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Walls of Air maps the myriad divisions that mark contemporary Brazil

In the post-truth age, the effective and public display of meticulously researched data is a welcome change. The Americas Society's Walls of Air exhibition is an instructive and concise mapping of the trends of urbanism, environmentalism, and economic relations, amongst many other subjects. Four Brazilian and Mexican architects curated the exhibition: Sol Camacho, Laura González Fierro, Marcello Maia Rosa, and Gabriel Kozlowski. The Americas Society’s gallery is located on the ground floor of McKim, Mead & White’s Neo-Federal 680 Park Avenue on Manhattan's Upper East Side. The gallery, in contrast to the grandeur of the turn-of-the-century mansion, is relatively stark and divided into three rectilinear spaces. The show's curatorial medium du jour are large format, ten-foot-by-ten-foot UV prints on aluminum composite material, mounted on aluminum frames. The panels are supplemented with video interviews with project researchers. The exhibition was originally displayed in 2018 at the Brazilian Pavilion at the 16th Venice Architecture Biennale and began as a research project to examine and discuss the visible and non-visible walls or barriers that make up contemporary Brazil.   It is immediately apparent from viewing the cartographic drawings the exhaustive level of research undertaken to produce them. The curators partnered with a multidisciplinary team with particular expertise on the subject matter for each panel. In total, over 200 professionals, ranging from the fields of social sciences to the visual arts, aided in the project's collaborative research. This data, in some circumstances Excel sheets with over a million entries, was then visualized with a broad toolbox of software including GIS, Rhino, and Illustrator. Visually, the Brazil displayed throughout the exhibition is not bounded by national frontiers, but placed amid a fluid web of global and regional forces. Deforestation, a trend reshaping the Amazon basin, is presented as a continental issue stretching from the Andes to the river deltas on the coast of the Atlantic. Land stripped bare to the west effectively reduces the level of humidity and rainfall in other places, such as northeastern Brazil—in effect, the policies of one locality catastrophically spin outwards across the ecosystem and impact the surrounding region. A particularly well-documented aspect in Walls of Air is the mapping of commodity flows, immigrant migration, and the geography of the country's real estate market. Lines of increasing width are color-coded to specify the material harvested—bearing a fair resemblance to Charles Minard's map of Napoleon's Russian Campaign—and drive from the Brazilian hinterland to the primary trade ports in the country's southeast. The destination of each type of commodity, its monetary value, and the nation's imports are neatly placed on the side margins of the print. When juxtaposed with the concentration of real estate value in the country's southeast and the destination of immigrant groups within the primary economic centers, one can tease out the prevailing socioeconomic contours of Brazil and the geographic inequalities therein. Walls of Air concludes with an analysis of the Brazilian city in history and the present day. Beginning with Portuguese colonization in the 16th century, the curators mark every single city founded within the country since and the maritime routes that fed them. The subject is expanded upon further with the analysis of post-war urban planning, maps of manmade modifications to metropolitan topography, and data focused on acts of insurrection.

Walls of Air: The Brazilian Pavilion at the 16th Venice Architecture Biennale Americas Society 680 Park Avenue New York, New York Through August 3, 2019

 
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Montauk Musings

Robert McKinley curates a shoppable bungalow in Montauk
Planning to join the herds of New Yorkers that'll head "out east" this summer. You might want to opt out of the standard sharehouse and book a stay at this thoughtful-designed beach bungalow instead. Located at the end of Long Island's South Fork, beyond the pricey Hamptons, this Montauk residence was just recently renovated and outfitted by celebrated interior design firm Studio Robert McKinley, to serve as both a weekend getaway and integrated showhome. The light, lime-washed white-wall, four-bedroom, ranch-style home features a carefully curated selection of furnishings, fixtures, finishes, and accessories that are all for purchase. The overall scheme reflects McKinley's sensibility while also paying homage to the locale's coastline and evoking the aesthetics of renowned seaside resorts in Europe. This Montauk home can be rented as of today. Read the full story on our interiors and design site, aninteriormag.com.    
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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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Off With His Head

