Posts tagged with "Fountains":
The City of Baltimore is hosting a citywide design competition to seek proposals for the redevelopment of McKeldin Plaza in downtown Baltimore. The call follows plans to demolish the existing McKeldin Fountain later this year and the Department of Planning will supervise the open competition.
This follows years of talk about redesigning the plaza, which is currently dominated by the 1982 Brutalist concrete McKeldin Fountain. The fountain stands adjacent to the Inner Harbor area and memorializes former Baltimore mayor Theodore McKeldin, who was instrumental in revitalizing the harbor area in the 1960s.
The Waterfront Partnership recently released plans for “Inner Harbor 2.0,” which will improve the area with new green spaces and pedestrian connections using Brooklyn Bridge Park and Waterfront Seattle as precedents.
McKeldin Plaza is an important fixture of Downtown Baltimore, and a designated free speech zone that was the focal point for the city’s Occupy and Black Lives Matter protests. In addition, the fountain is a historically significant holdout from the Brutalist movement, and its design attracts tourists and office workers from the surrounding area.
The Downtown Partnership of Baltimore supports redevelopment of the plaza into an open space, while many local artists, designers, and architects support its preservation as a public art piece.
The fountain itself has fallen into disrepair, and according to the Downtown Partnership its mechanics are prone to expensive breakdowns that leave it non-functional for months at a time. However, maintenance and enhancements could also go a long way toward revitalizing the plaza while preserving the fountain.
Up until recently the Brutalist design of the fountain matched the nearby Morris A. Mechanic Theatre, which was demolished in 2015. The theater was designed by John M. Johansen and opened in 1967, remaining in use until 2004. After its owners chose not to renew the lease on the building in favor of the newly reopened Hippodrome Theatre, the building fell into disrepair. A new high-rise residential and commercial space is now under construction on the site. Since the demolition of the Mechanic, McKeldin fountain is the only example of Brutalist architecture in Baltimore.
The fountain has its share of defenders, including Baltimore’s City Council president, who introduced a bill to block the demolition last year.
A Change.org petition calls for the postponement of demolition until a new design is approved. Others—including the fountain’s designer—are against the demolition entirely and want to preserve the site.
The Downtown Partnership plans to move forward with the demolition in Summer 2016 pending approval of permits. The fountain and the skywalk across Light Street were recently closed to pedestrians.
The architecture firms Ayers Saint Gross, Mahan Rykiel, and Ziger/Snead will oversee the project and finalize designs. Details about the public competition are still taking shape.
Water, water, everywhere, Nor any drop to drink. —Samuel Taylor Coleridge, The Rime of the Ancient MarinerThough New York has the some of the cleanest municipal tap water, New Yorkers now consume 1.25 billion bottles of water annually. A contributing factor to the rise in bottled water consumption is the decline in the number of public drinking fountains. New York–based Pilot Projects would like to revive the grand tradition of public bubblers through a novel design/build competition. Pilot Project's 100 Fountains competition, launched September of this year, will tap artists and designers to build 100 fountains citywide in 2016. Each participant receives $5,000 to develop his or her team's design. According to the project proposal, the competition area will be divided into 30–40 zones, with two or three fountains per zone. The public judging period starts June 2016 and runs through September 2016. The original fountains will be auctioned off for charity, and ten designs from the pool will be chosen and duplicated for permanent installation at to-be-determined locations citywide. https://www.youtube.com/watch?v=ZFq8z96zbQQ In 2012, Pilot Projects hosted a campaign to raise awareness around the lack of drinking fountains. In the video above, passerbys in Union Square traipse over a red carpet to a (pre-existing, functioning) fountain operated by white-gloved servers. Per a 2007 zoning text amendment, the Department of City Planning (DCP) requires a fountain in every newly-built Privately Owned Public Space (POPS). The report suggests that, in lieu of vending machines offering sweetened beverages and bottled water, designers should incorporate public drinking fountains into the POPS. To justify their economic reason-for-being, 100 Fountains points to large-scale public art installations that overtook city streets in the late 1990s and 2000s: Christo and Jeanne-Claude's The Gates, Olafur Eliasson's New York City Waterfalls, and CowParade. The economic impacts of these project were estimated in the tens to hundreds of millions of dollars. 100 Fountains also takes direct inspiration from the Minneapolis Arts Commission. The commission highlighted Minneapolis' connection to surrounding rivers and lakes by installing ten custom fountains to celebrate the city's 150th anniversary. Pilot Projects will partner with the NYC Department of Cultural Affairs, the Department of Education, Office of the Arts and Special Projects, as well as Yale University’s Environmental Protection Clinic and Parsons The New School For Design to carry out the project. Expect to see fountains on the streets beginning June of next year.
Roche’s declared design intention was to create an open urban plaza that defers to and displays the monumental Beaux-Arts façade of the museum. He wanted to distinguish the urban face …on Fifth Avenue from the park portions of the other three sides... (The Chapter) is hopeful that any modifications to the present plaza, to the extent that they are necessary, conform to the underlying principles of the Kevin Roche design-preserving an open urban plaza with unimpeded access to (his ingeniously three –sided) entrance stairway and unobstructed visibility of the stairs, adjacent facades and ground level entrances.And with the results now plain, how right they were. With the exception of a masterwork of exterior nighttime illumination by Hervé Descottes and his L’Observatoire International that subtly responds to the architecture’s classical hierarchies and the replenishment of the subsoil, it is only now that the relative dignity of this earlier renovation is fully evident. Restoration of the restoration was a worthy option after all. Apologies are due them. Despite some working drawings from McKim, Mead, & White in which the option of flower and shrub beds appeared alongside the façade elevation, their final intent was clear with the dignified built encounter of limestone and pavers accentuated further by the pedestrian-scaled Roman grills that inform urban places of majesty and safe-keeping. OLIN’s decision to place such beds there seems a pallid suburbanization vying to extend the park setting instead of contrasting it. Imagine flowers alongside the Pantheon or its Renaissance-descended Palazzo Farnese? Meanwhile, the new fountains, while retaining a classical symmetry, end up compromising the pomp and circumstance of the Roche-thrusting and much expanded grand stairs with a tight perplexing proximity. The visitor today cannot help but wonder if it is some disguised stab at crowd control. And while their new placement was meant in part to make more legible the secondary street-grade entrance at 81st Street, the trade-off is untested and dubious; who can resist mounting those stairs? This is a classical threshold at its iconic best. The waterworks vary in height and rhythm in a mannered echo of WET Design’s signature creations yet at low height the sprouts seem more than a tinkle. The previous fountains recalled the classical rigor that informed so much of high Modernism. This was never meant as a playful place. Instead it was always meant for unencumbered dignity; all who enter should arrive as big shots knowing that they each held a key to this great repository of beauty and truth. Likewise the addition of dozens of trees even as now young and leafless obscures the architecture. What about in 20 years? It is hard to object to more trees in this warned up day and age but here is one place where the sum is less than the design parts. Finally and through no fault of either client or landscape architect there is a the all too frequent New York curse of visual pollution as arises in public places, where governing statures collide and, in turn, destroy the clarity of the guiding design blueprint. Here at the Met plaza, it is the curbside licensed food vendors. Ironically the spot-on instinct on the Museum’s part to include in its initial plan outdoor kiosks for such inevitable trade was denied by the oversight Landmarks and Public Design Commissions in convenient disregard for the ultimate reality of the streets. With the present redesign, Mr. Koch might well wish that for now at least his name not be its site label after all. He seems shortchanged as much as those he generously aims to benefit.