The English architectural editor, author, and founder of the London Festival of Architecture, Peter Murray, is also a devoted urban bicycle activist. Murray always arrives at events in London with a bicycle helmut under his arm because it's the only way he moves around the city. He believe's that "cyclised cities are civilised cities" and has organized group rides around Britain and Europe to publicize the need for cities to become more bicycle friendly. To demonstrate that commitment and to promote cycling, Murray and a group of peers are taking a 4,347 mile ride. But starting on April 27th, Murray will lead a group of 15 architects, designers, and urbanists (including for a time Richard Rogers; Norman Foster—as his diary permits—and, in New York, Bill Pedersen) on a bicycle trip from Portland, Oregon to Portland, Maine and then to Portland Place in London—home to RIBA. They plan to link up with the architectural community en route and learn from what American cities are doing—or not doing—to accommodate cyclists. They will present their findings at the Center for Architecture in New York on July 1 and on August 2 at the London Cycling Summit. The group is encouraging people to join them for parts or their ride and their website lists where they will be on a daily basis. The Architect's Newspaper will be a media sponsor for the trip and we'll be posting regular dispatches from the group as they pedal across the country from West to East and newspaper staff will join them from Princeton, New Jersey to New York City.
Posts tagged with "Center for Architecture":
Today when designing a building, an architect is responsible for more than just the "making a building." He or she must consider the kind of transformative effect a building will have on a neighborhood while simultaneously addressing various organizational, spatial, and technical issues as well. Additionally, when opening up a new practice there is a milieu of constantly changing technological, geographic, political, and economic factors that an entrepreneur must bring into careful consideration. Join tonight’s panel of architects, creative directors, and business professionals in a discussion on the impending challenges architects face in designing buildings and in opening new forms of practice. The RE: Think / Profit – Architecture in the Age of the Entrpreneur will take place at the Center for Architecture at 6:00 p.m.
Join AN this Friday, January 11 at the Center for Architecture for the next Cocktails & Conversations discussion between AN's Editor-in-Chief William Menking and Snøhetta principal Craig Dykers. The program pairs a leading architect with a critic, journalist, or curator for an evening of conversation. Bartender Toby Cecchini will be preparing special cocktails inspired by the unique architecture of Snøhetta. We're guessing it might be called the Fjord with a shot of Blue Curacao and big, craggy mountains of ice.
Edgeless School: Design for Learning Center for Architecture 536 LaGuardia Place Through January 19, 2013 Edgeless School investigates how technology is changing education and how architecture itself is changing as a result. The exhibition takes a look at 19 newly completed schools throughout the country (eight are in New York City and the majority of the rest are in the Pacific Northwest) and sorts them by their degree of “edgelessness.” The Ethical Culture Fieldston Middle School in the Bronx, for example, softens the distinction between the built environment and nature by embracing outdoor space and using a connection with nature as an educational tool. The L.B. Landry High School in New Orleans, LA, on the other hand, blurs conventional distinctions between constituencies by encouraging students, educators, parents, and architects to work together to create a building that is designed to further the school’s pedagogical goals.
Barriers or freshwater wetlands? New building codes? What about porous pavements or floating city blocks? These were just a few of the ideas batted around at AIANY’s discussion and fundraiser, “Designing the City after Superstorm Sandy,” at the Center for Architecture last Thursday evening. The panel, moderated by Michael Kimmelman, architecture critic for The New York Times, consisted of the city’s leading designers, architects, scientists, and government officials. While each panelist came to the conversation with a different approach and set of strategies, all agreed that change is necessary and new solutions urgent. “There’s a certain consensus about taking steps in the long-run,” said Kimmelman. The participants on the panel included Cynthia Barton, Housing Recovery Plan Manager at the NYC Office of Emergency Management; Howard Slatkin, Director of Sustainability and Deputy Director of Strategic Planning for the city; Dr. Klaus Jacob, a geophysicist and Special Research Scientist at Columbia’s Lamont-Doherty Earth Observatory; Stephen Cassell, principal architect at ARO; Donna Walcavage, landscape architect and urban designer; and Robert M. Rogers, partner of Rogers Marvel Architects. The design solutions are part of a larger and more complex issue that call for us to “re-frame the ways we engage with the water,” said Cassell whose ideas helped to spearhead the Rising Currents exhibit at MoMA in 2010. And as Kimmelman pointed out in his introduction, will force us to decide, “what parts of the city are necessary to change, salvage and develop and what parts we cannot.” Cassell and Walcavage advocate for what they term “soft solutions” such as freshwater wetlands and upland parks that won’t disrupt the balance of the ecosystem as oppose to the much talked about barriers. Dr. Jacob referred to himself as a “barrier skeptic.” He hasn’t completely ruled them out, but believes that other preventive measures should be considered, including regulations and large-scale regional planning with New Jersey, Connecticut, and New York. The solutions were at once specific and lofty, and Kimmelman challenged the panelists during the Q&A session when he asked: “Who will legislate and have authority? Why will something change now?” Many of the participants argued that Hurricane Sandy is a turning point, and there’s simply too much at stake. Rogers pointed out that New York City is a “grid of real estate” and the significant investment in waterfront property will prompt developers and the city to be pro-active whether that means implementing new codes and regulations or altering the landscape by creating saltwater marshes to act as buffers against rising sea levels and storms. A few panelists suggested that an improved version of Robert Moses would lead the way or joked that perhaps a benevolent god would appear. Even though Kimmelman remained ambivalent and questioned why strong and cohesive leadership would emerge now to help facilitate change, it looks like the city is already taking action. City Council Speaker Christine Quinn has asked the Urban Green Council to launch a Building Resiliency Task Force, which will consist of leading professionals in New York City real estate. In an announcement last week, Urban Green said that the Task Force’s main objective is “to take an in-depth look at how to better prepare our buildings for future storms and infrastructure failures.” A list of recommendations will be released in summer of 2013.
