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.
Posts tagged with "Center for Architecture":
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.
Joseph Aliotta, a principal at Swanke Hayden Connell, took over the chapter presidency of the AIANY last month, ushering in the Center for Architecture’s 2012 theme: “Future Now.” Aliotta plans a two-prong approach that will focus on the future of the profession and of the future of the built environment. A first generation New Yorker, Aliotta said his blue-collar Brooklyn roots partly informed his efforts to bring fresh faces to the profession. A City College education yielded his family’s second college degree (an older cousin got the first), inspiring him to volunteer at the ACE Mentor Program, which lends a hand to high school students aspiring to be architects and engineers. “They may not look like me, but they are just like me,” he said of today’s first generation New Yorkers. Aliotta doesn’t plan on reinventing the wheel to bring newcomers to the Center. Instead, he plans to capitalize on existing career development programs, like Emerging New York Architects (ENYA) and New Practices New York competition. Rather than dreaming up new exhibition themes, the ENYA and New Practices competitions will act as flagships to the year’s programming. The thinking is that over the summer months when students are out of school, they’ll populate the Center and drive the programming effort. A one-day conference where students and young professionals set the agenda is planned for September. Regarding the built environment, Aliotta has requested that all 27 committees at AIANY focus on future needs to answer the question, “Where are we going to grow?” He added that even committees that may seem to go against the grain of a future-focused theme, like the Historic Buildings committee, fit quite nicely into the program when it comes to greening and maintaining older buildings. Even though the new president isn't not planning marquee moments, changes are already taking place. “It’s not about how many events we have, it’s about a change of culture,” he said. He noted that with the year’s theme announced, several of the existing committees have reached out to the ENYA members to coordinate with them, creating a casual interaction between established and new members. “That collaboration and that energy results in a mentorship that’s natural and not forced," said Aliotta.
It was the opening shot heard 'round the Village--and the East Village, and SoHo. An overflow crowd gathered at the Center for Architecture last night to rally the troops opposing NYU's twenty year expansion plan. It certainly wasn't the usual black-clad crowd found at the Center. No, these were some good old fashioned Village rabble rousers. The event was organized by the Andrew Berman of the Greenwich Village Society for Historic Preservation, who assured the crowd that the NYU Core plan is "not a done deal." On Tuesday, the university certified proposals with City Planning, thus kicking off the ULURP process for what is likely to become one of the most contentious development debates of 2012. The proposal is, after all, in the heart of Jane Jacobs country. Just across the street from the Center are the remains of Robert Moses' failed attempt to build the Lower Manhattan Expressway through SoHo after Jacobs and Co. put a halt to the plan. Parcels of land assembled by the Department of Transportation to accommodate the failed highway are now parkland commonly known as the DOT strips. A substantial portion of the 1.3 million square feet NYU wants to build in the area would be placed beneath the strips. The university has proposed designating the strips as parkland after the construction is complete, with the new green space designed by Michael Van Valkenburgh Associates. No matter the promises, this was not a crowd that trusts the university. The term "Midtown Zoning" got thrown about with on-message regularity. As did square footage metaphors, such as "bigger than the Waldorf-Astoria," "the size of the Empire State Building," and "three Jacob Javits Convention Centers." Council Member Margaret Chin was on hand to listen, but not to state her pro or con position--despite pressure from the crowd. This month's Community Board 2 subcommittee meetings will no doubt be unusually crowded as they're all dealing with the proposal. If you want to see some New York zoning theater in action, here's a selected breakdown: Land Use: Mon., 1/9 6PM at The Center for Architecture, 536 LaGuardia Pl. Traffic and Transportation: Tues., 1/10 @ 6:30 NYU Silver Building, 32 Waverly Pl. room 520 Parks: Thurs., 1/12 @ 6:30PM at NYU Silver Bldg. 32 Waverly Pl. room 520 Full Board: Thurs., 1/19 @ 6:00PM 116 West 11th Street, Auditorium
Amidst the event saturated month of Archtober and the holiday hubbub that followed, the Center for Architecture's fall show, Buildings = Energy, got a bit lost in the shuffle. But there's still time to check it out through January 12. Earlier this month Margaret O. Castillo took AN on a tour of the exhibit, the last under her tenure as AIANY chapter president. The show drives home several green points that Castillo has been hammering at all year, primarily the fact that buildings consume energy--a lot of it. Eighty percent of greenhouse gas emissions come from buildings, and in New York City alone they use 94 percent of the power. The exhibit takes a holistic approach focusing on the amount of energy needed to extract and make materials, to the energy used to build, and the energy consumed by the completed structure. The story begins in the front window with calculations of how much oil it takes to produce a typical building material. Suspended from the ceiling are aluminum, cinder blocks, lumber, bricks, and sheetrock. Each material has a barrel ring floating around it with figures printed on them, such as: "1 gallon of oil = 3.33 CU. FT. of hardwood." The calculation includes the energy to fell the tree, transport it, and cut it to size. The Mayor's Office of Long Term Planning and Sustainability, ARUP, and Dattner Architects lent their expertise to arrive at the various figures found throughout the exhibit, lending the heft of real world numbers to the theoretical aspects of the show. The main theoretical voice comes from Perkins+Will in a section of the exhibit called One Building = Many Choices. Through a series of renderings the firm