Posts tagged with "Harvard GSD":
Brussels-based architect Aude-Line Dulière has won the Harvard Graduate School of Design's 2018 Wheelwright Prize, the large travel and research grant for emerging architects. Dulière's winning proposal, Crafted Images: Materials Flow, Techniques, and Reuses in Set Construction Design, investigates the supply chain and construction methods in the film industry to investigate potential avenues for adaptive reuse that can be applied to the AEC industry, as well. "Aude-Line's work demonstrates a sophisticated vision of spatial quality in a variety of forms that translates into her interest in the architecture of set design," said Harvard GSD Dean Mohsen Mostafavi. "By exploring material reuse strategies at the intersection of film, construction, and architecture, Aude-Line's project offers exciting possibilities for innovative approaches to sustainability, infused with an equally important and very sensitive consideration of aesthetic beauty." Dulière, who holds an M.Arch from the GSD and works as an architect and movie production design assistant in Europe, was selected from a pool of five finalists for the fellowship. She will use the Wheelwright's $100,000 travel and research stipend to deepen the ideas set forth in Crafted Images. Here's what Dulière had to say about her process: "The movie industry has the potential to offer clues for streamlining material flows and offers opportunities for experimentation on sustainability for contemporary architectural practice," she said in a prepared statement. In addition to Mostafavi, Edward Eigen, K. Michael Hays, and the newly-appointed chair of GSD's architecture school, Mark Lee, this year's jury included Frida Escobedo, Michelle Wilkinson, and Jose Ahedo, the 2014 winner. Last year, Chilean architect Samuel Bravo won the Wheelwright Prize for his work on informal settlements across the globe. More information on Dulière's project proposal will be posted on the award's website shortly.
Architect and professor Mark Lee has been appointed as the next chair of the Architecture Department at Harvard’s Graduate School of Design (GSD), effective July 1. Lee has taught as a design critic at GSD since 2013 and brings years of real-world experience to the post, having co-founded the practice Johnston Marklee in 1998 and served as co-artistic director of the 2017 Chicago Architecture Biennial. “I am honored to be entrusted with the chairmanship of the Department of Architecture at the GSD,” said Lee in a statement. “In advancing both the discipline and the profession of architecture, the Department has been without parallel; I look forward to building upon the formidable achievements of my predecessors and this deeply-rooted tradition of excellence. We stand on the threshold of a very challenging, but exciting, future. I feel confident that architecture’s best days lie ahead.” Johnston Marklee has been recognized both domestically and abroad and realized projects of every scale and type in seven countries. The firm’s current projects include the renovation of the Museum of Contemporary Art Chicago, which opened in September 2017, the new UCLA Graduate Art Studios campus in Culver City, California, and the Menil Drawing Institute in Houston, to be completed sometime this year. Lee will succeed K. Michael Hays, who has served as the interim chair since 2016 and taught at Harvard GSD since 1988. Lee’s appointment comes shortly after a $15 million donation to the GSD by Druker Company President Ronald Druker, and follows the appointment of Jeanne Gang and Lee’s partner at Johnston Marklee, Sharon Johnston. Lee himself earned a Master’s in Architecture from the GSD in 1995. “I am delighted that Mark Lee has agreed to serve as the next Chair of the Department of Architecture,” said Mohsen Mostafavi, Dean and Alexander and Victoria Wiley Professor of Design at Harvard GSD, in a statement. “Johnston Marklee is one of the most talented practices currently working in the United States and beyond, and Mark deeply understands the contemporary world of architecture. His vision and leadership will enormously benefit our students and our School in the years to come. As we welcome Mark to this role, I am also incredibly grateful to Michael Hays for his unwavering and ongoing dedication to the Department of Architecture and the GSD.”