DS+R and Rockwell Group's The Shed opens its massive guillotine doors
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Opened in April 2019, Diller Scofidio + Renfro’s (DS+R) and Rockwell Group's The Shed is an eight-level, 200,000-square-foot art center located on the southern, 30th Street flank of Hudson Yards. The project has received acclaim for its operable features, notably its gliding ETFE-clad shell and multi-ton doors.
  • Facade Manufacturer Cimolai S.p.A BGT Bischoff Glastechnik AG Bator Industries
  • Architect Diller Scofidio + Renfro (Lead Architect) Rockwell Group (Collaborating Architect)
  • Main Contractor Sciame
  • Facade Installer Cimolai S.p.A Cimolai Technology CS Facades
  • Facade Consultant Thornton Tomasetti
  • Location New York
  • Date of Completion April 2019
  • System Kinetic lifting system
  • Products Custom steel frame and aluminum glass panels
The large operable doors, dubbed “guillotine doors,” are located on the north and east elevations of the structure. When lifted, they allow the central performance space, or the McCourt, to effectively function as an open-air pavilion. The structural steel for the doors was fabricated with predrilled mounting for the glass facade and was assembled on site with kinetic components that facilitate proper guidance and alignment. Coordinating with kinetics contractors and fabricators proved a challenging aspect of the project. “Typically, kinetics contractors are quite independent of other construction elements,” said Charles Berman, associate principal of DS+R. “We had the opportunity to work with these trades in early engagement, design-build processes which ultimately led to the best path to success.” Along the north elevation, the door measures 25 feet wide and 32 feet tall, while along the east it is 33 feet wide and 32 feet tall. Each door weighs approximately 30 tons and is lifted by a pair of electric drum winches that pull braided stainless steel wired cables through a series of roller bearings. The system is also integrated with brakes and lockout assemblies to allow for variegated opening heights. In total, raising the doors to their maximum height of 32 feet takes nearly two and a half minutes. The Shed adjoins DS+R and the Rockwell Groups adjacent 15 Hudson Yards along a seam of polished steelwork. Many of the mechanical components of the performance space are embedded within the podium of the tower, ventilated by parametrically designed glass-and-louver modules.
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Erasing History

National Trust for Historic Preservation names 2019's most endangered places
The National Trust for Historic Preservation (NTHP) released its annual list of the U.S.'s most endangered places on May 30, highlighting an often surprising group of places and spaces threatened by forces like climate change and aggressive developer schemes across the country. While a listing signals a building’s realistic peril, a listing can also aid in reviving a building, as the NTHP brings national attention to the spaces, which can help spark awareness and action. The list has been published for 32 years, and has highlighted over 300 places. In that same time period, only five percent of the listings were actually lost. Katherine Malone-France, the interim chief preservation officer of the National Trust for Historic Preservation said in a statement, “We know that this year’s list will inspire people to speak out for the cherished places in their own communities that define our nation’s past.” The tides of taste often bring buildings in styles like postmodernism and brutalism to the list. The youngest building selected this year is the Thompson Center in Chicago, a spaceship-shaped building of glass and steel known for its soaring 13-floor atrium. In 1985, the design was meant to allude to a new, more transparent government. However, like many of the listed buildings, the Thompson Center is in danger due to neglect and financial troubles. Often developers see these historic buildings as opportunities for more profitable high rises or denser floor plans, and swoop in on economically imperiled lots. Nashville's Music Row, a historic district listed this year, is threatened by a tantalizing proximity to the city's downtown core and its relatively low density. Developers are itching to knock down the 19th-century homes and set plans in motion for high rises and corporate office spaces, much more profitable footprints that would erase much of the music-making history of the city. Aside from development, climate change and social justice histories also play a large role in the 2019 selections; the iconic National Mall Tidal Basin is under threat from rising sea levels and unstable sea walls. Small establishments, like the Excelsior Club in Charlotte, North Carolina, an African-American social club dating from 1944, that trace the history of race relations in America, have far less attention and protection.  The eleven design landmarks that make up the 2019 list are not only aesthetically appealing, but they are also vital chapters of the American cultural, historical, and artistic stories, and the National Trust for Historic Preservation is committed to help inspire their rescue. The eleven places listed in 2019 are: Tenth Street Historic District Dallas, Texas Nashville's Music Row Nashville, Tennessee Hacienda Los Torres Lares, Puerto Rico Ancestral Places of Southeast Utah Southeast Utah James R. Thompson Center Chicago, Illinois Bismarck-Mandan Rail Bridge Bismarck, North Dakota Industrial Trust Company Building Providence, Rhode Island The Excelsior Club Charlotte, North Carolina National Mall Tidal Basin Washington, D.C. Willert Park Courts Buffalo, New York Mount Vernon Arsenal and Searcy Hospital Mount Vernon, Alabama
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50/50 Chance

