Posts tagged with "Architectural League of New York":

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The Architectural League of New York announces 2017 Norden Fund recipients

The Architectural League of New York has announced the two winners of its 2017 Deborah J. Norden Fund, a travel grant that was established in 1995. The grant is awarded to students and recent graduates in the fields of architecture, architectural history, and urban studies.

This year, Kevin Malawski for Pikionis’ Pathway: Paving the Acropolis and Priyanka Shah for Deep Skins: Roger Anger’s Facade Operations were the recipients of the grant. They will both receive $5,000 to use for travel and study.

Malawski, who currently works at New York–based EwingCole, will travel to Athens, Greece to explore the relationship between modern planning principles and regional sensitivity. Through sketches, photographs, and diagrams, his project revolves around the intricacies of Dimitris Pikionis’s five-kilometer, mid-20th-century pathway to the Acropolis. Located within olive tree groves to frame vistas, the mosaic-paved walkways also include gutters and trenches to divert water from seasonal downpours (a result of the Mediterranean climate). Malawski hopes to fill an academic void for Pikionis' architecture, which “employs a mix of operative regionalist undertones with modernism to define a space which authentically relates to the ancient Acropolis it is sited on,” he said.  

Shah, who is an architectural designer with international firm Grimshaw Architects, will go to Paris and Grenoble, France to document Roger Anger’s high-rise residential buildings, specifically looking at the geometric articulations and arrangements. Anger, an influential French architect in the 1950s and 60s, became known for his buildings' facades which present “a direct antecedent to contemporary computational design.” Upon his death, the majority of his works were kept with his estate and remain inaccessible to the public. Shah will consult archives and visit his buildings to create a comprehensive, digitized monograph of his designs.

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In New York and L.A., Leong Leong is designing new platforms for marginalized communities

The Architectural League’s Emerging Voices award and lecture series spotlight individuals and firms with distinct design “voices” that have the potential to influence the discipline of architecture, landscape architecture, and urban design. The jury, composed of Sunil Bald, Mario Gooden, Lisa Gray, Paul Lewis, Jing Liu, Thomas Phifer, Bradley Samuels, Billie Tsien, and Ian Volner, selected architects and designers who have significant bodies of realized work that creatively address larger issues in the built environment.

The Architect’s Newspaper featured the Emerging Voices firms in our February issue; stay tuned as we upload those articles to our website over the coming weeks. The firm featured below (New York City–based Leong Leongwill deliver their lecture on March 9, 2017, at The Architecture League in New York City. Click here to learn more!

“Our father was an architect and we grew up in a small town in Napa Valley. Architecture became a medium through which we explored the world,” Dominic Leong said. “It was a way to understand the city, and for us there was an inherent link between the cosmopolitan and architecture.”

Dominic and his brother Christopher founded their practice, Leong Leong, in 2009, and although they came from distinct architectural firms—Dominic worked at Bernard Tschumi Architects before founding PARA-Project, while Christopher worked at SHoP and Gluckman Mayner Architects—their shared upbringing equally influences their firm’s approach. “The practice is much more about an organization and a collective of people. Our interest in architecture is a way to embed ourselves in different contexts and to relate to who we are as individuals,” Christopher said.

As a result, Leong Leong has shifted from designing high-fashion boutiques for the likes of 3.1 Phillip Lim, to working at increasingly larger and dramatic architectural scales. They have two notable civic projects: the Anita May Rosenstein Campus for the Los Angeles LGBT Center in Hollywood with Killefer Flammang Architects, and the Center for Community and Entrepreneurship for the nonprofit organization Asian Americans for Equality (AAFE) in Queens, New York, with JCJ Architecture. “Both the LGBT Center and AAFE are nonprofit organizations whose fundamental missions are to create a platform for marginalized communities,” Christopher said. Dominic continued: “There are new social organizations and social technologies that have yet to find a specific manifestation in architectural typologies. These communities already exist and have existed for a long time, so the projects are opportunities to translate these communities into new organizational typologies and places of exchange.”

Concurrently, Leong Leong continues to work on smaller objects, installations, and exhibitions. In 2016 they designed a collection of nine basic tools carved in pink Himalayan sea salt titled A Toolkit for a Newer Age, and an immersive sound bath installation called TOPO. “Toolkit and TOPO were explorations into the relationship between collectivity and form that emerged when we were designing the LGBT Center,” Dominic explained. “This eventually led us to investigate how social technologies, like self-care, might translate into architectural typologies.”

