immediate events. To reread his pieces is to be in conversation with one of the most truly original and free-thinking minds of architecture. I can’t imagine how anyone will fill the gap, but the texts will continue to delight us and offer refreshing insights. (Think how he knew, for instance, to appreciate Breuer’s Whitney at the moment when fashionable opinion was dead-set against it.) There are many ways to spend our evenings apart at the moment. I, for one, have found a superb tonic for these dark times: pour a glass of bourbon in Michael’s memory and prop open your favorite collection of his writings. We will miss you for years and years to come, Michael. Vanessa Keith, principal, StudioTEKA Design When I came to New York City as a young architect 20 years ago, I was in search of a mentor. Coming from a fine arts background, I wanted someone who I felt was a truly great mind, who I could learn from, and who would take me under their wing. So when I met Michael while I was working on a project for the Spitzer School of Architecture at CCNY, I felt an immediate affinity. He reminded me in some ways of my academic parents and their radical lefty friends who dreamed of a better world while working on their PhD dissertations. From there, I started teaching studio at CCNY in 2002, and being invited to Michael’s UD juries was definitely a high point. He was so innovative, and he always had the backs of everyday people who don’t always get to have their voices heard. He made us think critically and differently, and he didn’t shut down ideas just because they were coming from someone younger or less “educated.” In 2007, Michael; Achva Stein, then head of CCNY’s landscape architecture program; David Leven, of LevenBetts and CCNY; and Ana Maria Duran, a good friend from grad school at Penn who was teaching at PUCE (Pontificia Universidad Catolica del Ecuador) in Quito, were doing a joint architecture, landscape, and urban design studio focused on a site in the Ecuadorian rainforest. Ana Maria invited me to lead a student charrette at the Quito Architecture Biennale, which I accepted. Once there, I received another invitation, this one to travel with the studio groups to Lago Agrio, taking Achva’s place. Again, I accepted, getting the yellow fever vaccine and some anti-malaria pills. Shivering and teeth chattering from a reaction to the injection, I jumped on the bus heading down the mountains. What a treat! We took trips up the river with local guides in canoes, avoided the areas marked “piranha,” and at a safer junction jumped into the muddy river water fully dressed in all our gear. The entire group stayed in the rainforest at a research station, saw butterflies in metamorphosis against the backdrop of oil installations, and had a jolly old time. Michael joked about making a calendar featuring scrappy Ecuadorian street dogs, the very antithesis of the Westminster Dog Show. He always rooted for the underdog, valuing the ingenuity and skills of local people and treating them with the utmost respect. Michael helped so many people, and he was so generous with his time. He was always up for coming to Studioteka and playing the role of critic for whatever we were working on in our annual summer research project. That’s how my book, 2100: A Dystopian Utopia — The City After Climate Change for Terreform’s UR imprint, came to be. Several years of in-office juries, occasionally zinging (but usually hilarious and on-point) critiques, and edits followed, and the book came out in 2017. Since then, Michael and the team at Terreform have offered incredible guidance, support and enthusiasm, helping us to get the word out, and cheering me on through each book event, lecture, publication, and milestone. More recently, we had our 2100 VR day at StudioTEKA and gave Michael, along with UR managing director Cecilia Fagel, their very first experience in virtual reality! They were dubious at first, but they were quickly among the converted. At one point in the VR tour, they were put on a plank changing a lightbulb hundreds of feet above the city, and in the end, they asked everyone to jump down. Michael demurred, Cecilia said yes, and we had to catch her! Michael was a brilliant mind, a champion of the dispossessed, and someone who fought valiantly for a just, equitable, and environmentally sustainable future. He believed in cities, in the power of collective action, and that doing better was always possible. Now we must strive to carry on without him, and push hard for the better world he laid out for us in his work. M. Christine Boyer, William R. Kenan, Jr. professor of architecture and urbanism, Princeton University School of Architecture It is too soon to bid farewell to my friend and colleague Michael Sorkin, whom I knew since we were students together at MIT. The last time we saw each other, in late January, we simply hugged each other goodbye: he was due to fly to China, I to Athens. It is indeed a silent spring now that he is gone! Yet his legacy lives on. He leaves a profound and lasting impact on public awareness, on architectural practice, on political commitment! His call to action remains. Michael Sorkin was the conscience of architecture, a visionary change-maker, dedicated educator, engaged author, and imaginative designer. He never backed down from opposing points of view. Rather, he called us all to live better in the world, to mend the city of inequity and injustice. He helped us build solid relationships through his edited books, a forum he built for voices to rise up together in solidarity. He was truly the root from which sprung our dedication to a socially responsible architecture. Michael’s pen brilliantly and humorously elevated the level of architectural and urban criticism into a new art. He was always writing for a better city yet to come. His concern was how to build a city of freedom, diversity, authenticity, participation, intimacy. Let his words speak!