Stalled California housing bill could give architects chance to redesign the state’s cities
California needs 3.5 million housing units. That’s more housing units than currently exist in most states. This shortage—California ranks 49th in housing units per capita, ahead of only Utah—developed slowly but has metastasized into a true crisis, with housing costs rising to untenable levels for all but the most well-off Californians. In considering how and where to add a volume equivalent to all of Virginia, a key question is, what state—or, rather, what city—will those new units look like? Will they look like the tract homes of Phoenix? The row houses of Philadelphia? The high-rise apartments of New York City? The triple-deckers of Boston? The genteel mansions of Richmond? Or, perhaps worst of all, the mid-rises of Hollywood? The answers depend in large part on where new housing gets built. A recent bill in the California legislature almost provided the answer—almost. Senate Bill 50, sponsored by San Francisco–based State Senator Scott Wiener, would have mandated increased housing densities around major public transit lines and “jobs rich” areas throughout the state by requiring cities to permit multifamily buildings of up to five stories by right. Wiener contended that California needs more housing and that the best locations are those that enable residents to minimize commuting by personal automobiles. A relatively late amendment would have eliminated single-family zoning, permitting homeowners to build up to four units on any single-family lot, and limited the high-density provisions to counties of over 600,000 residents. California has always maintained a tense relationship with density, often failing to plan for it while suffering its ill effects all the same. SB 50 could be the catalyst to help the state abandon its suburban fetishes once and for all. An updated version of a bill that Wiener sponsored last year, SB 50 nearly made it out of the State Senate until Appropriations Committee Chair Anthony Portantino scuttled it with a procedural tactic, refusing to bring it to a vote in committee. The move put an abrupt end to what had arguably been the most heated debates over land-use legislation in state history. SB 50, like many other recent controversies related to development and housing in California, did not inspire neat loyalties. While its core support came from the increasingly influential YIMBY movements and core opposition came from homeowners, the politics were messy at best. Conservatives could love its relaxation of regulations but hate its emphasis on dense urbanism. Liberals were more intensely fractured. SB 50 appealed to values of inclusion and of progressivism, be they socioeconomic or aesthetic. For some, the bill served the cause of equity simply by potentially creating more housing. Other liberals saw it differently. Advocates of social justice feared SB 50 would empower capitalist developers while displacing and disenfranchising vulnerable populations through eviction and demolition. Older liberal activists, especially in suburban areas, put their economic interests first, recoiling from the prospect that increased housing supply might depress their property values. Many of them protested SB 50’s potential to interfere with “neighborhood character.” (Wiener’s antagonist Portantino represents La Cañada Flintridge, a comfortable suburb north of downtown Los Angeles.) Institutionally, the League of California Cities and many city councils statewide condemned SB 50 for trampling on “local control,” asserting that land use decisions have always belonged to municipalities and municipalities alone. Many mayors, however, including those of Los Angeles, Oakland, San Francisco, and San Jose, praised SB 50 for giving cities a new opportunity to ease their housing crisis—and to do so equitably statewide, forcing housing-phobic cities to approve their fair share of housing rather than ignore demand and dodge their obligations in the name of municipal sovereignty. By some accounts, a full 97 percent of California cities failed to meet their state-mandated housing goals in 2018. The California chapter of the American Planning Association controversially opposed SB 50, citing concerns about technical aspects of the bill’s language, even though many of its more progressive members favored it. Chapters of the American Institute of Architects did not take a position on it. Design rarely factored into these discussions explicitly, but its influence cannot be overlooked. Fears about changes to “neighborhood character” often accompany prejudices about “undesirable” racial or socioeconomic groups. They also refer to lousy design. Many homeowners recoiled against SB 50 out of fear that modest cottages might be overshadowed by a new triplex next door or crowded by the addition of an accessory dwelling unit. Urban activists took aim at even bigger targets. Opponents of growth in Los Angeles in particular have long railed against what they consider oversized, ugly, and excessively capitalistic apartment buildings. Such enormities often occupy full city blocks and rise five or six stories, with wood framing above one-story concrete bases. They have been the mainstay of Hollywood’s decade-long growth spurt and have arisen in many other moderately dense neighborhoods around the state. Revulsion is, often, completely justified. Large but underwhelming, and expensive but unrefined, such developments have poor detailing, clunky dimensions, and, often, antagonistic relationships with the street. They have neither humor nor grace nor character, and they succeed at one thing and one thing only: housing many people. Typically, those people are well off—or at least are pretending to be. While California’s housing crisis has many causes, it’s not unreasonable to say that lousy design is one of them, and it’s not unreasonable for opponents of SB 50 to make apocalyptic predictions about aesthetics. This is the backdrop against which architects should contemplate the revival of SB 50. Wiener has pledged to bring it back next year, and the appetite for major housing legislation remains fierce—before long, some version of SB 50 will pass, and the opportunities for architects and architecture will be profound. The quality of design that follows the passage of the next version of SB 50 will, without exaggeration, determine the look, feel, and function of California cities for at least the next generation. Many opponents of SB 50 criticize it as a "giveaway" to capitalist developers. If architects are to support the next version of SB 50, they should want to be seen as stewards, not opportunists. Upzoning around transit stops will create entirely new transit-oriented neighborhoods. Places that currently consist of park-and-ride lots and single-family homes will rise to five and six stories, with less parking than most zoning codes currently mandate. That’s like taking a cookie cutter to San Francisco’s Mission District or Los Angeles’s Koreatown and depositing the result in bedroom communities and office parks. Of course, California has hundreds of major transit stops and jobs centers (over 200 light- and heavy-rail stations alone), and the whole point of SB 50 is to distribute development statewide so that neighborhoods grow gradually. Even so, some places will be transformed sooner rather than later. In a state where many residents are mortally afraid of density, the choices that architects make will determine whether the new urban California is a dream or a nightmare—they can stumble into the latest versions of capitalist postmodern, or they can reflect on everything we have learned about the benefits of density. Designs have to be thoughtful, attractive, and socially conscious. They have to celebrate density, enhance the public realm, and give California cities a sense of style and character that they have lacked for decades. (Likewise, cities’ design guidelines and review boards will have to get savvier.) If SB 50’s single-family home provision survives (which seems unlikely), it will create a bonanza for residential architects. They will get to re-learn the art of the duplex, triplex, and quadplex—typologies that used to be common in California but have been all but extinct since the Truman administration. But new homes must not realize neighbors’ worst nightmares. They must not loom over their predecessors. They must not be large for largeness’s sake. In short, they must treat neighbors as clients. Whatever lawmakers intend for SB 50, the public will render its final judgment according to how architects seize the moment. Whether they like it or not, architects bear the final responsibility to fulfill the public trust. Of course, the real beauty of SB 50—if it comes to pass and if it works as intended—will be invisible. That will be the opportunity to craft affordable and humane housing for hundreds of thousands Californians.
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Second Home for Second Home

