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Soulcycle for Your Life
What do architects think about Related Companies' Stephen Ross fundraiser for Trump?
Related owns a slew of properties in the United States, from New York to Miami, as well as in London and Abu Dhabi. Phase one of Hudson Yards on the far west side of Manhattan’s opened earlier this spring to mixed reviews and is successfully attracting throngs of people who are spending countless hours and dollars shopping around the $25 billion site. The Shed, the transformative arts venue designed by Diller Scofidio + Renfro in collaboration with Rockwell Group, was built on city-owned property and is not directly affiliated with Hudson Yards, but no doubt the recent news may rock its fall season of already-planned performances. In fact, one fashion designer, Prabal Gurung, announced he's canceling a show that was in talks to be located at the Vessel after hearing about Ross's ties to Trump. New York Fashion Week was supposed to be hosted at Hudson Yards in the coming years. Buildings aren’t necessarily something one can boycott or at least totally ignore. They are a basic human necessity and provide tangible shelter. But the towering monoliths at Hudson Yards weren’t conceived to shelter your average New Yorker. What’s done is done and Hudson Yards is here, and a number of prominent firms contributed to the project's first phase, including Kohn Pederson Fox, Skidmore Owings & Merill, Elkus Manfredi Architects, and Nelson Byrd Woltz Landscape Architects. The next few years of construction, set to start late next year, will see the build-out of designs by Gehry Partners, Santiago Calatrava, Robert A.M. Stern, and more by Heatherwick Studio. So this leads us to ask: Like Jose Andres, artist Jerry Saltz, and other figures who've laid bare their frustrations with Ross in the last 24 hours, will architects vocalize their political views and become part of this conversation?
I respect a person’s right to politically support who he chooses but these are not normal times!. So I ask u Steve Ross to use your conscience! Cancel this fundraiser for @realDonaldTrump You are a good man.Don’t support a candidate whose goal is to drive my beloved USA apart! 🙏 pic.twitter.com/mTMhCZsmzl— José Andrés (@chefjoseandres) August 8, 2019
AN has reached out to a number of firms who’ve worked on Hudson Yards and will update this story when we hear back.
Statement from Stephen Ross: pic.twitter.com/nvn3pmAPVE— Adam Beasley (@AdamHBeasley) August 7, 2019
Once Upon A Time in Hollywood
Renzo Piano crowns the Academy Museum of Motion Pictures with a sweeping glass dome
London Bridge is Rolling Down
Architects crowdfund to build a rolling bridge in London
Architect Thomas Randall-Page has started a crowdfunding campaign to support the construction of a unique rolling bridge in London. The project, which has been nicknamed the Cody Dock Rolling Bridge, proposes building a small-scale pedestrian span over the narrow canal of Cody Dock that flows into the River Lea, which in turn connects to the Thames. According to the crowdfunding page, the design will open Cody Dock to boats for the first time in half a century and has already received approval from the Newham Council and support from Mayor Sadiq Khan.
Randall-Page describes the project as both innovative and highly contextual. It makes material reference to the area’s history of iron production while taking certain stylistic cues from the industrial design of Britain’s Edwardian era. The most distinctive aspect of the proposed design, though, is its rolling motion. The bridge runs along a pair of twin, undulating rails that are attached to the brick walls on either side of the canal, and can roll a full 180-degrees so that its floor becomes its roof. In the latter position, the bridge’s arch can accommodate barges and other boats as they move through Cody Dock.
Compared to other operable bridges, the controls of the Cody Dock Rolling Bridge are quite simple. Teeth alongside the edge of the bridge’s frame fit into notches between teeth on each rail, enabling the entire structure to roll in a steady, gear-like motion. Counterweights are built into the rounded square frame of the bridge, which prevent it from rolling uncontrollably or getting stuck in any one position. A single cable attaches the structure’s frame to a crank handle, which a person can turn to invert the bridge.