“For me, writing has been the extension of architecture by other means both polemically and as fuel for my money pit of a studio. I write because I am an architect.” —Some Assembly Required (2001) “Architecture cries out for a reinfusion of some sense of responsibility to human program as a generative basis for both its ideology and its formal and technological practice, but gets it less and less.” —Some Assembly Required (2001) “[T]he new city is little more than a swarm of urban bits jettisoning a physical view of the whole; sacrificing the idea of the city as the site of community and human connection.”—Variations on a Theme Park (1991)He pleaded for a return to a more authentic urbanity, “a city based on physical proximity and free movement and a sense that the city is our best expression of a desire for collectivity.” The goal was, and is, “to reclaim the city is the struggle of democracy itself.” And it is a struggle over contending voices!
“[T]he City is both a place where all sorts of arrangements are possible, and the apparatus for harmonizing autonomy and propinquity./ Freedom, pleasure, convenience, beauty, commerce, and production are the reasons for the City.” —Local Code: The Constitution of a City at 42° N Latitude (1993)Michael’s critical writings on the politics of architecture live on, be they about the utopian schemes for the World Trade Center or the reconstruction of New Orleans, or the engagement of Palestinian and Israeli voices in the future of Jerusalem and the Gaza Strip. He wrote about the battle for freedom, global and local responsibility, the environment, even as he addressed the milieu of architecture, making appeals for inclusion, for connectivity, for sharing, and more. In this silent spring of isolation that robs us of his voice, his pen, his friendship and humor, listen to the small murmurs arising, the tributes that come in from far and near. Witness his influence great and small. From the soil he has nourished with his commitment and action will spring forth—amid ongoing contestation—a better city. Listen to his call! This dear Michael, our Michael, is your enduring legacy. Sharon Zukin, professor emerita of sociology, Brooklyn College and City University Graduate Center Michael Sorkin was an architect’s writer and a writer’s architect. He had a brilliant wit, a ready command of politics, history, and principles of design, and a passionate commitment to social justice. He wrote in plain English and published prolifically. He scorned hypocrisy, shunned opportunists, and acted to build a better world. Although he had peeves—venal real estate developers, corrupt politicians, celebrity architects, that tin-plated hustler Donald Trump—Michael wasn’t peevish. He could not tolerate intolerance. He was impatient with himself, but he was also a generous teacher, colleague, and friend. During all the years that I knew him (I want to write have known him), I never understood how he could travel so far, write so much, or launch so many projects with so many people and always bring them to completion. Yet his genius ranged most freely, and his rage was most keenly charged, when he wrote about ego and power in the city that he loved: New York. I admired Michael as a writer before I knew him as either an architect or a friend. I had been a devoted reader of his architectural criticism in The Village Voice during the 1980s. At the time, New York was in transition, moving from widespread deprivation to Reaganite glamour, yuppie glitz, and localized gentrification, even as fiscal austerity penalized the Rust Belt of the outer boroughs and quarantined communities of color. Michael cut through the hype to the complicit collusion of the real estate industry and government agencies; I learned a lot from reading him. Although he and I walked the same streets—and lived in the same neighborhood, Greenwich Village—his streets were more layered than mine because he knew more, had a better eye, and directed his critiques with pinpoint clarity. Who could ever catch up with him? The elegant essays that make up the book Twenty Minutes in Manhattan—shaped by the walk from his home to his office—are my favorites in Michael’s considerable oeuvre. He starts with the stairs in the Old Law tenement where he and Joan, his wife and life-partner, lived for many years. He recounts the difficulties he has had climbing those stairs, especially on crutches after surgery, and then segues into a brief but exact description of their construction. This leads him to reflect on other, grander stairs. The long, straight flights of stairs in late-nineteenth-century industrial buildings that formed a “tectonic loft vocabulary” within the cultural syntax of New York. The elegant double staircases in the Château de Blois. The capacious stairs in the MIT dorm designed by Alvar Aalto, made wide so students would stop to talk to each other. Long before Prada stores and tech and other “creative” offices sprouted them, Michael had already taken the measure of a staircase’s possibilities. “Architecture,” Michael drops into his conversation with the reader, “is produced at the intersection of art and property.” He exhumes the grid plan from its origins in the fifth century BC and relates it to the well-known scheme for laying out potential profit-bearing plots of land throughout Manhattan. Adopted in 1811, the grid not only set New York’s major