SelgasCano designs coworking jungle for Los Angeles
Second Home, the London-based workspace company, is designing a Los Angeles offshoot with longtime architectural partner SelgasCano. The new-ish startup is poised to open in September and compete with other big names like Soho House and WeWork by nature of its cultural programming and wellness focuses. All cultural events will be open to the public, and the space will even allow local charities and neighborhood groups to use conference rooms free of charge. These inclusivity measures have the potential to breathe fresh air into the elitist luxury workspace arena—the website has a tab labeled “social impact”—not only culturally, but also physically. The spaces will be surrounded with thousands of plants and trees. Entrepreneurial duo Sam Aldenton and Rohan Silva opened their first space in East London in 2014. Their unconventional ideas about design—from hanging hats from the ceiling for muffling sound to large swaths of colored glass fittings—attract eccentric creative types from all sorts of industries. Second Home Hollywood will be more than just a workspace of colorful couches and succulents, as SelgasCano plans to integrate an outpost of the acclaimed Libreria bookstore within it, as well as an auditorium, cafe, and restaurant. All these amenities will be open to the public, giving more and more individuals and companies access to “sneak peaks” of the new 90,000-square-foot urban campus. SelgasCano has designed all but one of the Second Home campuses, but this one is specific to the Los Angeles architectural vernacular in ways that depart strictly from the more high-rise, corporate-leaning designs that can be seen at Second Home Clerkenwell, for example. The L.A. campus is inspired by the city’s iconic 20th-century bungalow court residences, with the 60 one-story oval buildings of the campus, called studios, fitting in with the horizontality of the surrounding environment off Sunset Boulevard in East Hollywood. All of the structures are connected by a continuous yellow roof plane, and the gardens surrounding the campus are lush and colorful, taking advantage of the Southern California climate, and open to views with wraparound floor-to-ceiling windows. Second Home is also bringing a new architectural trophy to its new city—SelgasCano’s 2015 Serpentine Pavilion, which will be used as an events space. The Madrid-based practice also has many other accolades under its belt, including a residency at MIT and exhibitions at the Guggenheim and MoMA in New York, the Venice Biennale, and the Akademie der Kunste in Berlin. Its work is acclaimed for embracing environmentally conscious materials and technologies, abundant color, and social impact priorities—all facets that can be seen in its work alongside Second Home. As workspaces continue to skyrocket in popularity (and price—a resident membership at Second Home starts at £450, or around $572) smart wellness decisions and cultural collaboration are rising to the forefront of design decisions. How the next generation of creatives and entrepreneurs will work, socialize, and network is being tinkered and reconfigured as the workspace industry continues to grow around the world.
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Product Parade

