Posts tagged with "Baltimore":

Placeholder Alt Text

Maryland towns band together to fight high-speed rail route

As plans move forward for a high-speed magnetic levitation (maglev) train line between Baltimore and Washington, D.C., an increasing number of small towns are banding together to fight the railway, which spans 40 miles and would provide service between two major business districts in 15 minutes. The towns are scattered across Anne Arundel and Prince George’s counties in the direct path of maglev project construction. The Baltimore–D.C. segment is the first step in a proposal to eventually provide high-speed rail service between Washington and New York. Pushback has increased as the 20-year planning phase of the project has moved to its next steps: An environmental impact statement draft is expected in early 2020, according to The Washington Post. Although the train will run 75 percent underground at depths of 80- to-200 feet, residents between the two cities would bear the brunt of the construction, in close proximity to their homes without much payoff in return—the train, which stops only in Washington, Baltimore, and at the Baltimore-Washington International Airport, would be of little use to those living in these small communities. Residents of Greenbelt, Maryland, have been some of the most vocal opponents of the project and formally denounced the proposal for the high-speed train two years ago. Now, the city of 23,000 is requesting legal counsel to aid its effort to halt the maglev route, sparking a debate over NIMBY mentality and the grassroots efforts to protect communities. Amanda Kolson Hurley, a journalist on urbanism who profiled Greenbelt’s history in her book, Radical Suburbs: Experimental Living on the Fringes of the American City, offered insight via Twitter: “We really screwed up by not building more subway & light-rail lines already. Greenbelt residents are not wrong to say they will bear the inconvenience while the main benefits go to DC and Baltimore… Greenbelt got carved up by the BW Parkway & Beltway, so there’s a history of being imposed on by big transpo projects.” Support for the high-speed rail project, however, comes from its potential to ease regional traffic congestion and create thousands of jobs. The railway is backed by Maryland's Governor Larry Hogan, and impact studies were aided by a $28 million federal grant. Pending the release of the environmental impact report and final approval, construction could begin as soon as next year.
Placeholder Alt Text