explores key factors from building concept to completion that include: Site Choices, Program Choices, Passive Systems Choices, Active Systems Choices, Materials Choices, Construction Choices, Operational Choices. Each section is deserving of in depth analysis, but the Passive System attracted our attention because of the design of the building's envelope, about which the team from Perkins+Will had the luxury of dreaming big without a client screaming "How much?!" Thus an elaborate customized photovoltaic facade zigzags down the face of the building. It may cost upfront, but the returns are obvious. “I’m imagining the day when buildings will produce energy, not use energy,” said Castillo. Anthony Fieldman, design principal at P+W, noted that the curtain wall is "the only membrane between you and an uncontrolled environment. So if you use it intelligently you can temper nature's forces before they become problems you have to deal with in the interior." Fieldman added that the geometry of the facade was designed to maximize light, minimize solar heat gain, and maximize energy though the PVs. The photovoltaic facade drew questions of customized photovoltaics vs. mass produced ones. To which Castillo argues that architects should be pushing for the industry to create more choice. "We should be pushing for better looking photovoltaics, instead of just the flat black photovoltaics on the roof," she said. Elsewhere in the exhibit, plenty of real world projects illustrate the show's values. An air circulation animation produced by Buro Happold Consulting Engineers of Pelli Clark Pelli's Transbay Center in San Francisco demonstrates both passive and active systems working together for temperature control and air flow (see below). A model of City College's entry for the Solar Decathlon, the so-called Rooftop Pod, is also on display. And there are several examples of adaptive reuse, including a project that Castillo worked on with Helpern Architects for Columbia's Knox Hall. To avoid rooftop disruption, the school drilled 1,800 feet into the ground for geothermal heating and cooling. It all adds up to a message that Castillo delivers with nearly evangelical fervor: "If we can reduce the energy use in buildings you wouldn’t have to build new power plants, we wouldn't need transmission lines that are loosing electricity. It we got rid of fossil fuels, we wouldn’t be shipping it around the world, we wouldn’t be polluting the gulf with oil spills. So much could be solved at building level if we really concentrated."
The Center for Architecture is known for programming variety, but last Thursday night's premier of Architect: a chamber opera was a first. Granted, the film premier benefiting the CFA Foundation wasn’t live opera, but it was the first time the public got to hear the piece by Lewis Spratlan. The Pulitzer Prize winning composer's music was paired with electroacoustical music by John Downey and Jenny Kallick, whose process involved "sound sampling" spaces designed by Kahn, such as the Salk Institute in La Jolla, California. Spratlan's music was then electronically "placed" within the various spaces. For all the electronic bells and whistles, the piece is fairly traditional, albeit inflected with modernist leanings. Classic operatic devices could be found throughout, particularly in the character of a trickster god called Momus, a minor deity thrown off Olympus. The trickster morphs into the Guide, the Engineer, and the Healer, all of who conspire to get the architect away from the Woman, in order to create buildings that flatter the gods. Given Kahn's unconventional personal life--various children from various lovers and a tragic demise at New York's Penn Station--playing off the personal drama would seem an obvious choice. Instead, the team obliquely focused on the architect's struggle to realize his vision, opting for a universal theme that transcended the medium and artist. The film intersperses relatively few images of Kahn’s buildings with watercolors by artist Michiko Theurer. and photographs of Rome’s crumbling ruins, partly inspired by Edgar Alan Poe's poem, "The Coliseum". Even images of Gaudi's "La Sagrada Familia" find their way into the cross fades. The creators traveled to Eternal City, to several Kahn buildings, and worked together at Yale where the architect’s Art Gallery and Center for British Art loomed over the process. For opera designer John Conklin the work evoked Debussy’s Pelléas et Mélisande. Kallick's libretto eschewed archi-speak in favor of conversations between Kahn and his collaborators, such as this statement to the Engineer: "Dear August [Komendant] why does everyon pull me down?" "You are a dreamer not a fighter," replies the engineer. This kicks off an ode to concrete duet, that's clearly the opera's show-stopper: "Mix and cure it with the right vibration," goes the oft repeated refrain. And finally, the words every engineer wants to hear from an architect: "Your genius has made my buildings your buildings." Part of what makes Architect intriguing is the colaborators cross polinization into other fields. Spratlan wanted to be an architect before becoming a composer, Theurer is trained as a violinist, and Downey is studying radiology at Stanford. Later during the panel discussion, Kahn’s daughter Sue-Ann Kahn, said that the piece was an allegory for any artist’s struggle. “Either the gods are helping them or crushing them,” she said. Having Conklin on hand turned the post-screening panel into a virtual workshop. Conklin, having seen the video before, simply listened to the piece apart from the imagery. He said that while the ethereal images worked well on video, live opera was another matter. He thought much of the abstraction could be retained, but he envisioned scenes between the Architect and the Woman played in a banal kitchen. He also suggested bringing the small orchestra, there are only seven players, onto to stage to become part of the action. The video will be released with the CD in Spring 2012 and the creators hope to perform the production live at a Kahn-designed site. The idea intrigued AN's editors, who suggested Dacca, the more cost and acoustically effective auditorium at the Yale Center for British Art, or at the new Four Freedoms Park performed by the homeless City Opera. As Sue-Ann Kahn pointed out during the panel discussion, the delayed memorial exemplifies the artist's struggle to see their work realized.