Some of the best new and noteworthy furniture from ICFF 2019
From May 20 to 23, over 38,000 people flocked to the International Contemporary Furniture Fair (ICFF) to see the latest designs. Inside the glass walls of the Jacob K. Javits Convention Center in New York City, over 900 designers and manufacturers from around the world showcased the latest offerings in furniture, lighting, kitchen and bath, textiles, wall coverings, and flooring. Here, we highlight the products that are new and noteworthy.

Outdoor Furniture

Monceau collection Fermob Monceau Collection Fermob Fermob introduced four new seating pieces into its colorful collection of park furniture. New additions include the xl armchair, the low armchair, xl bench, and rocking chair (our personal favorite). Solar Lounger NEA Studio Outfitted with a photovoltaic panel in the adjustable backrest, this wooden slatted bench features integrated LEDs that illuminate from the inside. It is offered in mobile or stationary versions.  

Lighting

Penna Collection Cerno To celebrate the lighting company’s ten year anniversary, in-house designer Nick Sheridan designed the Penna collection to represent the aesthetic vocabulary of the brand. Fashioned in walnut, brass, and leather, the fixtures are representative of Cerno’s bold use of solid wood, strap-work, and metal detailing. Pebble Series by Lukas Peet ANDlight Canadian designer Lukas Peet envisioned a series of glass lights that emulate the tactile qualities of stone. Including a pendant and ceiling/wall fixture, the collection features translucent glass blown forms available in four naturalesque finishes: pearl, travertine, slate, and citrine. Hemera Desk Lamp Ross Gardam Melbourne-based designer Ross Gardam debuted the Hemera Desk Lamp at ICFF to inaugurate the brand’s U.S. presence and new platform to distribute lighting across the country. Inspired by brutalist architecture of the 1960s, the marble fixture comprises two intersecting cylindrical forms that appear to have no visible light source.

Bath

CL.1 Dornbracht This collection of crystal fittings features the ephemeral qualities of light and shadow. Eight handle shades are offered in three finishes. Advanced Control Laufen Advanced Control is a cloud solution that connects plumbing to building management systems to monitor water usage, configure settings remotely, and indicate when maintenance is required. It will be available beginning summer 2019.