money machine in motion but also set the course for its buildings, their heights and morphologies, and, yes, the stairs inside them. Which naturally makes him consider the pitch of the treads at the pyramids in Chichen Itza, only to return, once more, to his New York brownstone. This is—was—typical of Michael in writing as in casual conversation: erudition wrapped in humor that didn’t allow pomposity. Like Jane Jacobs, whom he greatly admired, and in whose honor he founded a lecture series at the Spitzer School of Architecture, he was a citizen of both the Village and the world. Like Jacobs, too, he saw the world in the city—but he also saw the city in the world. Michael traveled constantly, giving lectures, pitching projects, taking his students on field trips to South Africa one year and to Cuba another. During his career, he wrote about many different cities. Wherever a community of architects, activists, and urban designers protested a plan, or struggled to turn back an egregious intrusion of monumentalism into a skyline or streetscape, Michael was there. You could count on him to fire broadsides, mobilize the troops, and persuade strangers to join him. A few years ago, he persuaded me and others to write a short essay for a collective book he was putting together with people in Helsinki. This group strongly opposed the city government’s plan to contract with the Guggenheim Museum, then still in its expansionist phase, to build an expensive branch on a stretch of waterfront better left for public use. With these collaborators, Michael organized an anti-competition for design ideas and made us scholars into a jury. This mobilization, echoed by the popular opposition within Helsinki, helped to sink the Guggenheim plan. (Or, at least, it forced the city council to reveal its lack of funds.) The last time I saw Michael, one month before he died, he asked me to come by his office. We talked about a Hungarian artist’s book project on luxury apartments for which we were both writing essays, dished some dirt about various cultural figures on the South Side of Chicago, and looked at the old photographs of Michael’s family on his shelves. We laughed about the double portrait of Joan and himself in front of the Taj Mahal that he had painted in Vietnam; Joan, considering it trashy, would not allow it in their home. Michael asked if I could recommend someone who could write about race and class in the neighborhoods near the University of Chicago for a book he was planning for his publishing house UR, and then asked if I would write something for yet another book he was planning, on smart cities. Although he was not in the best of health, a frailty that the virus would exploit, he still pushed forward. He was only prevented from taking another trip—to Africa—by the emerging blockade of travel restrictions. My last email from Michael came one week later. He heard me talking about my new book on the radio and immediately sent me fan mail. This, too, was Michael: he acted on friendship. Almost twenty years ago, he and I edited a book of essays by New York urbanists where we tried to put together our abundant sorrows and critical thoughts about the World Trade Center. The words Michael wrote about the fallen Twin Towers surely apply to him. He was, in all respects, “the Everest of our urban Himalayas.”
Brit and Determination
Completed in nine days, massive NHS Nightingale hospital opens in London
“Delivering emergency hospital facilities in conference and exhibition centres is unprecedented, so we have been drawing on our previous experience of designing large-scale healthcare facilities including very large intensive-care units in super-speciality tertiary hospitals like Queen Elizabeth Hospital, Birmingham,” said BDP's Hepburn in a statement. “However, it is the scale, timeframe and purpose of this emergency facility that distinguishes it from any previous healthcare projects.” The firm elaborates on the nuts and bolts of the rapidly implemented design its website:
We have collated the different concepts that have been adopted for the #NHSNightingale Hospital, so that information can be disseminated quickly across the UK and globally. Solutions will differ for different sites but this shows the strategies based on the programme at ExCeL pic.twitter.com/LiJCAsCFAF— BDP (@bdp_com) April 1, 2020
“The bed heads and service corridors were constructed from a component system that is usually used to construct exhibition stands and there was some simple reinforcement to allow services to be fitted to the walls. Minimal building intervention enabled maximum use of the building's assets. “Clinical flows determined the circulation strategy within the building. The wards are linked with a temporary tunnel across a boulevard which allows connection to the diagnostics area. Staff move from the boulevard to and from the ICU wards via the don and doff rooms, allowing PPE to be donned and doffed, which is key to infection control.”Per the NHS, 33,000 beds in existing hospitals have been freed up to accommodate an influx of COVID-stricken patients. This is the equivalent of opening 50 new hospitals, although this comparison, as some have pointed out, is a bit weak. “These measures mean that capacity still exists in hospitals to deal with coronavirus, with the Nightingales standing ready if local services need them beyond that,” explained the NHS.