Frank Gehry's design for the four-acre Dwight D. Eisenhower Memorial in Washington D.C. has sparked controversy for its departure from traditional memorial design around the National Mall from the president's family and others, prompting a third-party design competition and calls for redesign from Congress. Now the beleaguered memorial is one step closer to reality as the U.S. Commission of Fine Arts (CFA) voted 3-to-1 this month to approve an updated design with additional changes to proposed woven-metal tapestries that have generated most of the public outcry. Besides the tapestries, Gehry's design has been criticized for its scale and the presentation of the president's humble Midwestern upbringing. Situated at the base of Capitol Hill across Independence Avenue from the National Air and Space Museum, the contentious design, carrying a $142 million price tag, has undergone several revisions from its original design. The commission asked Gehry to remove two of the tapestries still remaining in the latest layout, a request Gehry was receptive to considering. Other changes reflected in the new memorial include reorienting the center of the public space to create a more-defined alleé directing views to the Capitol building and providing more emphasis to Eisenhower's wartime achievements, such as new quotes from his famous Guildhall Address. The CFA includes new Commissioner Elizabeth Meyer, Vice-Chair Elizabeth Plater-Zyberk, Alex Krieger, and Edwin Schlossberg. Meyer, the only landscape architect on the commission, held the sole vote against approval of Gehry’s updated design. According to ASLA blog, the Dirt, she was not comfortable approving the design without reviewing it as a complete landscape plan, noting that the success of the memorial is tied to how it operates as a park and that the “architecture of the trees needs more time and refinement.” AECOM is working with Gehry on the memorial's landscape. The revised design now heads to the National Capital Planning Commission for its next approval, but uncertainty remains whether Congress will withhold funding for the $142 million project and force a redesign. Based on past expenditure, legislation to terminate Gehry’s plan, revamp the commission, and select a new design would cost $17 million, according to the Congressional Budgets Office.
Posts tagged with "Elizabeth Plater-Zyberk":
Prominent planner and architect Elizabeth Plater-Zyberk has stepped down as dean of University of Miami’s (UM) architecture school after an 18-year-long tenure. Plater-Zyberk will continue to teach at UM, whose faculty she joined in 1979. During Plater-Zyberk’s term, UM’s architecture school became closely associated with traditional and Classical design and New Urbanism. The celebrated dean and her husband, planner and architect Andres Duany, are co-founders of Arquitectonica and planners of the pedestrian-friendly Seaside, a Florida panhandle town and setting of the movie Truman Show. Associate Dean Denis Hector will serve as acting dean. Under Plater-Zyberk’s guidance, UM’s fledgling architecture school achieved nationwide recognition as a unique center for classical design and community engagement. The architecture school was just over a decade old when Plater-Zyberk became dean in 1995, and since then she helped the university create “an identity that ran counter to all trends in architectural education at that time,” according to a UM statement. Before becoming dean, she guided UM’s efforts in preparing the 1992 reconstruction of South Miami-Dade County after Hurricane Andrew. She also lead the university in improving Greater Miami through its Center for Urban and Community Design and impressive projects such as a scheme for West Coconut Grove that resulted in the reconstruction of Grand Avenue as a tree-lined, pedestrian-friendly avenue. Plater-Zyberk will continue to leave her mark on the university by focusing her teaching on an up-and-coming aspect of practice: how cities and towns manage the rising seas and further consequences of climate change.
Postmodernism, the exuberant, eclectic, and ironic style born out of the death of the modernist dream in the 1960s and 70s, was the subject of the two-day-long "Reconsidering Postmodernism" conference last weekend, presented by the Institute of Classical Architecture & Art, at the CUNY Graduate Center in New York. The two marathon days of lectures, panels, and videos was filled with the original rock stars of the postmodernist world, including architects Robert A. M. Stern and Michael Graves, theorists Charles Jencks and Tom Wolfe, urbanists Andres Duany and Elizabeth Plater-Zyberk, and a small but passionate younger crowd who couldn’t help but revel in the rambunctiousness of their vaunted forebearers. The beginning of postmodernism, an active topic at the conference, was assigned multiple dates. It was either with the demolition of the Pruitt-Igoe low-income houses in 1972, which Charles Jencks defines as “the day modernism died,” with the publication of Robert Venturi’s Complexity and Contradiction in Architecture in 1966, perhaps with the opening of Morris Lapidus’ first bodacious beach resort in 1949, or it even could have been at the beginnings of modernism itself, when hairline cracks in the modernist utopian vision had already begun to form. There were even Italian precedents: in the 1950s Torre Velasca, designed by Ernesto Rogers in Milan, and the Venice Architectural Biennale of 1980. Something about the conference compelled people’s interest in the big, chronically under-discussed themes of architecture. Andres Duany championed a broader classical canon, through his 175 (and counting…) orders of classicism. A discussion of stylistic evolution was continually present, causing architectural writer Witold Rybczynski to come to the conclusion at one point that taste is more important than style. “This is something we don’t discuss, but should” was a phrase uttered by many over both days. The conference showed that postmodernism is still controversial, but also that it is extremely alive today, proving to be a resilient and long lasting force in architecture. Reasons for this were debated. Barry Bergdoll, the Phillip Johnson Chief Curator of Architecture and Design at MoMA, asked if postmodernism was an attitude or a movement, suggesting the possible eternality of the mode, and that PoMo is not only analogous with the Mannerist or Hellenistic phases of architectural history, but actually the same thing. If modernism discarded everything that came before it, and began from “level zero,” as Gropius said it did, then postmodernism is letting everything flood back in, picking up where the world left off, and making a joke of it to lighten the mood. The “joke” of postmodernism was an important conference theme and recurred frequently. Humor mitigates the promotion of dogma, which was seen as a cause of modernism’s failure, and forces postmodernism to embrace its own flaws. Jokes also accept the world for what it is. As one conference-goer said, “The world isn’t as black and white as it used to be.” Humor was fantastically present over those two days. ICAA president Paul Gunther’s opening remarks on the morning of day one called postmodernism “A case of multiple personality disorders” before becoming a bit more serious and stating, correctly, that the purpose of the next two days was to “overcome the denial of postmodernism.” If not completely embraced by all in attendance, the conference at least succeeded in doing that. At the end of day two, with everything having been said, the final panel was oddly mellow and subdued. Perhaps nobody wanted to leave the reunion, or perhaps the gauntlet was being handed to the young people in the room, like Sam Jacob of the U.K. architecture firm F.A.T., architect and writer Jimmy Stamp, or any others of the wacky new generation of postmodernists.