This morning, Harvard’s Graduate School of Design announced that real estate and development magnate Druker Company President Ronald Druker made a $15 million donation to the school. The donation, the “largest single gift from an individual in the school’s history” will be used to fund the renovation and building expansion of Gund Hall. Leading up to the donation, Druker worked with Dean and Alexander and Victoria Wiley Professor of Design at the GSD, Mohsen Mostafavi, to help strategize the school’s ambitions and needs to continue to achieve design innovation in the future. Harvard is renaming its primary exhibition gallery the “Druker Design Gallery” in his honor. “I am delighted that this generous gift from Ron, one of the GSD’s most prominent, committed, and long-standing advocates and supporters, will provide resources crucial to helping us move forward our plans to build new, innovative spaces of research and learning,” said Mostafavi in a statement. “It is equally meaningful and fitting for the school to be able to name its primary exhibition space in his honor.”
Farshid Moussavi RA, RIBA is this year's speaker for the AIANY Cultural Facilities Committee's Arthur Rosenblatt Memorial lecture which focuses on excellence in museum design. Moussavi is Founder of the London-based international firm Farshid Moussavi Architecture (FMA) and Professor of Architecture at Harvard University Graduate School of Design. She will share her thoughts on a new approach to architecture based on her research, experience of working on the Museum of Contemporary Art in Cleveland, and her recently completed residential projects in Paris and Montpellier. Moussavi has published three books based on her research and teaching at Harvard GSD: The Function of Ornament, The Function of Forms, and The Function of Style. She serves on design and architecture advisory groups internationally and her work has received numerous awards including the Enric Miralles Prize for Architecture, six RIBA Awards, the 2004 Venice Architecture Biennale Award, and the Charles Jencks Award for Architecture. Sponsored by Allegion Photo credit: Paul Phung
In AN's new series of climate profiles, we will be learning from designers who are working to incorporate climate responsiveness in their work or have blazed the way for others in the field. As this year's hurricane season reaches its third quarter, coastal and riverfront cities across the country are thinking more than ever about how to adapt urban landscapes to increasingly intense storm surge and sea level rise. Chris Reed, founding principal of Stoss and professor of landscape architecture at the Harvard Graduate School of Design (GSD), is particularly good at asking questions about these issues. While completing his undergraduate degree in urban history at Harvard College in the 1990s, Reed was exposed to a split in schools of thought among landscape architects: one approaching landscape at the scale of urban planning, another at the more traditional gardens and parks scale. James Corner, who at the time was beginning his own landscape practice, was someone Reed felt successfully merged the two. Reed sought to do the same. In 2001, after he completed a Master’s at the University of Pennsylvania, Reed’s firm Stoss was born out of a desire to create high-density urban environments thoroughly engaged with landscapes and environmental processes. Over nearly two decades, Stoss has completed riverfront designs for five cities across the globe (Shanghai, Green Bay, Minneapolis, Dallas, and London, Canada) as well as countless waterfront parks and public spaces. A 2011 profile of Reed in Places Journal noted that "stoss" is a German word that means "to kick, as in 'kick in the pants,' to initiative, activate." In Dallas, Stoss' Trinity Waterfront project innovatively addressed a vacant flood zone of land dividing the downtown area from Trinity River, which winds through the city. The city wanted to transform this zone into a new public space and economic boon to draw developers. While the city's RFP asked designers to connect the downtown area to the waterfront, Stoss expanded the landscape in two directions – extending fingers of the river and wetlands into the city, and likewise extending the city out into the flood zone. This is especially illustrative of Stoss' approach to adaptive water management. Even an open-air theater has the capacity to flood, diverting waters from the paved and developed areas beyond. The sports fields are flanked by bioswales, depressed areas that are designed to capture runoff. The resulting parklands are both densely urban and perform ecological functions. "The debate now has become not just how to incorporate environmental resilience into cities but also social resilience," Reed told AN. "The world is not the