It’s hard to imagine that the cool and suave young architect who launched Minimalism on Park Avenue with the Jil Sander Store in 1983 is the same man who brought us the modern apotheosis of Art Deco at Top of the Rock. Is it a space? Is it a ride? It certainly has a chandelier! Michael Gabellini, FAIA, a principal of Gabellini Sheppard Associates, a RISD grad, and a Kohn Pedersen Fox alum, waxed poetic at the Archtober preview: "Top of the Rock epitomizes Archtober’s mission of raising awareness of architecture and design. By restoring public access, the project celebrates and embraces the ongoing life and vitality of Rockefeller Center." As I’ve been saying for months, almost 50 million people don’t come to New York every year to enjoy purple mountains' majesty. They come for a different view…and from the Top of the Rock, 70 stories above Rockefeller Plaza, they get it. Jaded New Yorkers may stay away from this tourist destination, but they shouldn’t. Gabellini has created an extravaganza of sparkle that will cheer one and all on even the gloomiest day. Each “Building of the Day” has received a Design Award from the AIA New York Chapter. For the rest of the month—Archtober—we will write here a personal account about the architectural ideas, the urban contexts, programs, clients, technical innovations, and architects that make these buildings noteworthy. Daily posts will track highlights of New York’s new architecture. Read more at www.archtober.org/blog.
At the intersection of trade and art, practice and expression, between Bleecker and West Third Streets, in the middle of a unique three-block stretch, aptly named a “Place,” fronting grand superblocks of New York University, with its descending jutting voids the opposite of Breuer’s overhead solids at the Whitney, lies the Center for Architecture. The Center is home to the New York Chapter of the American Institute of Architects (AIANY) and the Center for Architecture Foundation. The 12,000 square feet of galleries-as-meeting-spaces (and meeting-spaces-as-galleries) burrow two stories underground from the sidewalk level. A cut-away section lets the speakers at the podium the lowest-level Tafel Hall, the centerpiece of the ensemble, look up from their notes and see passers-by looking back. The life of the city, connected, to the discourse on architecture. Each “Building of the Day” has received a Design Award from the AIA New York Chapter. For the next 30 days—Archtober—we will write here about the architectural ideas, the urban contexts, programs, clients, technical innovations, and architects that make these buildings noteworthy. This is a personal account. Daily posts will track highlights of New York’s new architecture. Read more at www.archtober.org/blog.
In New York City, buildings account for almost 80 percent of greenhouse gas emissions and 95 percent of electricity use. It was these facts like these that prompted the Center for Architecture to further investigate the urban energy crisis and display the findings--and potential solutions--in an exhibit entitled Buildings=Energy. The exhibit, which opens on the evening of October 1st, explores how important choices made by designers, planners, architects, and building occupants can positively affect energy consumption in our cities. One such example featured in the exhibition is a model building designed by the firm Perkins+Will, whose proposal demonstrates the significance of site planning, materials, programs and their affects on energy costs. For instance, as firm principal Anthony Fieldman explains, tilting the exterior glass by only 10 degrees towards the street prevents a substantial amount of solar heat gains, saving the building on cooling costs throughout the summer months. Other highlights of the exhibit can be viewed from the sidewalk. The attention of passersby on LaGuardia Place will be caught by a display of nine building materials suspended in the Center's window, each representing the embodied energy of one gallon of oil--just a preview of the striking visuals on view inside. The Center for Architecture's kick off-event is presented as part of Archtober, the inaugural month-long festival of architecture activities, programs, and exhibitions in New York City.
