Search results for "whitney"

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In Memoriam

Remembering engineer Robert Silman, 1935-2018
“Hidden in plain sight,” describes the legacy of the beloved structural engineer, Robert Silman, who died at age 83 on July 31. The great landmarks he renewed, along with the new ones he realized, prove this point, from Carnegie Hall, the Guggenheim Museum, and Fallingwater to the Polshek Partnership’s Weill Recital Hall, Renzo Piano’s Whitney Museum, and Freelon Adjaye Bond’s National Museum of African American History & Culture. Working until just a few weeks before losing his long battle with cancer, Silman communicated through intuitive problem solving, enriched by a lifelong curiosity about the creative intent of his colleagues as well as his forebears, whose accomplishments could only stand with his benevolent intervention. His engineering always deferred to the original intent of the architects he worked with, either in person or posthumously. Mr. Silman’s career as practitioner, educator, and advocate inspired thousands of students and young professionals across two generations and set a standard of engineering excellence that merged scientific knowledge with social need. What distinguished Silman, especially in the realm of preservation architecture, was a determination to go beyond the mandated assumptions of stability and safety by introducing an innovative elegance marrying new technologies with historic form. His solutions attest to a poetry of invisibility—a symbiosis of means and methods that defined new possibilities and set professional precedents. Right to the last, he taught a course at Harvard’s Graduate School of Design called “The Philosophy of Technology,” imbuing a spirit of inquiry best sustained by a broad cultural awareness and willingness to innovate in the face of restrictive axioms. When at Silman's urging, architect Annabelle Radcliffe-Trenner was brought on as a young consultant by the Hillier Group in 1996 to renovate the notoriously complex, leaky roof of Frank Lloyd Wright’s Racine, Wisconsin, Wingspread, she describes it as a time when “shoving in steel” was the common engineering contingency. Silman instead “turned to the nascent art of computer modeling, using data from an exacting load analysis to solve the problem in a bold new way.” Instead of ill-suited roofers, boat builders banded sheets of carbon fiber, used before then only on ships and jets, around the replacement roof. She added, “He made connections between both people and ideas with a generosity of spirit that inspired all of us working alongside [him]. As with so many others, he set my career in motion and did so at a time when opportunities for women practitioners were still limited.” After studying architecture at Cornell and at NYU graduate school, Silman worked entry-level jobs at Ammann & Whitney, Ove Arup & Partners, and Severud Associates before founding his namesake firm in 1966, a year after the passage of New York’s landmarks law. Jobs on early preservation efforts that were too small for big competitors led to a lifetime of civic engagement and advocacy, even at times when such work might be at odds with the more lucrative prospects of demolition and new construction. Just two years later, the 1968 advent of Beyer Blinder Belle spawned a bond, now in its 50th year. Jack Beyer conveys his loss: “We called ourselves the ‘Four Brothers,’ as Bob demonstrated from the start his peerless skill at weaving strict systems into the historic fabric of landmark buildings. Thanks to his conceptual thinking and capacity to listen even to those with little of use to say, he was never intimidated by existing conditions.” Beyer continued, “Bob and I served as volunteer advisers to the Kathmandu Valley Preservation Trust, where he figured out how to rebuild and seismically stabilize its great 16th-century wooden pagoda temples. Without reimagining their un-mortared brick foundations, any aboveground restoration work would have failed. His impact was global.” Anthony C. Wood, founder and chair of the New York Preservation Archive Project, recalled, “Whenever preservationists were confronted with a building that opponents said was too far gone to save, the ‘go to’ person to call for structural help was Bob Silman. Generously responding to such calls, he could work his magic to find a way to save the day.” For 11-year Silman Associate Justin Den Herder, “Bob reinforced the importance of all the arts. He was a design-minded collaborator because he was genuinely in love with architecture. He was an effective communicator because he was passionate about literature. He even kept a poster of Gustav Mahler over his desk that likely informed his work at Carnegie Hall, where the German maestro conducted his final concert in 1911 just a few months before his death. No doubt Mahler approved the results of Bob’s graceful hand.”
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Going Greek

Renzo Piano to “reinvent the ancient Athenian agora” in Baltimore

Johns Hopkins University has hired Italian architect Renzo Piano to design a building for its Homewood campus in Baltimore that will “reinvent the ancient Athenian agora for the 21st Century.” Hopkins commissioned the Renzo Piano Building Workshop of Genoa, Italy, to design a home for the Stavros Niarchos Foundation Agora Institute, an interdisciplinary center dedicated to “strengthening democracy by improving civic engagement and civil discourse worldwide.”