As the firm continues to take on increasingly ambitious projects, the brothers filter each one through what they refer to as “the triad”: the [architectural] discipline, the profession, and the broader culture. “Through this feedback loop, certain ideas become more relevant than others,” said Dominic. “It’s not just about large scales, it’s about things at the tactile level as well: A small project can have a huge impact—and that splash may be necessary in our current culture—and bigger projects can have a slower, different kind of impact, a lasting change to the city itself.”

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How Duvall Decker brings innovative solutions to underserved communities in Mississippi

The Architectural League’s Emerging Voices award and lecture series spotlight individuals and firms with distinct design “voices” that have the potential to influence the discipline of architecture, landscape architecture, and urban design. The jury, composed of Sunil Bald, Mario Gooden, Lisa Gray, Paul Lewis, Jing Liu, Thomas Phifer, Bradley Samuels, Billie Tsien, and Ian Volner, selected architects and designers who have significant bodies of realized work that creatively address larger issues in the built environment.

The Architect’s Newspaper featured the Emerging Voices firms in our February issue; stay tuned as we upload those articles to our website over the coming weeks. The firm featured below (Jackson, Mississippi–based Duvall Deckerwill deliver their lecture on March 9, 2017, at The Architecture League in New York City. Click here to learn more!

Jackson, Mississippi–based Duvall Decker Architects have a knack for finding design solutions for the complex politics of the underserved urban South. From housing to institutional work, the firm navigates an intricate web of public money, government subsidy, and city code. They have become so good at it that they find that they are teaching their clients, and sometimes city officials, how to get things built while serving the community. 

An early project, designing a small high school, found them consulting with the client after completion about how to best maintain the new building. When looking for an office space, instead of renting, the firm decided to buy a space. This led to a series of buying, fixing, and reselling their own office spaces, something they jokingly called “office flipping.” In other projects, the firm’s research strategy led them to form master plans, which led to more work. These early experiences shaped the way in which the office now operates.

In more recent work, Duvall Decker has been tapped to design entire affordable housing neighborhoods. For a project for the Jackson Housing Authority, planning and community research led the office to some unorthodox formal moves. Hoping to achieve the maximum density, but limited to building duplexes, a twist and shift was applied to the typical typology. The resulting form produced more social interior spaces, and more dynamic exterior spaces, both usually lacking in the standard banal blocks of public housing.

“These projects are often lowest-bid public projects. We take the same dollars-per-square-foot and we make a building with that,” explained Ann Decker. “We strip the finishes and focus on improving the craft. When we poured some of the first architectural concrete in Mississippi in decades, we had to teach the contractor how to do it.”

Duvall Decker’s attention to the client and the end user is just as evident in its institutional work. Reflecting new ideas about education, and the social topics taught within the project, Bennie G. Thompson Academic & Civil Rights Research Center at Tougaloo College in Jackson, Mississippi, strives to embody egalitarian ideas through form. With no center and a diverse set of spaces, students can inhabit the building in more than one way.

When Ann and Roy Decker set out to start an office they did not know exactly what they were getting into. Coming from academia, they wanted to continue teaching, but they felt they could contribute more within the profession. The path from those early days to their now thriving practice was not typical one. Today they are not simply an architecture firm. Within the design practice, master planning and consulting play a major role; outside of design, the firm acts as developers and property managers. This journey has given them the chance to continue educating: their clients and themselves.

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Inside the rising Mexico City–based practice of Frida Escobedo

The Architectural League’s Emerging Voices award and lecture series spotlight individuals and firms with distinct design “voices” that have the potential to influence the discipline of architecture, landscape architecture, and urban design. The jury, composed of Sunil Bald, Mario Gooden, Lisa Gray, Paul Lewis, Jing Liu, Thomas Phifer, Bradley Samuels, Billie Tsien, and Ian Volner, selected architects and designers who have significant bodies of realized work that creatively address larger issues in the built environment.

The Architect’s Newspaper featured the Emerging Voices firms in our February issue; stay tuned as we upload those articles to our website over the coming weeks. The firm featured below (Mexico City, Mexico–based Frida Escobedowill deliver their lecture on March 2, 2017, at The Architecture League in New York City. Click here to learn more!