We let you know about the exhibition, and now this year’s AIANY New Practices New York lecture series is kicking into gear following formlessfinder’s presentation late last month and a winner’s roundtable Monday night. The discussion was moderated by Dan Wood and Troy Therrien and included New Practices honorees Christian Wassmann, Amanda Schachter of SLO Architecture, Emily Abruzzo of ABRUZZO BODZIAK ARCHITECTS, Julian Rose of formlessfinder, and David Benjamin of The Living. The lecture series, featuring a presentation and discussion of each firm’s work, is held at the Axor/Hansgrohe showroom in the Meatpacking District and will continue through January. First up was formlessfinder, the team of Garrett Ricciardi and Julian Rose. Ricciardi earned his BFA from Cooper Union and Rose received a BA from Harvard in Art and Architectural History before both receiving Masters of Architecture from Princeton. The team has a critical approach to architecture that reflects their academic backgrounds, exploring the fundamental relationships between form and material. The name, since you’re wondering, derives from the philosopher Georges Bataille’s notion of the formless and his critique of the limiting and imposing nature of form. Formlessness describes a conception of architecture that is not limited by the historical and symbolic weight of materials; put simply, says Ricciardi, “architecture shouldn’t have to look like architecture.” The team investigates the physical limitations and possibilities of raw matter as architectural tool, using feedback from material tests to explore and inform structure. formlessfinder exploits building material with an understanding of sustainability that approaches building as inherently environmental. Rose explains, “sustainability leaves no surface safe,” and the symbolic appeal of a “green” material like bamboo is outweighed by the environmental cost of shipping it across the globe. Their short-listed PS1 pavilion proposed arches made from an inexpensive erosion-control geotextile that are filled with gravel at the bases and foam cubes curving above, an intentionally inefficient use of material, but can be almost entirely sourced close to the site. Monday’s roundtable discussion, held at the Center for Architecture, involved a short introduction from each of the firms followed by group discussion about the firms’ multidisciplinary outlooks, manipulation of technology, and metrics of success. Many of the works presented were speculative investigations of material and form, such as formlessfinder’s aforementioned material tests and ABRUZZO BODZIAK’s Peaks & Valleys shading system. Of the built works presented, most were small-scale and more research-oriented than purely architectural, such as The Living’s Living Light canopy in Seoul that displays real-time information about the city’s air quality. SLO researched environmental and social impacts of development along the Bronx River, creating a model of the watershed from reclaimed material that includes historical ecology and infrastructure, then ferrying it up the river with kayaks. While the lack of larger-scale commissioned work is an effect of the commercial climate, all firms have high ambitions; in defining success, Christian Wassman said, "I don't want to be a big architect, I want to be an influential one." AIANY will continue New Practices New York programs with several guided exhibition tours in July and August, while the lecture series will return September 27 with SLO Architecture and run through January. Below is the complete lecture schedule. We’ll see you there! Presentation and Conversation with SLO Architecture Thursday September 27th, 2012, 6-8 PM, Axor NYC Presentation and Conversation with HOLLER architecture Tuesday October 16th, 2012, 6-8 PM, Axor NYC Presentation and Conversation with ABRUZZO BODZIAK ARCHITECTS Thursday November 15th, 2012, 6-8 PM, Axor NYC Presentation and Conversation with Christian Wassmann Thursday December 13th, 2012, 6-8 PM, Axor NYC Presentation and Conversation with The Living January TBA, 2013, 6-8 PM, Axor NYC
On June 14, 2012, the AIA New York will showcase six of the seven winning firms from the 4th biennial New Practices New York 2012 competition, promoting new and promising firms in New York, at a party at the Center for Architecture. This year, the winning firms contended with over fifty entries to earn the designation. The New Practices New York contest was limited to firms founded after 2006 and located within New York City’s five boroughs, but despite the restrictions, the competition was open to multidisciplinary firms, widening the variety of the work being submitted. To the design enthusiast’s delight, the exhibition will showcase work varying from architectural models to projections and installations. Along with the exhibition, a symposium will be arranged to further enlighten its visitors. An opening party for the exhibition will take place Thursday, June 14th from 6:00 to 9:00 p.m. at the Center for Architecture. A panel discussion will follow shortly after on July 16th at 6:00 p.m. with presentations from the winning firms: ABRUZZO BODZIAK ARCHITECTS, HOLLER architecture, The Living, SLO Architecture, formlessfinder and Christian Wassmann. All free and open to the public, the exhibition and scheduled symposiums will last till September 8th, 2012.