The Foundation announced in June 2017 that it would commit $150 million to launch a joint effort with Hopkins to create the institute, assemble a faculty, and build a home for it on the Homewood campus. The project is called the Agora Institute because one of its goals is to reinvent the ancient Greek agora, or public gathering place. A budget for the building has not been established. The target completion date is 2022.

At 81, Piano is considered one of the world’s leading architects, with major projects on five continents and awards such as the Pritzker Architecture Prize, the RIBA Gold Medal, and the AIA Gold Medal. He is the subject of a retrospective that opened this month at the Royal Academy of Arts in London. Past projects include the Whitney Museum of American Art in New York; the Shard skyscraper in London; and, with Richard Rogers, the Georges Pompidou Centre in Paris. Piano has worked with the donor before to design the Stavros Niarchos Foundation Cultural Center in Athens, Greece.

Piano said in a statement that he accepted the commission because he has “great respect” for what the university and foundation want to build. This will be his first project in Baltimore, which has a “sister city” relationship with Genoa. “I was attracted to the Johns Hopkins project for its humanistic nature and also because I have always been interested in making places for learning,” Piano said in a statement. “I am very happy and honored to start this new adventure.”

University president Ronald J. Daniels said he believes Piano is the best choice to design the project. “SNF Agora Institute seeks to reinvent the ancient Athenian agora for the 21st Century,” Daniels said in a statement. “The institute will serve as a forum for scholarly research, the robust exchange of ideas, and for sharing strategies to repair civic discourse and strengthen democracy in America and around the globe.”

As “a visionary who understands the power of public space to foster conversation and create community,” Daniels said, “Renzo Piano is the ideal architect and artist to give physical form to the SNF Agora Institute.”

 

The institute is envisioned as an “academic and public forum” that will bring together experts in fields such as political science, psychology, neuroscience, philosophy, ethics, sociology, and history. Its mission, according to Hopkins, is to “forge new ways to address the deterioration of civic engagement worldwide and facilitate the restoration of open and inclusive discourse that is the cornerstone of healthy democracies.”

The building will house a director, 10 faculty members, 10 visiting scholars, and both graduate and undergraduate students. It will be the setting for a wide range of public events, including an annual conference bringing together “representatives of different viewpoints to examine contested public policy issues.” There will be lectures, symposiums, dinners, and performances.

A site for the institute has not been finalized, and Piano is expected to help make that decision, along with determining the building’s size. Given the nature of the project and stature of the designer, officials say, it is likely that Hopkins will want it to be in a prominent location facing out towards the city, rather than buried deep within the campus.