Mexico City–based architect Frida Escobedo has only ever worked for herself. A graduate of Universidad Iberoamericana in Mexico City, and the Arts, Design, and the Public Domain program at the Harvard Graduate School of Design, Escobedo cofounded her first office, Perro Rojo, in 2003.   

In 2006, she began her eponymous firm, realizing a trend-setting rehabilitation and reinterpretation for the Mexican muralist David Alfaro Siqueiros’s home and studio that utilized screened walls made up of breezeblocks. Casa Negra, built in 2007, is a slightly deconstructivist sentinel clad in black panels that straddles a bluff overlooking a rural road from Mexico City to Cuernavaca. In 2013, her studio conceived of a circular, weighted plaza sculpture for the Lisbon Architecture Triennale. Escobedo explained, “Our work goes from the scale of furniture to something larger.” Escobedo’s Aesop store in Miami’s Wynwood neighborhood similarly plays into that teleology. In the small storefront, she manipulates the scale of objects and vistas through reflection. Bathed in an ochre light, the shop is divided by a series of reflective, glass partitions and is populated by sections of boulders and tropical Monstera deliciosa plants. Here, prismatic color and reflected silhouettes distort scale.

Escobedo’s more recent work expands the senses even further. A recently completed screen at the Graduate School of Business at Stanford University is crafted from Solanum steel and designed to create melodies. The rhythmic tapping made by children running sticks across railings inspired the installation—a halcyon tendency Escobedo ties to ideas of coming home. She explained that the structure is “not only perceived visually… You can play with the screen as you move along it and the closed fragments produce different sounds.” 

Escobedo’s eight-person office is currently working on two social housing projects: One in the rural area of Taxco in the Mexican state of Guerrero will take the shape of an incremental housing scheme, while another in the town of Saltillo is made up of rowhouses. Regarding both projects, Escobedo said, “We’re trying to do as much as possible with as little as possible while also reducing as much as possible the debt of the people who are acquiring these properties,” the architect explained. The Taxco scheme will ultimately result in a fully-built out home, featuring a double-height room that can be subdivided vertically as the resident family grows. According to Escobedo, the goal of the scheme was “to optimize the subsidized credit [provided by INFONAVIT, the housing developer] by first building what is most costly and therefore what will give more value over time; and second to provide people with a finished building, that is sometimes more encouraging and gives the sense of completion.”

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Theaster Gates on his unique combination of art, architecture, and entrepreneurship