A Charles Rennie Mackintosh show charts the evolution of the Glasgow Style

Scotland’s most important architect and designer was Charles Rennie Mackintosh (1868–1928). In Nikolaus Pevsner's 1936 book Pioneers of the Modern Movement, he called Mackintosh “the European counterpart of Frank Lloyd Wright” and a forerunner of Le Corbusier. Like Wright, Mackintosh designed not only buildings but also their furnishings and fixtures. A new exhibition, Designing the New: Charles Rennie Mackintosh and the Glasgow Style, marks the 150th anniversary of his birth has just opened at Baltimore’s Walters Art Museum. It’s the largest show about the Glasgow Style, one that grew from Mackintosh and his contemporaries at the Glasgow School from the 1890s to 1914, that has ever come to the United States. Many of the 165 objects have never been seen here before. The exhibit draws on the Glasgow Museums collection, with loans from other institutions and private collections. The exhibit’s purpose is to "put Mackintosh in context," said curator Alison Brown of the Glasgow Museums. The Glasgow Style was not just Mackintosh “but a big body of people,” she emphasized, including many other architects and designers. Prominent among them were his friend James MacNair, MacNair’s wife Margaret Macdonald, and Macdonald’s sister, Frances, who was Mackintosh’s wife. Glasgow is “the only city in Britain that created its own version of Art Nouveau,” Brown said. The Glasgow Style was a rejection of historical styles. The bold and distinctive forms were “controversial at the time,” pointed out Brown. She noted that one of the Glasgow Museums’ tour guides often compares the Glasgow Style to the punk rock movement, seeing them as equally radical. The exhibition's designers wanted to give viewers a better sense of the buildings referenced in the show. To that end, Designing the New has several videos of the style's buildings, including exterior details filmed by drones. One of the most detailed videos explores the inside and out of the 1897 Queen’s Cross Church in Glasgow, the only church Mackintosh designed. Another video highlights several buildings completed by Mackintosh’s contemporaries James Salmon Jr. and John Gaff Gillespie, who designed many Glasgow banks. While wall labels are important, visitors often skip them. To make the installation meaningful even for visitors who quickly pass through, Brown says the curators and designers chose and located objects “to make visual connections,” to highlight the relationships between them and the evolution of the Glasgow Style. The show delves into influences on Mackintosh’s early career, including a major cultural exchange between Glasgow and Japan in 1878 that brought Japanese art to the city, and his trip to Italy in 1891. Another influence on the evolution of the Glasgow Style was traditional Celtic culture, which was enjoying a revival during Mackintosh's lifetime. Later in his career, Mackintosh visited Vienna and was influenced by the Vienna Secession. The square motifs often used in Vienna Secession designs began to appear in his furniture, and Machintosh's work also become more streamlined and “more intense,” said Brown. Some of his work prefigures the Art Deco movement. Countless people with no interest in architecture and design have been exposed to Mackintosh—Brown said his work seems to fascinate film and TV designers. Two high-backed chairs in Designing the New have been reproduced many times. A chair he created for the Argyle Street Tea Room (1898) appeared in films such as Blade Runner, The Addams Family, Doctor Who” and Madonna’s video for the song “Express Yourself.” A chair he designed for Hill House (1905) was in the film American Psycho and an episode of the TV show Babylon 5. Designing the New: Charles Rennie Mackintosh and the Glasgow Style runs at the Walters through January 5, 2020. It will be at the Frist Art Museum, Nashville, June 26 to September 27, 2020; the Museum of the American Arts and Crafts Movement, St. Petersburg, Florida, October 29, 2020, to January 24, 2021; and the Richard H. Driehaus Museum, Chicago, February 27 to May 23, 2021. The exhibit is organized by the American Federation of Arts and the Glasgow Museums. In Baltimore, the Glasgow exhibit is accompanied by From Mucha to Morris: Books of the Art Nouveau, which features 12 books designed by William Morris, Alphonse Mucha, Aubrey Beardsley, and others, drawn from the Walters’ collection.
Placeholder Alt Text

Johns Hopkins unveils design details for its Renzo Piano-designed Agora Institute

Last September, Johns Hopkins University announced that they had hired Pritzer Prize-winning architect Renzo Piano to design a home for The Stavros Niarchos Foundation Agora Institute at the university’s Homewood Campus in Baltimore. Yesterday, the first glimpse of these plans were unveiled to city officials and according to The Baltimore Sun, elicited mixed reviews.  The project was established in 2017 through a $150 million dollar gift from the Stavros Niarchos Foundation, an interdisciplinary academic forum “committed to strengthening global democracy through powerful civic engagement and informed inclusive dialogue.” Piano stated in a press release that “The building is designed to reflect these priorities, in design, materials, and accessibility.” Accordingly, the design currently features two “floating” glass hemispheres that are said to embody the institute’s commitment to transparency and open dialogue. While intellectually stimulating, the city’s Urban Design and Architecture Advisory Panel voiced concern that the large glass cubes might have the opposite effect on those outside of the campus community.  However, the University is hopeful about its new addition to Wyman Park Drive. “This new building promises to be a gathering place for scholars and citizens to model the robust exchanges of ideas that are essential for healthy democracies,” said Johns Hopkins University president Ronald J. Daniels. It is expected to house faculty offices, labs, and graduate student spaces as well as coworking areas. Reflecting on the spirit and purpose of the Greek Athenian Agora (Piano took a similar Grecian approach with Columbia's Forum), the building will also feature community space for conferences, art exhibitions, and a rooftop terrace.  Partner Mark Carroll is leading the project on behalf of the Renzo Piano Building Workshop, who have partnered with the Baltimore-based firm Ayers Saint Gross. The architects will attempt to meet, at minimum, LEED Silver Certification for their sustainability target. Lee Coyle, Hopkins’ director of planning and architecture told Baltimore Fishbowl, “we think it’s an opportunity for Johns Hopkins University to make a statement about commitment to sustainability as a true world issue.” Construction is expected to begin in Fall 2020 and conclude by Summer 2022. In addition to the Agora Institute, Hopkins is also planning on giving new life to the nearby old Baltimore Marine Hospital. An architect has yet to be selected for that undertaking. 