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The Time Is Now

AIA|LA publishes equity, diversity, and inclusivity best practices guide
The American Institute of Architects' Los Angeles chapter (AIA|LA) has published an Equity, Diversity, and Inclusivity (EDI) best practices guide that aims to provide a roadmap for how firms of all sizes can begin to transform themselves into more socially just organizations.  The guide is published as a PDF here and can also be acquired in hardcopy from AIA|LA staff.  The double-sided, tri-fold pamphlet is printed on cardstock to be a handy, easy-to-reference guide durable enough to be kept at one’s desk for long-term use, according to AIA|LA executive director Carlo Caccavale, the major force behind the guide. In terms of its content, the guide is focused on inspiring small but meaningful organizational tweaks that might help usher in an EDI-focused firm culture. To create this resource, Caccavale and AIA|LA executive assistant Kirstin Jensvold-Rumage scoured existing EDI guides published by universities, architecture firms, and other entities in search of a digestible list of incremental policy changes and cultural shifts any architecture firm could undertake.  “The whole idea,” Caccavale explained over telephone, “is to make it easy to read.” The guide is divided up into six categories and includes a section that covers how to mitigate unintentional and implicit bias in hiring, for example. The backside of the guide is split up based on approaches that can be taken by firms of various sizes.  Some of the measures that can be taken by larger firms include:
  • Making an internal commitment to launch a specific role or representative in the firm to address issues of equity, diversity, and inclusion.
  • Encouraging 50/50 gender equity by 2020 by promoting gender equity in staff makeup, hiring practices, and project selection.
  • Building and embracing alternate workplace models that foster inclusivity like authoring internal anti-discrimination policies and offering flexible hours and telecommuting to reduce employee turnover.
Some suggestions for smaller firms include:
  • Sponsoring and participating in programs organized by ethnic or cultural minority groups in the field.
  • Participating in EDI trainings hosted by AIA|LA and other approved agencies.
  • Ensuring there is diversity and community representation in architectural renderings, imagery, and presentations.
Through the guide, which was instigated, supported, and approved by the AIA|LA board of directors, AIA|LA also emphasizes its own commitment to “walk the walk” by instilling EDI best practices across its own organization. Specifically, AIA|LA has pledged to increase the representation of ethnic and cultural minorities and women in leadership roles in the organization by 1%—7 people—by 2020. By 2030, the organization hopes to increase the number of minority and female AIA|LA members by another 20 individuals, as well. On top of all this, the organization also hopes to have its general membership better reflect the diversity of the City and County of Los Angeles by 2030. With the guide, AIA|LA is also looking to push how it recognizes and supports cultural diversity and gender parity by folding these objectives into its own advocacy efforts and awards programs.  A few of the planned changes include:
  • Advertising the opening of pre-qualification lists for government contracts to small firms (government contracts are often structured to benefit minority- and women-led organizations).
  • Infusing the organization’s Presidential Awards policy with EDI values as guidelines for the selection process.
  • Organizing college tours of Historic Black Colleges & Universities (HBCUs) to allow firm leaders and hiring teams to see student talent and understand the legitimacy of HBCU architecture programs.
In a press release announcing the guide, AIA|LA President Tania Van Herle said, “The actualization of equity, inclusiveness, and diversity is fundamental to human dignity, leading to opportunity, fully realized careers, and thriving practices.” Van Herle added, “EDI also looks outward—it directly influences our capabilities to serve communities.” Caccavale explained that more changes are in the works from AIA|LA as well, including a possible new merit award that would highlight minority and female talent along the lines of the AIA’s existing Whitney M. Young, Jr. award, which is presented to firms and individuals that engage in socially-meaningful architectural work.  The unveiling of the EDI guide comes as the chapter has steadily increased its efforts to promote cultural, racial, and gender diversity among the ranks of architects and also precedes a set of new rules added to the national AIA organization’s Code of Ethics that relate to issues of sexual harassment, professionalism, and environmental concerns. The Los Angeles chapter launched a Women in Architecture Committee in 2016 to “promote positive change for women in the field of architecture” and has held its EDI-focused Encompass conference since 2017 to help “actualize diversity and inclusiveness to advance the profession.” On September 20, AIA|LA will host the fifth iteration of its POWERFUL event, a symposium to empower women in architecture. The event has grown steadily over the years from a small gathering to a full-on conference packed with panel discussions, keynote speakers, and break-out sessions.  The conference will showcase nearly a dozen speakers, two panel discussions, and 24 lunchtime discussion sessions. Speakers and panelists for the conference include:
  • Pooja Bhagat, principal, Poojabhagat Architects + Planners
  • Raven Hardison, lead designer, Parsons
  • Kerenza Harris, director of design technology, Morphosis Architects
  • Rachel Jordan, architect, CO Architects
  • Elizabeth Mahlow, founding partner, Nous Engineering
  • Elaine Molinar, partner and managing director, Snøhetta
  • Lisa Pauli, design director, R&A Architecture + Design
  • Anne Schopf, design partner, Mahlum Architects
  • Maria Smith, executive creative director, M&C Saatchi
  • Elizabeth Timme, co-founder, LA-Más
  • Ingalill Wahlroos-Ritter, dean, Woodbury School of Architecture
  • Deborah Weintraub, chief deputy city engineer, City of Los Angeles
Laura Friedman, assistant speaker pro tempore of the California State Assembly and Assembly Member, District 43/Glendale will be the conference’s keynote speaker.  For more information on EDI goals, POWERFUL, and AIA|LA’s other diversity and inclusion initiatives, see the AIA|LA website. 
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Progress and Potential