Chicago-based artist Theaster Gates appeared in the Architectural League of New York’s Current Work series on November 21, which was co-sponsored by the Parsons School of Constructed Environments, Parsons School of Design and The Irwin S. Chanin School of Architecture of The Cooper Union. A star in the art world, Gates crosses many boundaries and disciplines, holding two degrees in urban planning, as well as ones in religion and ceramics. Billie Tsien of Tod Williams Billie Tsien Architect introduced him by saying that his life resembled a fairy tale—he’s a reverse Snow White as the only boy of 8 children, mixed with a bit of Princess and the Pea. I would venture there’s also elements of Jack and the Beanstalk, along with shape-shifter qualities. Gates has been transforming the South Side of Chicago, his home town. But it’s taken him a while to get there. After studying at Iowa State University, then living in South Africa and Japan, he returned to Chicago in 1999. After trying to get his ceramics noticed by the art establishment while doing a day job at the Chicago Transit Authority (CTA) commissioning public art, then working as an arts programmer at the University of Chicago (both of which he found frustrating and ineffective), he rebranded himself as a conceptual artist and began to find his voice. He started to make installations from demolition-site debris such as shoe shine stands and sell the resulting “objects.” While in school, he became aware of Samuel Mockbee’s Rural Studio at Auburn University. He was also impacted by what could be called its city version, Rick Lowe’s Project Row House in Houston, which cast urban renewal as an art installation. Gates looked at his Chicago neighborhood, which was suffering from unemployment, violence, abandoned buildings, and more, and began acquiring run-down buildings (at first with sub-prime loans) and turning them into cultural centers, rather than housing. Music, yoga, discussions, gospel singing, film screenings, cooking, and more, take place in these spaces. Gates has learned to turn obstacles into advantages and reframe an argument, and he now has the track record to forward his ideas and projects. He talks about “preconditions,” the ground rules required to make transformations for fusing art and architecture with activism. Success is measured by the impact on the local community. At the same time, Chicago is an architecturally aware city with shining examples from various periods. Gates has talked about viewing Frank Lloyd Wright buildings on his way to high school. On Monday night, he mused, “It’s hard not to think about Crown Hall,” the Mies van der Rohe architecture building at Illinois Institute of Technology (IIT), when you’re located in Chicago. When Gates showed a project he did at the OMA-designed Prada Foundation in Milan, he discussed working with this form of modernism, using the term almost as “orthodoxy.” Looking at the buildings that Gates has transformed, a modernist craft aesthetic is evident. His signature structures, under the rubric of his Rebuild Foundation, a not-for-profit engine intended to “rebuild the cultural foundation of underinvested neighborhoods,” are the Dorchester Projects—the Listening House, Black Cinema House, Archive House, and now Stony Island Arts Bank. These buildings are just blocks away from the upcoming Obama Presidential Library in Jackson Park, to be designed by Tod Williams Billie Tsien Architects, giving an extra frisson to the evening. Close proximity has given new import and financial value to Gates’s structures, and though it makes him look like a clairvoyant developer (Jackson Park won out of a rival site), the trick may have been that Gates has stayed. With his notoriety and financial security, Gates could live anywhere in the city, but he is firmly installed in the Dorchester complex where he both lives and works. Gates has exported Chicago as well. At Documenta 13 in Kassel, Germany, he made a splash with the Huguenot House, an abandoned building transformed with detritus from the Dorchester buildings. The house was a continual work-in-progress over the course of the art fair by Gates and his 13 colleagues from Chicago, who lived in the house, constructed installations, performed, and conversed. Afterward, Gates combined elements from the building into objects that were sold for up to $120,000 each. Similarly, when Chicago Mayor Rahm Emanuel sold the 1923 Stony Island Avenue State Bank, an abandoned neoclassical structure slated for demolition, to Rebuild for $1.00 with the condition that he could raise money to renovate it, Gates took blocks of marble from the bathrooms and trim, embellished them with an acid-etched motto (“in ART we trust”), and his signature, and sold these art “bonds” at Art Basel for five thousand dollars each, raising half a million dollars. Gates now has a seat at the table. When he met with Mayor Karen Freeman-Wilson of Gary, Indiana, only 20 miles from his South Side neighborhood, about a potential art project, he asked what she needed. She replied funds. Within six months, he raised $1.6 million from the Bloomberg and Knight foundations. This month, ArtHouse: A Social Kitchen, an arts and culinary incubator, with an art gallery and pop-up cafe that will also host business workshops to support local entrepreneurs, was launched. It exemplified Gates’s ability to connect and convene. And it highlights his recasting of what it means to be an entrepreneur, which he says is the only word we have for broaching the meeting of an unemployed person and an abandoned building. Which brings us back to his consideration of “preconditions” and the ability to transform. Billie Tsien also talked about opening up a fortune cookie for lunch that day, and reading “If you can’t decide to go up or down, go from side to side.” Theaster Gates exemplifies just that.
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Endemic Architecture explores San Francisco’s turrets at L.A.’s Jai and Jai Gallery

Starting this weekend, Jai & Jai Gallery in Los Angeles will be hosting a new exhibition showcasing the work of Oakland, California-based architecture firm, Endemic Architecture. The firm’s new exhibit, Mind Your Mannerisms, delves into the zany world of San Francisco architecture by examining that city’s ubiquitous corner turret morphology through drawings, scaled models, and photography. By embarking on a formal and existential exploration of quirk-heavy San Francisco Victoriana, Endemic Architecture Principal Clark Thenhaus and his team seek to analyze the turret and its multivalent tendencies. In their efforts, the design-researchers deftly use a mix of traditional architectural representation and contemporary digital manipulation to explore elaborations of the Victorian turret. The isolated corner turret is treated as representing the incongruities, complications, and controversies of Victorian era architecture. Endemic Architecture arrives at several provocations that embody what the firm calls “mannerisms,” what Thenhaus described to AN via telephone as “forms of articulation slightly strange but not so strange as the become unfamiliar.” These formal and stylistic incongruities, described as “architectural contradictions, exaggerations, and counter-intuitions” in exhibition text, are treated as bad habits, amplified, and made worse to prove a point. As the designers manipulate and exaggerate the turret’s salient qualities, fascia boards get extruded and swept across facades, rooflines pucker at their corners, newels turn parabolic, and shingle patterns shift, grow, and change in scale. Thenhaus, recent recipient of a 2015 Architectural League Prize for Young Architects and Designers, described the underlying thesis of the project one of working through a ubiquitous architectural feature of his newly adopted city, where turrets are part of the accepted vernacular, inscribed within the city’s zoning code, sometimes clashing with more prosaic urban issues like lack of affordable housing and a need for increased density. The exhibition goes on view August 13th at 6pm and runs through the summer.
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Hou de Sousa’s “folly” unveiled at Socrates Sculpture Park in Queens