Photography Tour: Historic Theaters of Downtown Baltimore

Tour downtown Baltimore for fascinating stories and photography tips with photographer Amy Davis, author of Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters. Explore the revival of the historic Hippodrome and Everyman theaters and ponder the fate of other grand picture palaces on the city's west side, the Stanley and Mayfair. Bring your smartphone or digital camera and snap away as you walk along the route. This program complements the exhibition Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters. One-day Museum general admission pass with tour registration fee, which grants access to all exhibitions. Valid through November 30, 2019. Rain date September 28. $25. Pre-registration required. Space is limited to 15 people. Tickets are non-refundable and non-transferable. Online registration for this program closes at midnight the day before the program.
Placeholder Alt Text

West 8 will redesign 11 miles of South Baltimore's waterfront

Dutch firm West 8 has beat out James Corner Field Operations and Hargreaves Jones for the chance to create an 11-mile-long stretch of parkland in South Baltimore. The winning proposal from the studio's New York office was chosen as part of the Middle Branch Waterfront Revitalization Competition, a city-backed plan to reengage locals with an underutilized section of the Patapsco River shoreline.  Located east of Westport and south of Port Covington across the river, the waterfront spanning from the existing Middle Branch Park will be expanded in the surrounding bay into a landscaped linear strip for recreational activities and observing wildlife. West 8 will partner with local teams from Mahan Rykiel and Moffat & Nichol on the multi-phase project, and figure out the best strategies to build a new green ring around the waterfront filled with piers, boardwalks, and other structures for performances and group gatherings.  Per the proposal, future phases will include converting the 103-year-old, Beaux Arts-style Hanover Street Bridge, which connects Middle Branch to Port Covington, into parkland as well. A new car-centric bridge will be built stretching from the planned Under Armour campus to Brooklyn, instead of Cherry Hill where Middle Branch Park is located. An artificial island will be built underneath it in the middle of the bay.  SouthBmore.com reported that in order to create this large ring of land, West 8 will redistribute dredge from a port nearby and place it further up the bay where it will eventually help form marshlands and other wetland ecologies. This move, according to Brad Rogers, executive director of the South Baltimore Gateway Partnership, will help build an attractive waterfront for the South Baltimore community—one that could boost its economy like the other built-out improvements at Inner Harbor and Fells Point.  West 8 also aims to build a trail system that loops from Middle Branch Park to Westport Meadows and across Ridgeley’s Cove. A decrepit bridge there could possibly be made into a pedestrian-only thoroughfare as well, providing access to Swan Park in Port Covington.  For further context, the entire site sits south of M&T Bank Stadium and is close to the core of downtown Baltimore. A masterplan to revamp the Middle Branch area has been in the works since 2007, and the competition to redesign the waterfront started last summer, under the helm of the city-supported Parks and People Foundation.
Placeholder Alt Text