National Smithsonian symposium will celebrate black architects and planners
The Smithsonian National Museum of African American History and Culture (NMAAHC) in Washington, D.C., is gearing up for a national symposium that will reflect on a half-century of work by black American design professionals. Shifting the Landscape: Black Architects and Planners, 1968 to Now will be a three-day event in late September featuring talks and presentations from Sir David Adjaye, Justin Garrett Moore, Mabel O. Wilson, Jennifer Newsom, and many more at Adjaye's NMAAHC building and the National Museum of African Art. The event will highlight the work of black architects and planners since the late '60s, and speakers will reflect on the evolving relationship between design and activism. The events are also intended to allow participants to network and form relationships that could help young designers advance their careers. The symposium is one of many events this year that looks at the profession's progress on racial equity since Whitney M. Young Jr.'s 1968 address to the annual convention of the AIA. In that speech, the then–executive director of the National Urban League exhorted architects to take on the nation's social and political issues, especially those of the nation's cities. He also encouraged the profession to embrace diversity and encourage designers from underrepresented groups to take their place in the design community. Although the symposium has already reached capacity, its Thursday and Friday events will be streamed online here. Shifting the Landscape: Black Architects and Planners, 1968 to Now will take place Thursday, September 27, through Saturday, September 29 at the Smithsonian National Museum of African American History and Culture and the National Museum of African Art, both in Washington, D.C.
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Labor Day Plans

Check out these exhibits this weekend before they close for the fall
Looking for something to do this Labor Day weekend? Check out some of our favorite architecture and design exhibits from across the country that we've covered over the summer. They're all closing this fall, so don't wait. Go get inspired! Donald Judd: Specific Furniture SFMOMA The exhibition presents a mix of his work and his acquired pieces that served as major influences. “The difference between art and architecture is fundamental,” Judd once wrote. “Furniture and architecture can only be approached as such. Art cannot be imposed upon them. If their nature is seriously considered the art will occur, even art close to art itself.” 50 Years After Whitney Young Jr. On view through November 24, 2018 The Octagon Museum 1799 New York Ave NW Washington, D.C., 20006 Thursday–Saturday, 1–4 p.m. Fifty years ago, civil rights leader Whitney M. Young Jr. stood before a crowd of mostly white and male architects as he delivered a historic speech that called out racism and other issues of diversity in the architecture and design industries. Today, the profession has arguably improved thanks to his words and subsequent leaders. A new exhibition, 50 Years After Whitney Young Jr., at the Octagon Museum in Washington, D.C., surveys the legacy of the National Urban League, which Young led for a decade, and his impact on the AIA. Poetic Structure: Art + Engineering + Architecture MAK Center for Art and Architecture Los Angeles, California The widely-traveled exhibition titled Poetic Structure: Art + Engineering + Architecture showcasing the engineering and design legacy of Skidmore, Owings, & Merrill (SOM) will be on display at the MAK Center for Art and Architecture in Los Angeles through September 2. Hyperobjects Ballroom Marfa 108 E. San Antonio St., Marfa, Texas Through October 14 Hyperobjects is co-organized by philosopher and Rice University professor Timothy Morton and Ballroom Marfa Director and Curator Laura Copelin. It looks at Morton’s theory in addressing the prevalent ecological crisis faced by the world today. With immersive video and sound installations, landscape interventions, and other direct sensory experiences, the artists’ pieces seek to challenge the way the audience sees and experiences the universe. GlassBarge The Corning Museum of Glass has tapped the McLaren Engineering Group’s nautical and entertainment departments for the creation of GlassBarge, a mobile glassworking studio set to travel from Brooklyn across the state.
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Last Chance