same as when I was in school. Now we have to ask questions like: what are the responsibilities of designers to address climate change, population growth, political shifts–and how have all of these things affected design?" Most recently, Stoss has worked on providing solutions to some of the climate-focused questions through a large-scale riverfront project in Boston. In January 2017, the City of Boston released a public RFP seeking design teams to realize elements of their Imagine Boston 2030 plan. A major part of the plan is riverfront development, both in terms of creating more effective storm-resistant infrastructure as well as in creating compelling public spaces. Stoss was an obvious firm to address the tasks at hand. Of the six neighborhoods identified in Imagine Boston 2030 for waterfront renewal, Stoss was selected to work on two: East Boston and Charlestown. In East Boston, the site runs roughly from around Falcon Street to Piers Park. The Charlestown stretch is still under wraps, with the entire waterfront owned by a single private entity. The focus for both will be on coastal flooding and sea level rise. To tackle these issues, Stoss partnered with Kleinfelder, Woods Hole Oceanographic Institution, and the New York office of Dutch firm One Architecture. According to Stoss' Studio Manager Amy Whitesides, the project will occur in a layered approach at three different scales. The first, most local scale, will look at simple engineering solutions to flooding, common sense gray infrastructure that will prevent stormwater from rising up or scouring its way into the city's streetscape. An example of this would be a retrofit to the East Boston Greenway that would funnel water along the park's existing railway rather than letting it run off into adjacent neighborhoods. The second, intermediate scale will look at the landscape's existing and potential ecologies—including the redesign of Piers Park itself. The current plan is to take the land and raise it into a berm-like park, creating a barrier that will protect the Greenway and the residential areas while doubling as public space. The third scale looks at the waterfront as a whole from a developer's standpoint, asking which areas will require rezoning for designs to be effectively implemented, how to address private interest (as a good portion of the waterfront property included is privately owned), and perhaps most importantly: how will this all get paid for? The project takes inspiration from the same multi-scalar approach Reed discussed – territory-scale projects with a social bent. "I'm interested in projects that are more about setting up relationships between people rather than relying solely on form-based agendas," Reed told AN. "How do you have a conversation that might seek change?" In East Boston and Charlestown, these kind of conversations are well underway. The design team has held over fifty meetings with stakeholders ranging from Boston's Department of Parks and Recreation to private developers, held community workshops in all of the affected neighborhoods, and formed working partnerships with a number of local nonprofits to inform the design. According to Reed, it should be impossible to complete such large-scale designs with far-reaching impacts without forging local relationships. "Many cities across the U.S. are looking at profound issues of aging infrastructure," Reed said. "With major riverfront projects like this, the changes made are often wrapped up in concerns about affordability." Reed referred to the fear of rent increases pushing out residents as new development moves into neighborhoods. "In dealing with climate change, the question becomes: how do we design for equity? How do we make for welcoming spaces?" Stoss will formally announce their design for the Imagine Boston 2030 plan in the coming weeks.
This weekend, architects, artists, educators, activists, scholars and students convened at Harvard for the second Black in Design Conference: Designing Resistance, Building Coalitions, an event that recognizes the African diaspora's contributions to the built environment and discusses how designers can dismantle institutional barriers within the profession. The Harvard University Graduate School of Design's African American Student Union (GSD AASU) organizes the three-day event, which was last held in 2015. This year, the conference engaged design in its broadest sense to discuss design as resistance and explore how the designers' activism, particularly the work of black and brown designers, is building "more radical and equitable futures." At the 2015 conference, architect and planner Justin Garrett Moore highlighted a speaker's comment to underscore how Black in Design creates a necessary space for dialogue and debate: "[Black] designers do not yet have the weight of