After winning the 2016 Socrates Sculpture Park Folly Competition, New York–based studio Hou de Sousa has seen their structure, Sticks, realized at the park in Long Island City, Queens. The opening of the space coincides with the park's 30th anniversary. Hou de Sousa—comprised of Nancy Hou and Josh de Sousa—designed a folly that uses simple timber trusses to form a sloping roof and cut-away entrance. This year, the competition brief referenced the literal meaning of folly: A blend of architecture and sculpture that doesn’t really serve a useful purpose. When Hou de Sousa was announced as winners, The Architect's Newspaper noted that these structures were once popular in 18th century England and French patrician gardens. Speaking to The Architect's Newspaper (AN), Nancy Hou and Josh de Sousa said that the structure should stay standing until December 30 of this year, though its primary use is for the warmer seasons. The structure is capable of holding various items of scrap materials, something Hou de Sousa hopes will allow the space come to life. "The original design intention was that this can be a structure than can change over time," de Sousa explained, adding that the "scraps" could be used as a form of shading device, diffusing natural light. "After building the primary structure we let it out of our hands," said de Sousa, though he and Hou confessed to being "tempted" to add their own materials. A relatively simple build, the duo said the structure was erected swiftly, though readying the site took "longer than expected." At 18-inches thick, the timber frame uses shelving to accommodate the scraps, most of which will be from the work of former artists-in-residence. When they won the competition in April, Hou de Sousa's mentioned the possibility of photovoltaic panels being deployed onto the roof of the structure. Today, however, de Sousa told AN that this would be "unlikely." Socrates Sculpture Park hopes Sticks becomes “a hub for Socrates Sculpture Park’s Education Studio, which hosts over 10,000 students annually.”
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The Architectural League Prize turns 35

It was 1980 and New York City was experiencing its highest crime rate and worst recession since the 1930s. In spite of the doom and gloom that had set in, some were optimistic about the city’s future. One was a young architect who recently arrived to New York from San Francisco. That year, he entered a competition for young architects by proposing a fantastic village of houses atop an abandoned elevated rail line. The competition was the inaugural Young Architects Forum, and the visionary dreamer who saw potential in the rusted viaduct for a thriving community was architect Steven Holl.

Holl’s now legendary Bridge of Houses, the first suggested revitalization of what is now the High Line, was one of 12 winners that year. It was profoundly poetic, hugely influential, and it made the case for both an ideas-based architecture and for having a prize for young architects. The Architectural League of New York couldn’t have wished for a better start for its new program.

Now in its 35th year, the Architectural League Prize (formerly the Young Architects Forum) is a prize with gravitas for young architects that rewards winners with a plum lecture opportunity and a part in an exhibition in New York. It is highly sought after by promising young guns and for good reason. Of the prize’s 200-plus winners, only a small percentage have drifted into obscurity. Most are heading up significant practices and running design schools. Some, like Holl, Billie Tsien, Rick Joy, and Neil Denari are truly famous, bringing to fruition buildings of extraordinary quality that are making their marks on history and influencing generations of architects to come. The prize is not a perfect predictor of future prominence, as it casts its net widely and is open to all architects in North America out of undergraduate or graduate school fewer than 10 years. However, it’s been a pretty good indicator of the people and the ideas likely to matter next.