Looking for Labor Day plans in NYC? Catch these shows before they close
If you're in New York City this Labor Day and looking for something to do, check out some of these exhibitions. It'll be your last chance to see many of these architecture and design shows before they close after the holiday. Whether you want to head to the beach for a sea of mirrored balls or want to get inspired by the history of activist professionals, this list has something for you. And if you're not in New York, sit tight and wait for our national roundup that's coming tomorrow. 2018 Young Architects Program: Hide & Seek MoMA PS1 Open 12:00–6:00 p.m. through September 3 $10 for adults MoMA PS1’s 2018 Young Architects Program hosted Jennifer Newsom and Tom Carruthers of Dream The Combine for their annual courtyard installation, and it's a funhouse of mirrors and shadow. The program is a great way to experience the work of rising architectural talents while enjoying the PS1's arts and culture program. This year's installation closes this weekend, so it's your last chance to see it. Bodys Isek Kingelez: City Dreams The Museum of Modern Art (MoMA) On view through January 1, 2019 $25 for adults Congolese artist Bodys Isek Kingelez’s City Dreams retrospective at the Museum of Modern Art covers his kaleidoscopic paper cities that envision "cities of peace." The show will be up through the rest of the year, but there's enough in these pieces to make them worth multiple visits.
Elegance in the Sky: The Architecture of Rosario Candela The Museum of the City of New York Open Daily 10:00 a.m.–6:00 p.m. through October 28, 2018 $18 for adults If you're looking for some jazz age glamor, the Museum of the City of New York's Rosario Candela show spotlights the architect's designs for the city's glittering elite. The show covers the designers rise from humble immigrant roots to celebrity architect and surprising second-career turn as a cryptographer. Rockaway! 2018: Narcissus Garden by Yayoi Kusama MoMA PS1 at Fort Tilden Through September 3 Free! Yayoi Kusama’s mirrored balls at the Rockaways are free and open every day this weekend. Go to the beach, see some art, maybe take a selfie or two. Don't hesitate, though, the installation closes after Labor Day. A Call to Act(ivism): Echoing Whitney Young, 50 Years Later Center for Architecture Open Saturday 11 a.m.–5 p.m. Free! A Call to Act(ivism): Echoing Whitney Young, 50 Years Later at the Center for Architecture remembers the activist's exhortation calling designers to take on the day's social challenges, and then looks at how architects have followed through and the work that's still to be done. The show closes September 15, which is not far away. Sure to get you fired up for fall. RRRolling Stones Socrates Sculpture Park Open 9 a.m. to sundown every day Free! Rest yourself on a 3-D-printed chair at Socrates Sculpture Park where Cornell University professors and HANNAH cofounders Leslie Lok and Sasa Zivkovic have strewn the riverside lawn with their sculptural creations. RRRolling Stones was the 2018 winner of Folly/Function, the Architectural League of New York's annual competition held with the park. The chairs will be out through the end of the year, but the sun won't be, so go see 'em now. Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art Whitney Museum Through September 30 $25 for adults Lastly, check out Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art at the Whitney Museum. The artists give voice to the cultural influences that shaped modern architecture in the U.S. and are frequently overlooked. It's also perfectly placed for a nice stroll on the High Line after. There are plenty more exhibitions up throughout the city and the tri-state region, but hopefully this gives you somewhere to start. Have a great weekend!
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Also See The Wojnarowicz Show

Latinx artists explore modern architecture and indigenous space at the Whitney
The Whitney Museum exhibition Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art displays seven Latinx artists’ responses to the built environment through construction, land, and space. Curator Marcela Guerrero has brought together 80 recent works and site-specific installations by William Cordova, Livia Corona Benjamín, Jorge González, Guadalupe Maravilla, Claudia Peña Salinas, Ronny Quevedo, and Clarissa Tossin. The works display a wide range of references, from adaptations of pre-Columbian temples to migration routes. The title iincludes three words in Quechua, the most common indigenous language spoken today in the Americas. Each has multiple meanings: Pacha is the universe, time, space, nature, world; llaqta, place, country, community, town; and wasichay, to build or construct a house. Clarissa Tossin’s video, Ch’u Mayaa (Maya Blue) (2017), was shot at Frank Lloyd Wright’s Hollyhock House in Los Angeles. Tossin moves figures around the temple-like forms to a soundtrack of body sounds and pre-Columbian flutes while demonstrating the performative, ceremonial nature of Mayan (and Mayan revival) architecture. Tossin’s sculptures that surround the video are inspired by reliefs at the nearby Mayan Theater by Mexican artist Francisco Cornejo that referenced both Central America and Hollywood film productions. Ronny Quevedo’s father was a professional soccer player in Ecuador, and his Orders of Magnitude (desde Qoricancha) (2018), Errant Globe (2015), and Ulama, Ule, Olé (2012) use sports themes (here, ulama, a ball game) with imagery of a gym floor, ball courts, and constellations arranged in “maps.” Gold leaf refers to Spanish colonial invaders and is used to render migratory patterns visible, including his own; Quevedo’s family relocated from Ecuador to New York. In her photogram series, Infinite Rewrite (2018), Livia Corona Benjamín features Mexican grain silos or graneros del pueblo (silos for the people) built during the Compañía Nacional de Subsistencias Populares initiative from 1965-1999. A prototype design by architect Pedro Ramirez Vázquez could be built by farmers with local materials. However, the 4,000 silos that were built were abandoned, and the project ended in failure. These photos, made with multiple exposures that fracture the image almost like mosaics, show how the structures have since been adapted for other purposes: schools, churches, motels. In the gallery, the installation uses 12-foot-tall walls and a floor plan that echoes both the silos’ conical shapes and cruciform plazas. Ayacabo Guarocoel (2018) by Jorge Gonzalez combined Modernism and Puerto Rican Taino (indigenous Caribbean) vernacular in this site-specific installation of a full-height windowed gallery looking eastward. The accordion roof is the mid-century element while the walls are enea (cattail) and dried clay, used in bohíos (huts) and in furniture. He has also made benches specifically for the exhibition. Another site-specific installation sits on the outdoor fifth-floor terrace called huaca (sacred geometries) (2018), by William Cordova, and uses wood with a stainless-steel gate. It references Huaca Huantille, a temple from the Ichma culture (1100–1400 AD) in Peru that predates the Inca. Before it became an official heritage site in 2001, the temple was claimed by squatters who improvised shelters out of scaffolding (the artist grew up nearby). Seen from the balconies above, you can see why Cordova calls it a “non-monument.” Claudia Peña Salinas’s installation—composed of Cueyatl (2017), Tlaloc MNA (2018), Chalchiuhtlicue MNA (2018) and more—refers to and reinterprets archeological objects at the National Anthropology Museum in Mexico City. The layout is based on the mythical Aztec paradise of Tlacocan. Together, these artworks form provocative insights and interpretations of the architectural landscape and cultural heritage across Mesoamerica and offer tantalizing insights into the contemporary power of indigenous work. Pacha, Llaqta, Washichay: Indigenous Space, Modern Architecture, New Art will run at the Whitney through September 30, 2018.
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In Memoriam