Johns Hopkins may tear down arts center by Tod Williams Billie Tsien Architects

Another Tod Williams Billie Tsien project appears to be headed for the wrecking ball. After years of planning and fundraising, Johns Hopkins University president Ronald J. Daniels announced this month that a new student center will be built for its Homewood campus at the intersection of Charles and 33rd Streets in Baltimore. The property chosen for the new building includes the current site of the Mattin Center, a 2001 arts complex designed by Tod Williams Billie Tsien Architects. Administrators indicate it will likely be demolished to make way for the student center. The announcement already has people upset. The Mattin Center would join the former American Folk Art Museum in New York on the list of Williams and Tsien buildings that have been leveled and replaced with even larger projects. Opened in 2001 like the Mattin Center, the Folk Art Museum was razed in 2014 to make way for an expansion of the Museum of Modern Art, currently under construction. The demolition was one of the biggest preservation controversies in the nation that year. Tsien has said she was unable to go by the site while the building was coming down and long afterward. There has been talk in Baltimore for the past several years that Hopkins was eying the Mattin Center as the site for a new student center, but administrators said they didn’t want to confirm anything until they had raised enough money to move ahead with the project. Hopkins is one of the few major universities in the United States that doesn’t have a full-fledged student center or student union on its main campus, and Daniels has wanted to build one to keep Hopkins competitive with other colleges and universities. On March 5, Daniels announced that the project is moving ahead with a target completion date of 2024. Without dwelling on demolition, his announcement was the most definitive statement he has made to date about securing funds and replacing the Mattin Center, which was built by a previous administration as a home for the visual and performing arts on campus. “As the needs of our student body have evolved, so has the desire for a different and dedicated student center taken hold,” he wrote in a message to the Hopkins community. “This will be a new kind of space for us—one that is not academically focused, but entirely social by design…It will be a site to which everyone lays equal claim and from which everyone benefits.” Planning for the student center began in 2013 when Hopkins formed a task force. A year later, it hired Ann Beha Architects of Boston and Gustafson Guthrie Nichol of Seattle to conduct a feasibility study and develop a preliminary design. Hopkins administrators have indicated the student center will cost between $100 million and $150 million. According to university spokesperson Karen Lancaster, an architect has not been selected and a final cost has not been determined, but “we have the funding we need to commit to this project” through a combination of institutional and philanthropic sources, including pledges from anonymous donors. The Mattin Center is the only project in Baltimore by Williams and Tsien. It cost $17 million and consists of three brick-clad structures that frame an open courtyard and together contain 50,000 square feet of arts-related spaces, including dance and visual arts studios, a digital media center, black box theater, music practice rooms, and café. It occupies a prominent site near the gateway to Hopkins’s Homewood campus, between the main academic buildings and the Charles Village neighborhood to the east. That site is largely what seems to have doomed the Mattin Center, because campus planners wanted to put the new student center in a “welcoming” location. At the nexus of town and gown, the Mattin Center site met their requirements more than any other property. According to Johns Hopkins’s news site, Hub, the final location was selected “based on the flow of students on and off campus from the Charles Street corridor and on its proximity to the heart of Homewood activity.” The Mattin Center’s size was also an issue, Lancaster said in an email. “While the building is less than 20 years old, our space requirements have evolved over time and the building, as designed, is not adequate to fulfill many of these specific needs—such as the larger gathering venues our students seek today.” In a further sign that Hopkins intends to demolish the Mattin Center, Lancaster noted that one of the next steps will be to figure out where to move the people and activities now based there. If the Mattin Center were to remain, planning for long-term relocation wouldn’t be necessary. “As part of the design and planning process,” Lancaster said, “we will be determining options for where to locate the groups and programs that are currently housed in the Mattin Center—both in the short-term during construction and permanently once a new center is opened.” Although the building’s design won a 2002 award from the New York Chapter of the American Institute of Architects, it has drawn criticism locally for “turning its back” on the city.   “It represents the end of an era when the university faced inward and was moving very gingerly to interact with the community,” said Sandra Sparks, former president of the Charles Village Civic Association, which represents the neighborhood next to the Hopkins campus. Williams and Tsien were selected by Hopkins after participating in a limited competition to design the arts center. The other competitors were Bohlin Cywinski Jackson of Pennsylvania and Heikkinen Komonen Architects of Finland. When they learned several years ago that Hopkins was considering razing their building, Tsien and Williams issued a lengthy statement defending its design. In it, they said Hopkins administrators at the time had expressed a desire for a secure setting. “When we won the competition to design the Mattin Center in the late 1990s, the City of Baltimore was a much tougher, more dangerous place,” they wrote. “A student, a musician, had been recently killed in a wooded section of the proposed site. So the university chose our design over the two others in part, because they wanted a protective environment for students to pursue their artistic interests which, at that time, were considered extracurricular. “The administration was concerned about the physical security of the students. The suggested program was not so large and that allowed us to organize spaces…around a large exterior courtyard at the heart of the site.” In their statement, the architects acknowledged that the university’s and the city’s needs have changed. They lamented that they weren’t involved in future planning for the site. “Today there is a desire to create a more direct connection to the city and for more socializing spaces for students,” they said. “The site of the Mattin Center is an important one for the University and campus, and we believe it can accommodate additional density and change. If the administration elects to demolish the Mattin Center, it should not be without very serious debate…because to do so is unimaginative, and unsustainable, and because it does not acknowledge the layers of history that are crucial to an understanding of our culture, our campuses, and our cities.” AN reached out to the firm last week but wasn’t given further information on Williams and Tsien’s thoughts about the recent announcement. In an email, the firm wrote: “We are aware of Johns Hopkins’s plan to build a new student center at the Mattin Center site, however, we do not know of any additional details regarding its development at this time.” The student center is one of several major projects that Hopkins has underway in Baltimore and Washington. Last fall it selected the Renzo Piano Building Workshop and Ayers Saint Gross of Baltimore to design the home for a new interdisciplinary center called the Stavros Niarchos Foundation Agora Institute. In January, the school announced plans to buy the Newseum in Washington, D. C., and convert it into a new home for its academic programs there. An architect for that project has not been announced. For its medical campus, Hopkins has hired William Rawn Associates of Boston and Hord Coplan Macht of Baltimore to design an addition to its school of nursing.
Placeholder Alt Text