influence seen in other creative fields, such as music or fashion, that shape and inform our larger culture and everyday lives." On Friday, attendees convened to hear LAXArt Executive Director Hamza Walker open the conference with his keynote speech, while Black Lives Matter activist DeRay Mckesson closed the event with a Sunday keynote that delved into design's role in combatting injustice. T he Architect's Newspaper (AN) spoke with conference participants Daphne Lundi and Emma Osore of BlackSpace, a New York City group for emerging black professionals whose work shapes the built environment. This weekend, the group hosted a lunch and discussion around the conservation and preservation of black spaces, where participants from all stages of their careers networked and shared resources. Both attended Black in Design in 2015, but this time, their group came as a collective, 12 strong. "The conference was still a space for us to learn about black practice in design," Lundi said, "but this year it was a more intentional space for black designers to figure out how to incorporate social justice into their practice and move it to the forefront of their work." Walter Hood and Diane Jones Allen, the program director for Landscape Architecture, the College of Architecture Planning, and Public Affairs at the University of Texas at Arlington, who spoke about her work in New Orleans's Lower Ninth Ward. "One thing that's fulfilling about the Black in Design conference is its focus on people," said Osore, an artist and program coordinator at the Arts & Business Council of New York. "The conference really elevated black creators across the spectrum of the arts." She said artist and writer Brandon Breaux's session as well as poet Roger Bonair-Agard's talks were particularly interesting. Frances Loeb Library is assembling the African American Design Nexus, an online archive that will survey the history of black architects practicing in the U.S. Missed this year's event? The next Black in Design conference will be held in 2019, but in the meantime, readers can visit blackindesign.org for more information on the conference or search #BlackinDesign #BiD2017 on Twitter for the weekend's real-time program highlights.
Chilean architect Samuel Bravo has been named as the 2017 winner of the Wheelwright Prize by the Harvard Graduate School of Design (GSD). He is the fifth awardee of the open international competition that supports research proposals with a travel grant being given to the winner. Bravo will take home a $100,000 grant to aid his design- and travel-based research. His proposal Projectless: Architecture of Informal Settlements studies traditional architecture and informal settlements, touching up Bernard Rudofsky's notion of “architecture without architects," which the artist put forward in his 1964 Museum of Modern Art exhibition. The Chilean architect, according to a press release, plans to visit South America, Asia, and Africa, as he intends to unearth the architectural vernacular of visited sites and work out how to amalgamate these with contemporary approaches to design. Formal architecture only caters for the minority, Bravo argues. The rest live in the informal built environment. The idea of such an environment has been considered before: "There is no such thing as bad architecture; only good architecture and non-architecture," stated Ernesto Nathan Rogers (yes, Richard Rogers' father) and that notion was later echoed by Reyner Banham. In his 1964 exhibition, Ruodofsky said the essentially non-architectural projects featured are "not produced by the specialist but by the spontaneous and continuing activity of a whole people with a common heritage, acting under a community of experience." In light of this, Bravo will look into how project-less environments exist and how formal architecture can inhabit and operate within such confines. In his proposal, Bravo also referenced how design must be sensitive to the potential "cultural frictions" associated with restructuring problematic settlements. The 2017 Wheelwright Prize jury consisted of Gordon Gill, Mariana Ibañez, Gia Wolff, and standing Wheelwright Prize Committee members Mohsen Mostafavi and K. Michael Hays. "Samuel is a sophisticated designer and a mature thinker, qualities that make him an ideal candidate for this year’s Wheelwright Prize," said Mohsen Mostafavi, dean and Alexander and Victoria Wiley Professor of Design at Harvard GSD in a press release. "His work on its own is striking, and the participatory design-build process he has refined over time is additionally compelling. In resurrecting ideas about so-called 'non-pedigreed' architecture and expanding the scope of his research and practice internationally, Samuel’s project opens up new and exciting paths for the next generation of architects."