Robert Silman, noted engineer and preservationist, passes away
Robert Silman, founder of the engineering firm Silman and expert in the structural stabilization of historic structures, passed away on July 31 at the age of 83 after a decades-long battle with cancer. Following his education at Cornell and NYU, Silman started his engineering career working for ARUP in London and Ammann & Whitney in New York. He began his eponymous firm, Silman, in 1966 as a solo practitioner. As reported by Architectural Record, this early phase in Silman’s career established the engineer as an expert in historic preservation of small-scale projects including the rehabilitation of dilapidated or burnt out tenements across New York City. As his firm grew in stature over the last five decades, Silman worked on an impressive roster of preservation projects, including the Immigration Museum at Ellis Island and Carnegie Hall. The engineer had a particular affinity for the projects of Frank Lloyd Wright; he worked on restorations for Fallingwater, the Guggenheim Museum, and Wingspread. Silman received a number of accolades for his preservation work, such as the Lucy G. Moses Preservation Leadership Award from the New York Landmarks Conservancy, and his firm has engineered over 24,000 projects including buildings by 14 Pritzker Prize winners such as SANAA’s Grace Farms and Renzo Piano’s Whitney Museum. As noted by AIA New York, Robert Silman played a key role in the establishment of the Center for Architecture in 2003. In recognition of his continued support of the Manhattan-based architectural forum, Silman was awarded the AIA New York Chapter Award in 2009. Throughout Silman’s battle with cancer, he continued working at the firm’s Boston office and taught at Harvard University’s Graduate School of Design. He is survived by his wife Roberta, and their children, Miriam, Joshua and Ruth. 
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Roundup

Weekend Edition: Tariffs in action, po-mo in peril and the border in focus
Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Roundup: Special report from the Texas-Mexico border For our July/August Texas issue, El Paso-based AGENCY has curated and edited a series of essays about the current and past state of the U.S.-Mexico border, including how architecture and planning contributes to detention and division. Trump’s timber tariffs divide the construction industry Last November the U.S. Department of Commerce under President Trump announced an average of 21 percent import duties on Canadian timber products entering the U.S. We talked to home builders and material suppliers about the effects. D.C. exhibit chronicles the history of diversity in American architecture An exhibit at the Octagon Museum in Washington, D.C., on view through November 24, looks at the legacy of the former executive director of the National Urban League. The exhibition is organized by the Architects Foundation, a philanthropic partner of the American Institute of Architects. Fight over Venturi Scott Brown’s work in San Diego escalates as new petition emerges As a controversial plan to expand the Museum of Contemporary Art San Diego campus by Selldorf Architects forges ahead, Denise Scott Brown and other notable figures have come out in defense of a 1995 Venturi Scott Brown Associates-designed postmodern addition to the complex that is in danger of being altered. New Architecture Writers program raises underrepresented voices A new London-based program for emerging journalists and curators is dedicated to enhancing the skills of black and minority ethnic writers and diversifying the field of design criticism and reporting. Stay cool, and see you next week!
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The Legacy of Leadership