The Cody Dock Rolling Bridge forms one link in the broader redevelopment of one of London’s industrial areas. The pedestrian bridge will connect walking and bike paths on either side of the canal, allowing easier access to new artists’ studios, exhibition spaces, fabrication workshops, and a cafe along the banks of the Lea. Proponents of the design hope that the structure will serve not only as a critical piece of infrastructure but also as a compelling landmark that will attract visitors from across the city. Now in the final stretch of their fundraising effort, Randall-Page and the bridge’s supporters hope to raise upwards of $200,000 towards the completion of the project.
Back in Motion
For its 250th anniversary, San Diego gets an update
For aspiring designers in the Palestinian Territories, educational opportunities are relatively few and far between. Some universities in the area offer traditional design courses for students, but the region’s continuing state of conflict has limited available resources for designers, including access to global markets and networks. The founders of the Palestine-based collective Disarming Design From Palestine are establishing a school to fill the void.
Located in the town of Birzeit in the West Bank, the Disarming Design School is the first contemporary design school in the Palestinian Territories. It offers peer-to-peer learning programs for Palestinian students, as well as residencies for foreign students looking to acquire knowledge of local design and craft techniques. The school is also meant to serve as an important resource for local artisans and designers. Professional workshops, movie screenings, and lectures will be supplemented by a design library and a creative lab. As cofounder Annelys De Vet told Dezeen, the long-term goal is to form an academy that cultivates a critical design curriculum that is “inclusive, community-based and focused on resilience, emancipation, and self-empowerment through acts of design.”
De Vet and her co-founders, Raed Hamouri and Ghaleed Dajani, are already well-established in the Palestinian design world. In 2012, they set up a label to sell Palestinian-designed items on international platforms. Through the sale of useful goods, Disarming Design From Palestine aims to present “alternative narratives about contemporary Palestine” and, more broadly, to explore the role of creative practices under conditions of conflict. Members of the label’s team will serve as tutors for students participating in this summer’s workshops, teaching alongside curators from the Palestinian Museum in Birzeit and academics from the Willem de Kooning Academie in Rotterdam, the Lucerne School of Art and Design, and Sint Lucas School of the Arts in Antwerp.
In a part of the world where international travel can be difficult, Disarming Design is fostering a program that is decidedly global. The next step for the young institution is to collaborate with the Sandberg Instituut to set up a temporary masters program in Amsterdam focusing primarily on design in conflict zones. A predetermined portion of the master's students will be Palestinian and will be expected to return to the school in Birzeit as instructors. Similar to the specialized lecturers and tutors leading the Disarming Design School’s first workshops in the West Bank, they will bring global and local design perspectives to a region of the world in need of both.
Adam Yarinsky reflects on ARO’s work in spaces originally shaped by Donald Judd and Mark Rothko
Paris Pops Up in New York
Famous French food spot L'Avenue opens outpost in Saks Fifth Avenue
The time for failure is now
Meet Afterparti: The architecture collective that wants to fail better
“The time for failure is now” reads the front cover of Afterparti, printed emphatically in sans-serif, white type on thick, matte black paper. It’s not the only message on the magazine's cover: “Bring the justice of space to people. Build a new political conversation. You are all the agents of change,” reads another, followed by “p22” — the page where such inspiration can be found. Already, Afterparti, a new architecture "zine" hot off the presses, feels like a call to arms.
Afterparti, I should point out, is a collective, not just a publication. In June 2018, the group held a panel discussion at the Royal College of Art in London also titled, “The time for failure is now.” The group's inaugural members comprise Shukri Sultan; Aoi Philips; Tara Okeke; Marwa El Mubark; Thomas Aquilina; Nile Bridgeman; Samson Famusan; Josh Fenton, and Siufan Adey. Together, the collective is striving to further platforms for radical, underrepresented voices, advocating for a culture of collaboration and inclusivity. “We want to fail better,” they state inside their first magazine, which also includes an interview (read: argument) with Royal Institute of British Architects President Ben Derbyshire, survival tips and tunes for BAME (Black, Asian, and Minority Ethnic) architects, and articles from leading BAME industry professionals such as Pooja Agrawal of municipal planning initiative Public Practice and Akile Scafe-Smith of London design firm, Resolve.