National Building Museum chronicles Baltimore's urban history through movie theaters

A new exhibition at the National Building Museum in Washington, D.C., chronicles the stunning and somewhat sad history of cinema houses in America’s Charm City. Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters opens tomorrow, November 17, showcasing the work of award-winning Baltimore Sun photographer Amy Davis. The show is based on Davis’s year-old book of the same name, which features 72 Baltimore buildings photographed from 1896 to today. Collected over a decade, her colorful documentary photography pits the current state of these once-opulent downtown theaters and modest neighborhood cinema houses with vintage black-and-white photos of the structures in their heyday. Curator Deborah Sorensen worked with Davis to collect over 100 architectural fragments and pieces of theater ephemera to populate the exhibition, each adding a layer of tangibility to the buildings detailed in the book. Along with these elements, personal stories unveiled through text illuminate both the local story of Baltimore’s own 20th-century urbanization, segregation, and suburban sprawl, as well as the national trends in theater design and the ever-evolving movie-going experience. “Baltimore was already a mid-size city at the turn-of-the-century,” said Sorensen. “As a case study, it mirrors the development of the film industry and how it shaped cities across America. Movie palaces were being built to reflect local civic pride and the power of movies. If you look at when cities really started booming, it’s when these structures were coming online.” Davis’s photographs not only unveil the architectural history of movie theaters, but track these shifts in local population, land use, and urban history in Baltimore. In the early 1900s, famous architects were called upon to design grand cinema houses for downtown commercial districts. Many sported shiny, stand-out marquees and seated up to 2,000 people. Post-World War II, the city had 119 theaters of varying sizes and designs, but due to the introduction of television and mega-malls, the way people consumed films dramatically changed, as well as the way theaters were constructed. Davis conducted 300 interviews with movie exhibitors, theater employees, property owners, and filmgoers to get at the heart of these theaters and their surrounding locales. She photographed the buildings as they stand today—some revitalized as performing arts centers, churches, or concert venues, others still derelict and falling apart, and some completely demolished. Their successful, or in some cases poor, evolutions point to local investment in preservation and development over time. “We’re looking at the rise of movie-going and the decline of downtowns through the lens of this particular place,” said Sorenson. “It’s a reality that many American cities have faced and are trying to recover from."  Since the first movie theater opened its doors in the late 19th century, Baltimore has been home to a total of 240 cinemas. Today, it has only five functioning theaters, not including the homogenous AMC or Regal theaters common today. Two outstanding examples include the legendary Hippodrome, built in 1914, and Parkway, built in 1915. Both came back to life after multi-million dollar restoration and expansion projects. Not all movie theaters across the country have been so lucky. Flickering Treasures gives visitors an in-depth look at Baltimore’s former movie palaces and neighborhood film houses, as well as notable architects and industry entrepreneurs through poignant case studies and enlightening biographies. With photographs of rarely-seen interiors and much-need information on the history of these unique facades, Davis shines a spotlight on over a century of change in one American city. Flickering Treasures is open through October 14, 2019. For a sneak peek of the show, visit Davis's Flickering Treasures on Facebook.
Placeholder Alt Text