D.C. exhibit chronicles the history of diversity in American architecture
Fifty years ago, civil rights leader Whitney M. Young Jr. stood before a crowd of mostly white and male architects as he delivered a historic speech that called out racism and other issues of diversity in the architecture and design industries. Today, the profession has arguably improved thanks to his words and subsequent leaders. A new exhibition, 50 Years After Whitney Young Jr., at the Octagon Museum in Washington, D.C., surveys the legacy of the National Urban League, which Young led for a decade, and his impact on the AIA. Following Young’s exhortation, AIA officials undertook several actions, including launching a task force to support equal opportunities for minority groups, and developing architecture programs to improve living conditions in urban neighborhoods. In 1970, the Diversity Advancement Scholarship was created thanks to a Ford Foundation grant to recognize talented and emerging minority designers. Shortly following Young’s death in 1971, the AIA founded the Whitney M. Young Jr. Award which recognizes architects and organizations who contribute in areas of affordable housing, inclusiveness, or universal access. The Octagon Museum exhibition highlights past recipients of the award, from the inaugural recipient Robert J. Nash, FAIA, who became the first African American architect elected to national AIA office, to the latest recipient, Tamara Eagle Bull, FAIA, who was the first Native American woman to become a licensed US architect. “My dad had wanted to be an architect since he was in high school... His father, a tribal leader, once said, ‘One day, our tribe will be in a position to rebuild and change our situation, and we are going to need architects and lawyers to do it,’” Eagle Bull explained in a 2017 AIA interview. “But when my father went to his non-Native counselor at school, the counselor said, ‘The best you can hope for is to be a teacher.’ So he became a teacher, and had a wonderful career, but he always regretted not becoming an architect.” At her firm, Encompass Architects in Lincoln, Nebraska, Eagle Bull is committed to creating culturally relevant and responsible design for Native American communities. The exhibition also showcases key figures in the fight for diversity within architecture. Alongside Young and Eagle Bull, the list includes Paul R. Williams, FAIA, who was the first black architect in the AIA College of Fellows and defined Southern California Style. Julia Morgan, FAIA, posthumously became the first woman to receive the AIA Gold Medal and used her combined talents within technology and design to further the field. Also included in the exhibit is an introduction to the National Organization of Minority Architects (NOMA), which aims at leveling the professional playing field, as well as a profile of Norma Merrick Sklarek, FAIA, who was the first African American woman elected to the AIA College of Fellows in 1980 and received the Whitney Young Award in 2008. 50 Years After Whitney Young Jr. also features a comprehensive timeline starting in 1857 when the AIA was founded in New York City. It follows the AIA's history up to the present era when Pittsburgh architect William J. Bates, FAIA, became the second elected African American AIA president, succeeding Marshall Purnell, FAIA, in 2007. Other highlighted key leaders include Robert R. Taylor, the first academically-trained African American architect, Denise Scott Brown, Hon. FAIA, the first woman to receive the AIA Topaz Medallion, and Gordon Chong, FAIA, the first elected Asian American AIA president. Marci B. Reed, the executive director of the Architects Foundation, noted that both the Diversity Advancement Scholarship Program and the Whitney M. Young Jr. Award help underrepresented minority students to pursue architectural studies and recognize architects and organizations that champion causes of equity and social justice. Reed hopes that the exhibition will “demonstrate the progress we have made since 1968, and how seriously the AIA and the Architects Foundation take Young’s charge today.” 50 Years After Whitney Young Jr. is now on view through November 24 at the Octagon Museum in Washington, D.C. It was organized by the Architects Foundation, a philanthropic partner of the AIA.   50 Years After Whitney Young Jr. On view through November 24, 2018 The Octagon Museum 1799 New York Ave NW Washington, DC 20006 Thursday–Saturday, 1–4pm
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Dog Days Dawning