Hardware

Jay Jeffers for The Access by Accurate Accurate Lock & Hardware Accurate Lock & Hardware teamed up with interior designer Jay Jeffers on a new line of architectural hardware. Encapsulating a range of locks, pulls, knobs, and handles, each collection features finely detailed metal finishes available with smart lock technologies. Hollywood Hills collection Baldwin Hardware Interior designer Erinn Valencich designed a range of hardware inspired by the glamorous interiors from the golden era of Hollywood. Including cabinet hardware, roses, deadbolts, knobs, and handles, the collection is available in 19 finishes.
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A Quiet Place

Tadao Ando's first New York building creates high-end tranquility
Tadao Ando’s first building in New York is quiet. At least, that’s the way the Pritzer Prize–winning architect wants it to be perceived. Located in Manhattan’s Nolita neighborhood, the newly-completed 152 Elizabeth is Ando’s latest luxury residential project, and though it only has seven home inside it, is slated to subtly stand out amongst its neighbors. While the idea of being quiet and sophisticated is reflected in its simple yet elegant design scheme, the 32,000-square-foot building quite literally is engineered to be noise-proof; it’s a “sanctuary” for its inhabitants, according to Ando.  Read the full article on our interiors and design website, aninteriormag.com.
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Cooper Troopers

Cooper Hewitt celebrates 20 years of National Design Awards with 2019 winners
The Cooper Hewitt, Smithsonian Design Museum has announced its 2019 National Design Awards winners, choosing to honor 11 designers and studios who are using design to improve the world for the better. The program was launched in 2000 by the White House Millennium Council and has celebrated a wide variety of architects, designers, and advocates ever since. This year’s winners are as follows: Lifetime Achievement: The San Francisco-based graphic designer Susan Kare was recognized for her decades of contributions to modern icon design. Kare, the creative director of Pinterest since 2015, is responsible for many of the original Mac’s classic icons and typefaces. Susan Kare Design has worked for brands such as Facebook, IBM, Microsoft, and other titans for the last 25 years. Architecture Design: Fresh off the completion of the Glenstone Museum in Potomac, Maryland, last year, Thomas Phifer was recognized as the 2019 Architecture Design award winner. Phifer, currently the William Henry Bishop Visiting Professor of Architectural Design at the Yale School of Architecture, is the founder of Thomas Phifer and Partners. Interior Design: San Francisco’s IwamotoScott Architecture took home this year’s Interior Design award, as the Cooper Hewitt cited the firm’s willingness to integrate conceptual research into its realized projects. Landscape Architecture: SCAPE Landscape Architecture was recognized for its numerous projects (and master plans, and research) that combine landscape architecture with living ecology. SCAPE works across all scales but its use of regenerative landscapes and public outreach is deeply embedded in the firm's process no matter the size of the project. Design Mind: Patricia Moore, author, designer, and expert on how peoples’ tastes and preferences change as they age, was honored with the Design Mind award. The Cooper Hewitt singled out Moore’s travels across North America from 1979 to 1982, wherein she disguised herself as an older woman to understand the challenges associated with living as an elderly member of society. Corporate & Institutional Achievement: The Massachusetts Institute of Technology’s D-Lab seeks to bring design and engineering thinking to the problems faced by those living in poverty. Founded in 2002, the lab now runs 20 interdisciplinary courses leading projects run by, and for, people living in poverty. Communication Design: Typeface designer Tobias Frere-Jones was recognized this year for his innumerable font contributions that are used every day, including “Interstate, Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten, and Retina,” according to the Cooper Hewitt. Fashion Design: American fashion designer and founder of an eponymous fashion house Derek Lam was recognized for his relaxed, yet refined, take on sportswear. Lam’s work has been shown all over the world, including at the Victoria and Albert Museum and the Museum at FIT. Interaction Design: Ivan Poupyrev has worn many hats over his storied career and has always brought a multidisciplinary approach to interaction design. This year, Poupyrev was recognized for his work in blending digital and tactile interfaces and advancing more equitable interaction solutions. Poupyrev is currently the director of engineering at Google’s Advanced Technology and Projects group. Product Design: The Portland-based Tinker Hatfield was recognized for his four decades of contributions to Nike, during which he worked on the iconic Air Jordan sneakers, among numerous other celebrity collaborations. Hatfield is currently the vice president of creative concepts at the company, and continues to push for, and develop, boundary-pushing athletic shoes. Emerging Designer: The nonprofit Open Style Lab, a studio launched in 2014 as a public service project at MIT, took home this year’s Emerging Designer award and a cash prize intended to accelerate its development. The New York–based Lab is dedicated to designing wearables for everyone, regardless of disability, and its portfolio includes wearable technology, accessories, and novel textile research and applications. It appears that the Cooper Hewitt has increased the stringency of its awards eligibility requirements this year; individual nominees must have at least ten years of experience under their belt, up from seven last year, and Lifetime Achievement nominees now require at least 25 years of experience, up from last year’s 20. To be eligible for the Emerging Designer category, nominees must possess less than eight years of professional experience.
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An American Experiment