AN sat down with Afterparti—who respond in this article as a collective rather than individually, as is the “parti line”—to find out more.
AN: What’s in the name "Afterparti"? AP: Afterparti is in two parts. The term parti is something that we all share in the language of architecture. What does parti mean? A big idea, a conceptual framing device. And so we take the term ‘parti' to connect with our architectural background and inject playfulness — by which we mean accessible, as the events we put on are for everyone. We want people to share their experiences and input on how we can make the city better for everyone. There's an openness to the term, too. We could roll out a series of different interpretations, but hopefully, the kinds of things we write or put on or stage or curate are going to be open-ended and not too closed. We want it to be a conversation that goes beyond the normal sphere of architecture. Ignoring race, it's often just middle-class people talking among themselves.
The term 'Afterparti' also suggests ourselves as a continuation of the New Architectural Writers (N.A.W.) program, as an idea, a platform, to bring together underrepresented voices.
What is the N.A.W. program? Is that how you all met? N.A.W is a free writing program for black and minority ethnic people interested in writing about design. There was a mass email which asked: Are you under 30, based in London, interested in writing, with a background in architecture and of this minority? You kinda had to do it, it didn't matter how busy you were — that’s how we felt at least.
Really what we're doing is an extension of this program but at the same time is the idea of events and a zine series. It’s always about extending that conversation as well: the conversation that happens on stage can happen in print and therefore there's an afterlife to any event.
Why have you chosen to focus on failure? It was definitely a collective decision. Regarding the initial event we held, we wanted to find a theme for the panelists who were going to be on stage for a live debate. We wanted them to speak more openly and personally about ideas and issues that that might not be able to answer through the theme of failure. We challenged them on how they adapt and respond to failure, putting people on the spot, stopping them from giving us a readymade answer.
In fact, that's a theme within our work. The zine is a very personal product. Whoever's article you read, it's a very personal piece. We put ourselves into it. The N.A.W. program came about because there's not enough of us [minorities who are writing] out there, so we take great pride putting ourselves into our work, in part, because we have a different background to share. We are a disadvantaged generation, there is potential failure at every turn. Failure isn’t just a singular event, it's systemic and we can develop ourselves through it.
Why a zine instead of more events? The basis of why we came together was because we could all write in a sense and that was a common denominator. Afterparti is a lot more than just writing, everybody is doing different things and we have different skillsets. Events can take a range: we could be curating something, throwing a disco party, or something else, who knows what might come next. The zine, however, is always the reflection of those events. In this case, it builds upon the panel discussion we had at the Royal College of Art.
The zine also a way of opening up our platform to other BAME people within architecture.
What made you produce your own publication instead of writing for somewhere else? It's not that we disagree with everything that architectural journalism stands for, it's just that we want a different flavor, something that represents us and how we feel about [architecture].
Aside from N.A.W., we've made it our own thing. There's no glossy front cover, no building reviews. This was all a deliberate choice. We were less interested in the aesthetics of single projects — though we don't ignore this by any stretch, we just don't feel as if what we have to stay stems from this. Of course, we do care about aesthetics in general, our magazine is beautiful! However, all of our articles are socially minded and/or politically motivated. It's less about a shallow, pictorial review of architecture. We are nine individuals, as has been said, all with individual takes and perspectives, on architectural practice and education and the myriad of things that entwine all of that and more together. Our approach to creating this written product comes from a place of play as well as a place of process. Plus we've only got so many pages as well, we want to write about the stuff that's important — important, but often overlooked.
Did you fail along the way? Of course! We tried to have the awareness that we are in the midst of failure, but that's not a new thing.
What’s next for Afterparti? We are going to try to take more opportunities with different groups and not just stay strictly architecture. We want to continue going outside that sphere: being more intersectional and maintaining accessibility.
That's all we can say for now! Whatever the next theme is, it's going to be about holding the relevant people in power to account. It's always going to be a call to action.