Weekend Edition: Architecture and activism, Brooklyn business building, candy-colored communism, and more
Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! AIANY’s Whitney M. Young Jr. exhibit calls architects to action A new exhibition at the Center for Architecture in New York celebrates the influence of civil rights activist Whitney M. Young Jr. and details demographics that reveal the critical gaps within New York's design profession. WeWork is using user data to chart their meteoric expansion With the company’s first ground-up building, Dock 72, nearly complete in the Brooklyn Navy Yard, AN spoke with the designers and researchers who are making WeWork’s growth possible and tried to divine where the company is going next. Federal Transit Administration cuts funding for mass transit projects The Federal Transit Administration has pulled back on funding many existing expansion projects throughout the U.S. through its Capital Investment Grants program. Inside North Korea: A candy-colored fever dream In Wainwright's forthcoming book, Pyongyang embodies North Korea's approach to self-presentation: Big Brother-esque images that project the state's power and ability to protect its citizens amplified at a bombastic scale and sweetened with saccharine pastels. Lincoln Yards could bring an “instant neighborhood” to the Chicago River Developer Sterling Bay released additional details and renderings by Skidmore, Owings & Merrill for the Lincoln Yards mega-development during a packed public meeting in Chicago’s 2nd Ward on July 18. Enjoy the weekend, hope you're not in the office, and see you next week!
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A(rch)tivism

AIANY’s Whitney M. Young Jr. exhibit calls architects to action
If we’ve learned anything this year, it’s that time is up for professional industries that ignore inequality and underrepresentation. Within the practice of architecture, that means taking on diversity and inclusion while addressing uncomfortable challenges in education and workplace culture in a profession with deeply established patterns. Times are changing in this aging, white male-dominated field, and architects of all backgrounds are being celebrated for their contributions to design. At the forefront of this heightened awareness is a new exhibition from AIANY at the Center for Architecture in New York titled, A Call to Act(ivism): Echoing Whitney Young, 50 Years Later, now on view. The exhibition comes on the heels of the AIA 2018 Conference on Architecture in June, where current AIA president Carl Elefante reminded the audience of Young’s influence on the profession. In his renowned and heated speech at the 1968 AIA National Convention in Portland, Oregon, the former National Urban League executive director questioned the industry’s lack of integration and pushed for architects to take a stand and involve themselves more seriously in the turbulent political climate of the 1950s and '60s. The exhibition displays key moments in Young’s career when his charismatic voice put him on the national stage, putting the spotlight on issues of urbanism. The small but powerful show suggests that the dialogue surrounding diversity within architecture is not new and that the critical words of Whitney M. Young Jr. are just as relevant as ever to the profession. Curated by Danei Cesario, AIA NCARB and associate at Array Architects, the show identifies a parallel between Young’s work and the calls-to-action resonating among practitioners today. “There’s no one-size-fits-all approach to improving things in the industry,” said Cesario, who also co-chairs the AIANY’s committee on diversity and inclusion. “There are personal approaches and things happening within larger groups. We wanted to show how people viewed these issues in 1969 versus how we’re tackling them nowadays.” Today, it’s necessary for architects to be broadly aware of the issues affecting the world and the development of its major cities. The idea that architecture is separate from politics was absurd, according to Young, and to be integrated into the public discourse, architects must not stay silent as they build out communities. A Call to Act(ivism) urges architects to challenge the status quo still existing within the profession and details current data on the local industry by dissecting the demographics of New York’s design community.  The data on display was collected in the 2017 AIANY Equity, Diversity & Inclusion (EDI) Member Survey put together by the committee. Cesario hopes the information, which will be followed-up with additional surveys over the next two years, can serve as a showcase for how the profession is annually progressing. The committee will put out a report on its initial findings at the end of this year. “We want to build infrastructure that will be sustainable year to year,” she said, “and we want to find and publish actionable steps that firms can take to become more inclusive.” The graphic information currently on display in the exhibition reveals that there’s much more work to be done for architecture to become the inclusive profession that Young imagined. The show invites everyone from students and newly-licensed architects to veteran firm principals to reflect on their own call to activism by asking visitors two crucial questions:
What do you personally do to promote diversity and equity within architecture? What can be done collectively towards this goal, within our industry and beyond?
Visitors can share their own perspective in a digital survey and listen to the views of leaders like Sharon Sutton, Beverly Wills, Jack Travis, and Guy Geier. Unfortunately, we’re still struggling with iterated versions of the same issues Young called out fifty years ago, but the show encourages you to consider how you might be an activist within your own firm in order to eradicate these issues once and for all.  A Call to Act(ivism): Echoing Whitney Young, 50 Years Later is on view at the Center for Architecture through September 15. It was curated by Danei Cesario, AIA NCARB and designed by graphic artist Manuel Miranda.