Amanda Kolson Hurley dives into radical histories of U.S. suburbs
Radical Suburbs: Experimental Living on the Fringes of the American City Amanda Kolson Hurley Belt Publishing $16.95

When a book about suburbia contains a chapter called “The Anarchists Who Took the Commuter Train,” you know it is going to be an interesting read. That book is Amanda Kolson Hurley’s Radical Suburbs: Experimental Living on the Fringes of the American City, and it does not disappoint. In six well-researched and informative—yet fast-paced—chapters, Hurley introduces us to a tapestry of suburban social experimentation, from communal living in celibacy to a community of working couples inspired by the Bauhaus. It is a rich collection of projects, most of which have been overlooked by standard urban surveys.

And yes, there were anarchists in Piscataway, New Jersey, commuting to day jobs in Manhattan. Stelton was a development by anarchists decamping from New York’s East Village in 1915. It was centered around an experimental school, the Modern School, which had both year-round and summer residents united by ultraleft political beliefs and, apparently, a love of argumentation. As throughout the book, Hurley takes her research of Piscataway and the Stelton development on the road, visiting the remnants of the town and interviewing former Stelton residents who remember idyllic school days where—as you can imagine in an anarchist paradise—they were pretty much allowed to do anything they liked. Hurley tells Stelton’s story in rich detail, examining everything from how property rights were handled to the ways in which the houses were decorated.

The chapter on Concord Park, which is just outside of Philadelphia, is equally illuminating. Subtitled “Integrating the Suburbs at ‘Checkerboard Square,’” this section details the efforts of a white developer, Morris Milgram, to create a completely integrated suburb in the 1950s. Hurley effectively conveys the many hurdles Milgram faced and the agonizing choices he had to make, most notably his decision to mandate a quota of 55 percent sales to whites and 45 percent to blacks. As one of only a handful of suburban communities to offer high-quality homes to black residents, the quota was deemed necessary in order to keep it from becoming majority black, with the 10 percent disparity added to entice whites to buy. The project was an initial success (it later did revert to an upper-middle-class majority black neighborhood). Hurley again found authentic voices of former residents, combined with tireless research, to record its story.

All of the stories in this book are masterfully told, adding depth to the examination of suburbs within the disciplines of urbanism and architecture—while at the same time providing enough color and commentary to appeal to a reader with little experience or prior interest in the subject. Hurley’s focus on social experimentation and the ways developments affected residents’ day-to-day lives is part of this success.

What gets perhaps less attention, however, is the wonkier architectural-urban analyses of urban design and architecture in contributing to the radicality of these projects. Of the two more “architectural” projects detailed in the book, The Architects' Collaborative’s collection of Modernist homes outside of Cambridge, Massachusetts, and the planned city of Reston, Virginia—the dreamchild of developer Robert E. Simo designed by William Conklin and Thomas Rossant—which only Reston could be considered a truly radical challenge to the standard subdivision in terms of its urban design, embracing both density and mixing of uses. Even at Reston, Simon was forced out and the project reverted to typical suburban norms. (The knife in the gut is that the companies that took over the project were Gulf Oil and Mobil—as if we needed any further proof of what oil companies are looking for in terms of how people live and commute.)