When it began in 1981, the League Prize was an oasis in a desert of opportunity for young architects. “There was really nothing like it,” said Anne Rieselbach, who as program director for the Architectural League of New York, has shepherded the League Prize program for the past 29 years. There was the P/A Awards sponsored by Progressive Architecture magazine, but that was a different opportunity. And some, like architect Claire Weisz, who won the prize in 1991, considered the P/A Awards to be “out of reach and unattainable.” Weisz credits the League Prize as being hugely influential and an important forum where architects just starting out could get validation amongst their peers. Her winning project, “Beg Borrow and Steal,” which was conceived from borrowed and bartered materials sourced from a closing fashion store and cleverly exhibited on clothes hangers, was her first public collaboration with Mark Yoes, now her partner in WXY.

Architect James Sanders got the program up and running. Prompted by the dearth of opportunities for young architects in a city that was coming out of a recession, Sanders and others established the inaugural competition, which had many of the hallmarks of the current one. There was a poster to get the word out, a competition theme around which contestants organized their work, and a jury. The poster the first year was designed by a young Michael Bierut. And the theme was “Dwelling in the Cracks: Responses to the City.” Like all of the competition themes to follow, it was topical, reflecting current concerns and issues confronting architectural practice, this one being the state of the city. In addition to Sanders, who teamed up with Roy Strickland, the winners that year were Dodie Acklie, David Cagle, Steven Forman, Robert Grzywacz, Alexander Gorlin, Ralph Lerner, Michael McDonough, Mark Schimmenti, David Spiker, Donna Robertson, and Holl. Holl and Gorlin went on to have distinguished careers as designers and Robertson and Lerner (now deceased) made their marks in education as deans: The former at the Illinois Institute of Technology, and the latter at Princeton.

When Rieselbach took the reins in 1987, five years into the program, she ushered in some changes: She limited past winners from entering the competition again (Denari was one of two people who won it twice), introduced a publication of the winners’ work in 1999, and secured a new venue for the program in 2010. Prior to 2010, the projects were exhibited at the Villard Houses in the Urban Center’s galleries on 30-by-30-inch boards. Since 2010, Parsons has hosted the show at the Sheila C. Johnson Design Center.

Rieselbach recalled some interesting moments. “2006 was a watershed year where everyone did CNC milling. It was really quite amazing.” In terms of where people are from, “A lot of people teaching at Michigan, a lot of interesting young architects from Canada, and plenty of women,” she continued. Most recently, Rieselbach observed a return of the hand in the work, a hybridization of digital and manual techniques. She went on to say that recent winners like Jenny Sabin (2014), Skylar Tibbits (2013), Sean Lally (2012) and, Michael Loverich (2010), in particular, are doing work that tests the boundaries of architecture.

The prize has nurtured many hook ups both personal and professional: Dan and Marie Adams of Landing Studio (2015), Lisa Iwamoto and Craig Scott of Iwamoto Scott (2002), Eric Bunge and Mimi Hoang of nARCHITECTS (2001), Shih-Fu Peng and Roisin Heneghan of Heneghan Peng (1999), David and Paul Lewis (1997) and Marc Tsurumaki (1992) of LTL Architects; Stephen Cassell and Adam Yarinsky, of ARO, (1996); Weisz and Mark Yoes of WXY Studio (1993); and Mónica Ponce de León and Nader Tehrani,(1997), formerly of Office dA. Especially interesting are the three deans of Princeton’s School of Architecture: Ralph Lerner (1981), Stan Allen (1988) and Monica Ponce de Leon (2016).

Many of the winners are now dominating the headlines. nARCHITECTS’s Carmel Place, WXYs’ Salt Shed (with Dattner Architects), and City View Garage in the Miami Design District designed by Dominic Leong (2007) of Leong Leong, and Iwamoto Scott (2012) have been in the pages of many national and international publications, including AN. Without a doubt, the League Prize winners are a fascinating group of mavericks most likely to shape architecture’s future.

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The Architectural League of New York announces 2016 Norden Fund winners