AIA Baltimore presents inaugural Social Equity award

Last week, AIA Baltimore presented the inaugural Social Equity Design Award to Cho Benn Holback + Associates (CBH), a Quinn Evans Architects company (QEA), in recognition of their design for the Dorothy I. Height Elementary School in West Baltimore. The architects renovated an existing building and designed an addition to accommodate the merging of two area elementary schools and create a new actor for the community. The new award was created in collaboration with the Neighborhood Design Center (NDC), a nonprofit group that traces its origin back to a speech given by civil rights leader Whitney M. Young Jr. at the 1968 AIA National Convention. Young’s fiery wake-up call, which challenged architects to embrace diversity and social responsibility to improve American cities, was heeded by a group of Baltimore designers who formed the NDC to help neighborhoods rebuild after the riots. Today, the organization facilitates collaborations between area residents, architects, government officials, and other stakeholders to improve neighborhoods through community-led design and planning. Cho Benn Holback + Associates' winning project was selected based on its alignment with NDC’s belief that good design can create healthier and more just communities, and that everyone deserves good design. Initiated as part of the $1 billion 21st Century Schools Building Project, Height Elementary is a truly collaborative effort between architect, client, and community. The architects immediately engaged with the students, faculty, and nearby residents, learning about their needs, values, and aspirations through meetings, workshops, and good old-fashioned door-knocking. They maintained this dialogue throughout the design and development process, and the feedback they received had an immediate and profound effect on the building’s design. An existing auditorium, for example, would likely have been demolished had the school not expressed their appreciation for the arts and their need for large gathering spaces. The desire for spaces shared by the school and the surrounding community was another common sentiment among those surveyed. In response, the architects created a “town square” in front of the school and a public park in back; inside, in addition to flexible classrooms that promote different types of teaching, they designed spaces for social outreach programs. The jury, comprising architect Leon Bridges, FAIA, NDC Executive Director Jennifer Goold, and Jessica Solomon, senior program officer of the Robert W. Deutsch Foundation, highlighted the building’s engagement with the greater community as one of the primary reasons for awarding the prize. The Social Equity Design Award recognizes the current sea-change happening in architecture. More and more, professionals are beginning to question how and why projects are recognized and celebrated. Every prize stirs up debate about the purpose of the professional the values and behaviors we want to uphold as paragons of the profession. What is the purpose of architecture? What’s at stake? Who does it serve? In the case of the Dorothy I. Height Elementary School, that answer is clear: it serves the community of West Baltimore.
Placeholder Alt Text

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.