As a result, the book is rather short on critical analysis of the role of design and, perhaps more important, whether design can play a role in remedying any of the problems—restrictive covenants, lack of density and connections, the effects of climate change—that Hurley details in her conclusion as everyday realities. As many—if not most—of the projects in the book ended up failing in themselves or at least failing to inspire any larger movements, the role of design in the relative success of an example like Greenbelt, Maryland—where the proto-modernist forms of Art Deco were used to create a successful mingling of a main street with true suburban freedoms—would make for an interesting next volume.

Hurley’s organization of the book reflects this dichotomy between what is considered success and what is considered failure. She begins in the introduction with a full-throated defense of the suburbs, detailing their increased diversity, quality of life, and sense of community, arguing that the examples in the book are a refutation of suburban clichés of conformity, mediocrity, and blandness. Yet she ends with the aforementioned critique and offers a list of ways in which suburbs could improve. Even the most ordinary of suburbs can of course be considered a uniquely American experiment that has had extraordinary success in redefining how people live. As with any experiment, it is the failures that often provide the pathway to new solutions, and Hurley shows how a number of outliers previously lost to history offer clear alternatives. With 50 percent of Americans still living in the suburbs, even the most hardcore urbanist cannot refute the need to reexamine and redesign them. Hurley has provided us with much-needed fuel for the imagination.

Dan Wood, FAIA, is a cofounder of WORKac and author of We’ll Get There When We Cross That Bridge and 49 Cities.

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57th rising

SHoP's Midtown supertall brings terra-cotta and bronze to new heights
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Over the last two decades, SHoP Architects has pushed the envelope of facade design, leading a notable shift from predominantly glass-clad skyscrapers to supertalls incorporating a variety of materials. SHoP’s 111 57th Street is currently rising on Manhattan’s Billionaires’ Row—a stretch of dizzyingly luxurious towers. The tower stands out with a facade that incorporates three materials: terra-cotta, glass, and bronze ornamental work. The tower rises from a narrow lot located immediately behind and adjacent to the historic Steinway Building. In the mold of historic New York skyscrapers, the tower sets back and tapers upward along its south elevation. Both north and south elevations are clad in a glass curtain wall with vertical strips of bronze sprouting into finials at each setback.
  • Facade Manufacturer NBK Architectural Terracotta ELICC Americas Corporation SYP Glass Group
  • Architect SHoP Architects
  • Developer JDS Development Property Markets Group Spruce Capital
  • Facade Installer Parkside Construction Builders
  • Facade Consultant BuroHappold Engineering
  • Location New York
  • Date of Completion 2020
  • System Custom ELICC unitized system
  • Products NBK Architectural Terracotta custom terra-cotta rainscreen
As a result of the site’s constraints, the approximately 1,400-foot-tall tower’s width runs at a remarkably narrow 45 feet—the width-to-height ratio comes out to just 1:24. Partnering with BuroHappold Engineering, a key challenge for the project was developing a facade system capable of supporting the weight of cladding materials, notably the terra-cotta panels. Concrete shear walls back the facade for these two elevations with only select opportunities for punched window openings. “These select openings allow for vision glass to be used while the remaining glass panels contain shadow boxes,” said BuroHappold Associate John Ivanoff. “The unitized curtain wall panels are consistent in dimension across the width of the facade; the units are separated between different materials.” The composition of the east and west facades is formed by a trio of terra-cotta, glass, and bronze. Curtain wall–manufacturer Ellic Americas merged the three materials into approximately 4-foot-by-16-foot panels, with bronze filigree fluttering between vertical stripes of glass and terra-cotta. These panels were then delivered to the site, craned into position, and hung from concrete structural slabs similar to typical curtain wall systems. In total, nearly 43,000 terra-cotta pieces, mechanically fastened to a unitized aluminum curtain wall system, run across the two elevations. The design of the quasi-fluted terra-cotta strips was formulated using a 3-D wave geometry generated by a computational script. This geometrically focused design by SHoP was adapted by NBK Terracotta to conform to its specific fabrication parameters. The building is scheduled to be completed in 2020.