The Architectural League of New York has announced two winners for the 2016 Deborah J. Norden Fund travel grants. Claiming the award is Bryan Maddock for A Serpentine Science: Affonso Eduardo Reidy’s Housing Pair and Caitlin Blanchfield and Nina Kolowratnik for Deserted Border Lands: Mapping Surveillance along the Tohono O’odham Nation. As a result, the two teams will receive up to $5,000 annually in travel and study grants. Currently employed as a project designer for Bjarke Ingels Group (BIG), Bryan Maddock is due to head to Rio de Janeiro in Brazil on the hunt for a "socially responsive and environmentally sensitive housing typology" while looking at the legacy of Brazilian modernist architect Affonso Eduardo Reidy. Using "serpentine" social housing units, Reidy, like fellow compatriot Lina Bo Bardi, strove to unite his architecture with its natural context: dramatic, mountainous topography. Though he died at the age off 55, Reidy aimed to “elevate the working class both physically and symbolically.” Sadly, much of his work—including documents and drawings for unrealized projects—were destroyed by the state as his buildings were left to deteriorate. On his journey, Maddock will survey the landscape where Reidy's structures still remain. In doing so, Maddock hopes to establish an online visual archive of drawings, videos, and text. Reidy’s work “serves as proof that architecture can operate as a fantastic offense for the renewed city," he said. The other winning pair, Caitlin Blanchfield and Nina Kolowratnik meanwhile will head off to the border of Sonora, Mexico and the Tohono O’odham reservation, directly south of Phoenix in Arizona. Here they will analyze various aspects of the border area as more stringent security and surveillance measures are implemented on the sacred lands of the Tohono O'odam Native Americans. Using interviews, a community workshop, and drawings, the two will employ a interdisciplinary methodological approach to examine the “issues of spatial politics in border regions, indigenous rights, and critical landscape discourse.” Blanchfield is the managing editor at The Avery Review, meanwhile her partner for the project Kolowratnik works as an Adjunct Assistant Professor at Columbia University’s Graduate School for Architecture, Planning, and Preservation.
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Exhibition on Architectural League of New York’s League Prize for Young Architects + Designers opens

The 2016 Architectural League of New York's League Prize for Young Architects + Designers focused on the theme of (im)permanence. As the League's website says, this year's competition "asks how time affects architecture’s assertion of style, methods of assembly, and relationship to program." The exhibition, open until July 30, showcases the drawings, models, and research of the winners at the Arnold and Sheila Aronson Galleries at Parsons School of Design at The New School. As The Architect's Newspaper reported in May, this year's diverse group included: Rania Ghosn and El Hadi Jazairy, DESIGN EARTH, Cambridge, MA and Ann Arbor, MI Juan Alfonso Garduño Jardón, G3 Arquitectos, Querétaro, Mexico Neyran Turan and Mete Sonmez, NEMESTUDIO, San Francisco, CA Neeraj Bhatia, The Open Workshop, San Francisco, CA Hubert Pelletier and Yves de Fontenay, Pelletier de Fontenay, Montreal, Canada Yasmin Vobis and Aaron Forrest, Ultramoderne, Providence, RI Three of the winners will also discuss their responses to the theme of (im)permanence in a June 30 lecture; the event can also be streamed live through the Architectural League of New York. The 2016 League Prize was organized by the Architectural League and its Young Architects + Designers Committee.
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Michael Bloomberg practices his architecture humor at the Architectural League of New York

Former mayor Michael Bloomberg was honored with the medal at the recent black-tie Architectural League of New York President’s Medal Dinner at the Metropolitan Club. He gave a spirited acceptance speech, including a few zingers. “The only way to express my gratitude is to tell you the one architect joke I know: Two beavers were swimming in the water below the Hoover Dam. And one beaver turned to the other and asked: ‘Did you build that?’ and the other one said, ‘No, but it’s based on my design.’”

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Winners announced for 2016 Architectural League of New York Prize for Young Architects + Designers

Now in its 35th iteration, the The Architectural League of New York's Prize for Young Architects + Designers revealed its winners for 2016. Past winners have included SOFTlab (2012), Ma Yansong & Yosuke Hayano (2006), Claire Weisz & Mark Yoes (1993), and countless more. The theme of this year's prize was "(im)permanence"—in the words of the League,(im)permanence "asks how time affects architecture’s assertion of style, methods of assembly, and relationship to program, thus altering our expectations of permanent structures in an impermanent environment." The winners are: Rania Ghosn and El Hadi Jazairy, DESIGN EARTH, Cambridge, MA and Ann Arbor, MI Juan Alfonso Garduño Jardón, G3 Arquitectos, Querétaro, Mexico Neyran Turan and Mete Sonmez, NEMESTUDIO, San Francisco, CA Neeraj Bhatia, The Open Workshop, San Francisco, CA Hubert Pelletier and Yves de Fontenay, Pelletier de Fontenay, Montreal, Canada Yasmin Vobis and Aaron Forrest, Ultramoderne, Providence, RI