Placeholder Alt Text

Baltimore's Port Covington to be the Silicon Valley of athletics wear

South Baltimore’s underdeveloped waterfront neighborhood, Port Covington, will officially become a sprawling new development with 3 million square feet of space surrounding Under Armour’s global headquarters. According to The Baltimore Sun, over the next three years the long-time owner of the site, Weller Development, will build out one-third of the planned apartments, offices, and retail space for the 260-acre peninsula. The development is the 25-year-old vision of Under Armour’s founder and CEO Kevin Plank, who also owns Sagamore Development, which is backing the project. Part of the $5.5-billion plan will include a 50-acre expansion to the brand’s current campus, which sits along the Patapsco River adjacent to the Sagamore Spirit Distillery, the Rye Street Tavern, and The Sun’s facilities. The entire neighborhood will take over two decades to construct and is meant to also exist as a hub for tech innovation and start-up businesses, according to Curbed. Over 10,000 Under Armour employees will commute there once complete and Plank hopes to also attract the creative and engineering communities to live, work, and play. Phase 1 construction includes outfitting the neighborhood with 12 new buildings featuring office space, room for retail, and 1.34 million square feet of residential. A 156,000-square-foot hotel will also rise on the site. Forty acres of new parks and 2.5 miles of restored waterfront will buffer the community, and a new light-rail station will link it to the surrounding enclaves. The City of Baltimore will help develop the needed infrastructure within the neighborhood through a $600-million-dollar Tax Increment Financing deal approved in 2016. This “city within a city” is expected to break ground next year with the three-story market hall proposed for the complex. So far, there’s been no announcement as to which architectural firms have joined the project, though Sagamore Development has released initial designs.
Placeholder Alt Text

AIA Baltimore to recognize projects that advance social equity

The American Institute of Architects (AIA) Baltimore recently added a new category to its Excellence in Design Awards Program: the Social Equity Design Award, which will be given out in collaboration with the Neighborhood Design Center (NDC), an organization that promotes community-engaged design. The award was created in honor of the 50th anniversary of the non-profit’s establishment and the civil rights leader Whitney M. Young’s landmark speech at the 100th Convention of the AIA. In his historic 1968 keynote address, Young urged architects across the country to address social issues and diversity in the profession. Later that year the NDC was founded by a group of Baltimore architects mobilized by Young’s speech to rebuild their communities following the riots following Dr. Martin Luther King Jr.’s assassination. The Social Equity Design Award is meant to recognize projects that “promote social equity and align with NDC’s values,” according to a statement by AIA Baltimore. The statement goes on to say that, "Healthy places are built with consideration of social justice, environmental sustainability, and the true character of a place and the people who live, work, worship, and do business there.” "Architecture is about people, and the Social Equity Design Award celebrates that architecture can and should improve quality of life for everyone," said Laura Wheaton, AIA, program manager at the Neighborhood Design Center and member of the AIA Baltimore board of directors. This award coincides with the exhibition A Call to Act(ivism): Echoing Whitney Young, 50 Years Later, which is being put on by AIA New York to commemorate Young's speech and its implications for architects today. It is currently on view through September 15 at the Center for Architecture. The judging panel will consist of local architects and community leaders. The awards will be given out at the 2018 AIA Baltimore Excellence in Design Awards Celebration, which will be held at Center Stage on October 19. The deadline for submission is September 4. Click here for details.
Placeholder Alt Text

Baltimore Museum of Art taps Paula Hayes as first landscape artist-in-residence

The Baltimore Museum of Art (BMA) has selected landscape designer and artist Paula Hayes to serve as its first landscape artist in residence. With two sculpture gardens and lawns in addition to its main buildings, BMA sprawls over seven-and-a-half acres adjacent to Johns Hopkins University. Hayes, who's best known for her soothing (and sometimes wacky) sculptures, landscapes, and garden objects, will be in charge of curating the museum's overall physical environment for two years. “Throughout my career I have worked with a mix of public and private spaces, but working with an institution like the BMA is a new endeavor for me,” said Hayes, in a press release. “I am honored to have the chance to help shape the natural environment of such a prized community landmark and I look forward to collaborating on the vision for its renewed ecosystem.” The New York City–based artist designed a botanical sculpture for MoMA's lobby in 2010 that took cues from leopard slug sex, as well as a Canoes, a permanent work in the Seagram Building that was installed in 2016. She's also completed landscapes for clients like David Zwirner, Hauser & Wirth, and W Hotel South Beach. At BMA, she will curate an 87,000-square-foot sculpture garden by Sasaki, as well as a 17,000-square-foot garden by George E. Patton that contains early modern sculpture by Alexander Calder, Henry Moore, Isamu Noguchi, and others.