With all the NYU real estate hubbub going on around LaGuardia Place in Greenwich Village, it’s refreshing to hear of a quiet transaction between two locals. This week, the AIANY signed the lease for 532 LaGuardia, an empty retail space owned by local lumber magnate Guy Apicella just one door south of the AIANY's current home, the Center for Architecture at 536 LaGuardia. AIYNY will take occupancy as of August 1, and plans are already afoot to nail down design concepts. “We’ll benefit from the best design advice in the city,” said AIANY executive director Rick Bell. Rogers Marvel has been hired as the architect and Mary Burke will head up AIANY's Premises Committee. The floor plate of the new building is about 1,200 square feet with about another 800 square feet available in the basement. All three levels at the Center’s current space net about 12,000 square feet, so the extra 2,000 will add about 10 percent more space, helping ease the strain of hosting more than a thousand programs each year. Also included in the deal is small garden space out back, on which the director hopes the Horticulture Society of New York will leave their green thumbprint. Bell jokingly compared the growing horizontal street presence to that of Uptown's Zabar's or Downtown’s J&R Music, both of which expanded storefront by storefront, eventually claiming an entire block. Perhaps NYU's gallery space at 528 LaGuardia will be next? An architects' row perhaps? But for all the extra sidewalk frontage, Bell said that the organization has no intention of bringing in any retail. “If Olympia (Kazi) were to get out of the business, maybe we’d reopen the discussion, but we don’t have plans for any,” he said, reiterating AIANY's steadfast support of VanAlen’s recently opened architecture bookstore. This is not to say that the Center will eschew commercial endeavors altogether, quite the opposite, actually. Bell said the “robust conference center” would be very attractive for corporate rentals—to say nothing of weddings and bar/bat mitzvahs.
Glimpses of New York and Amsterdam in 2040 at the Center for Architecture (through September 10) is a clarion call for designers to redefine sustainability in architecture. Though it didn’t start with this intention, the visions of 10 young architecture firms imagining future landscapes of New York and Amsterdam raise questions about what changes are imminent for urban development and what part architects can play. The projects suggest both practical and fantastical interventions to improve the prospect of urban growth in the face of ecological, geographic, and demographic shifts. The program comes hot on the heels of the announcements of Vision 2020: New York City Comprehensive Waterfront Plan and the similar strategy-based Structural Vision: Amsterdam 2040. Curators Luc Vrolijks, Rosamond Fletcher, and Marlies Buurman’s collective ambition has been to use design and debate to link the two cities in the context of these new directives. This month, the Center for Architecture hosted a series of talks and presentations of the work by the architects and the exhibit is also at the ARCAM site in Amsterdam until August 13, which will raise new questions about potential futures. The projects responded to one of five headings: Breathing, Eating, Making, Moving, Dwelling. Breathing: Both Delva with Dingeman Deijs and W Architecture and Landscape Architecture take water as their starting point. While Delva takes the IJ estuary as a generator for energy, W Architecture’s Hudson archepelagos, made using dredge from the port, provide habitats as well as landing banks. Eating: Here, WORKac focuses on the ‘food desert’ in the Bed-Stuy and Bushwick neighborhoods of Brooklyn and maps the potentially resourceful ways of re-appropriating the streets to harvest food, from future transportation (gondola-type links) to a hybrid fish farm and greenhouse-grown plants (Aquaponics). Van Bergen Kolpa Architects imagines a Landscape Supermarket, where varieties of food can be grown and sourced in park-like environments run by city dwellers. Making: In The Refinery, Solid Objectives-Idenburg Liu (SO-IL) imagined a floating market place where robotic arms compartmentalise waste materials to mend a broken landscape. Barcode Architects on the other hand has developed a contained mega science park from which to export knowledge - “the most valuable commodity of The Netherlands in 2040” said Caro van der Venne of Barcode. Moving: Dlandstudio responds to the future need for water transportation and how this can be an opportunity to also positively affect public wellbeing as well as environmental health. Fabric’s interpretation considers a new urban fabric based on mixing uses to produce “a more complete urban program, so that our daily needs are always near.” Dwelling: The Newark Visionary Museum by Interboro Partners and Space & Matter’s We is the New I both approached the idea of sustainability as social concerns. Interboro’s projection showed a colourful scene of failed plans and possible future solutions to Broad Street’s transportation, entertainment, sports and communication demands. Similarly practical was Space & Matter’s solution to increasing diversity and social cohesion by harnessing and building around common interests.