Newly Drawn: Emerging Finnish Architects The Center for Architecture 536 LaGuardia Place Through April 30 A shift is occurring in Finnish architecture as a new generation of firms is emboldened by a unique competition culture that allows anonymous submissions from young and established architects alike. Helsinki is undergoing a major process of renewal with the transformation of former industrial and harbor areas to new uses; as such, large-scale commissions are available to otherwise inexperienced practices with new approaches to the city, such as Kilden Performing Arts Center by ALA Architects (above) and Kuokkala Church by Lassila Hirvilammi (below). As the 2012 World Design Capital, the city of Helsinki will stage events and initiatives that seek to examine the ways design can improve our lives. The AIA New York presents a collection of work by young Finnish designers in collaboration with the Architectural League of New York, the Finnish Cultural Institute in New York, the Consulate General of Finland in New York, and the Museum of Finnish Architecture.
Thursday night at the Center for Architecture, AN's executive editor and editor of the forthcoming Civic Action publication Julie V. Iovine will moderate a panel on Civic Action: A Vision for Long Island City, a site-study and exhibition featuring innovative design proposals for the Long Island City neighborhood of Queens. The panel will include Lyn Rice, Elliott Maltby, and Claire Weisz speaking about involving the arts in civic planning. See you there!
It appears that AIA/LA is serious about opening a new architecture center, a storefront, multi-use space similar to that of the Center for Architecture in New York (above). According to a now expired post on Idealist.org, they’re looking for (and rumored to have already hired) a new fulltime “Campaign Director” for an $8 to 15 million capital campaign to “support the acquisition and renovation of an existing building for the new Center for Architecture and Urban Design Los Angeles,” and “create an endowment to maintain this new property.” According to the post the center will be “a highly collaborative organization that builds strong relationships with other organizations to carry out its mission.” The center is rumored to contain not just AIA offices and exhibition and event spaces, but perhaps spaces for the A+D Architecture and Design Museum and the Urban Land Institute's Los Angeles chapter.
City of Mirages: Baghdad, 1952–1982 Through May 5 Change: Baghdad, 2000–Present Through June 23 Center for Architecture 536 LaGuardia Place Two complimentary exhibits at the Center for Architecture capture an aspirational past and equally ambitious present in the Middle East. City of Mirages: Baghdad, 1952–1982 shows a flourishing cosmopolitan city that—whatever the regime—commissioned an impressive array of international design talent for much of the last century resulting in an architecture combing modernist ideas with interpretations of the local climate and culture. Through models and drawings, including Walter Gropius and Hisham A. Munir’s campus building (top) at the University of Baghdad, rather than photographs in order to emphasize the optimistic intentions of the period, City of Miracles sheds light on a significant but rarely seen corner of global modernism. CHANGE: Architecture and Engineering in the Middle East, 2000–Present surveys 123 contemporary works from 20 countries in the wider Middle East, including Asymptote and Dewan Architects’ Yas Marina Hotel in Abu Dhabi (above), gathered through an open call for submissions. The impact of rapid growth and instant globalization is evident through supertalls, man-made islands as well as UNESCO monument sites under siege.
Last weekend at Palm Springs Modernism Week we stumbled upon a treasure for architecture fans. The Palm Springs Art Museum is renovating E. Stewart Williams' 1960 Santa Fe Federal Savings and Loan building, turning it into the future home of the Edward Harris Center for Architecture and Design. Williams' International Style bank, featuring floating slabs, floor to ceiling glazing, and ultra thin columns, will contain exhibit space, public program areas, offices, an archival study center and a museum store (located in the former bank vault). On its lower level it will contain a 2,700 square foot area for the museum's collection. The center is scheduled to open in Fall 2013, says the museum. We can't wait! Historic pictures and renderings of the future space after the jump.