Trained as an architect at the Technical University of Vienna, Eduard Sekler studied under Rudolf Wittkower at the Warburg Institute in London before graduating there as an architectural historian in 1948. Coming to the States as a Fulbright scholar he joined the faculty of the Harvard GSD in 1956 at the invitation of Josep Lluís Sert. A decade later he became the first director of the Carpenter Art Center, a position which he held for ten years during which time he also founded Harvard’s Visual and Environmental Studies Center and co-authored, with William Curtis, a study entitled Le Corbusier at Work: The Genesis of the Center for Visual Arts (1978). Sekler was active as a scholar over a very wide range, publishing his thesis on Christopher Wren in 1956 and his definitive monograph on the work of Josef Hoffman in 1985. He was one of the first theorists to articulate the difference between structure, construction and tectonics, with this last focusing primarily on the static expressivity of built-form as opposed to formal abstraction as an end in itself. As a researcher and teacher Sekler was also concerned with the “space of public appearance” as this could still be found in historic cities throughout the world and this preoccupation fed into his lifelong concern for the preservation of the Kathmandu Valley in Nepal, a place which he visited virtually every year, throughout his prime. In one, or another, Sekler served the GSD for over half a century and he was a regular visitor there even after his retirement. His loyal presence there will be sorely missed.
A green building research center at Harvard has enlisted Snøhetta to transform its headquarters into a test site for technology that may make it easier to retrofit older homes. Using its modest headquarters as a guinea pig, the Harvard Center for Green Buildings and Cities (CGBC) at the GSD will retrofit its on-campus home. Designed by Snøhetta, the HouseZero project revamps the CGBC's 1924 stick-built house to run without an HVAC system, without daytime electric lighting, and produce zero carbon emissions, among other efficiencies. The project is the brainchild of Ali Malkawi, professor of architectural technology at the GSD and the center's founding director. "Before now, this level of efficiency could only be achieved in new construction," said Malkawi, in a press release. "We want to demonstrate what's possible, show how this can be replicated almost anywhere, and solve one of the world's biggest energy problems—inefficient existing buildings." In the United States, 113.6 million homes use around ten percent of the nation's energy. Although there are plenty of new buildings that are net-zero, there aren't many practitioners working to bring older buildings—especially older houses—up to that standard. For the CGBC, which was founded in 2014 to promote high-performance building techniques through design, HouseZero is a major test project. Instead of considering the house as a sealed box, Snøhetta will create an envelope that passively heats and cools itself. The HVAC system will be replaced with thermal mass, while a ground source heat pump will provide extra energy to regulate temperatures in the warmest and coldest months. Clad in white cedar shingles, HouseZero sports ash and birch interior finishes, natural clay plaster, and reclaimed brick and granite—all high-performing, locally available materials. The building components are outfitted with sensors so the structure can adjust itself for thermal comfort throughout the day while collecting data for future retrofits. A lab inside will be connected to the energy exchange system so architects and researchers can swap and test new facades and materials to further optimize the structure's performance. The project's concept design was developed in collaboration with the Center and with Snøhetta, which will act as lead architect, interior, and landscape architect. (The U.S. branch of Norwegian construction company Skanska is working on the house, as well.) Though it could probably go LEED super-platinum, HouseZero's creators aren't setting out to build for any existing certifications. According the press release, the team "wants to demonstrate an entirely new paradigm for ultra-efficiency, one that is localized and focused on curbing energy demand, with energy production secondary to that." Construction is expected to take between seven and nine months.
The Architecture Lobby, Yale School of Architecture’s Equity in Design, and Harvard Graduate School of Design’s Women in Design have collectively launched a new accreditation program to promote fair labor conditions in architecture firms called JustDesign.Us. The consortium cites the “rise of massive student debt, stagnating wages, and an overabundance of skilled applicants coming out of professional schools” as the impetus for such a service. Operating from an eponymous website, the project seeks to provide a platform for architects and designers to vet the labor practices of potential employers serving as a new industry tool for more transparent employment.
“The project aims to provide potential employees with a robust tool for gaining a sense of which firms will treat them fairly, with respect, and support their development as architects, while giving certified JustDesign firms an edge in attracting the best possible designers.”Planning to release its inaugural list in December of this year, the organization will deploy its operation in two phases; first, solicit nominations online from employees themselves, then certify that the nominated firms comply with “best labor practices.” The initial employee nominations will survey issues such as "labor conditions pertaining to flexibility, agency, fair pay, salary transparency, employee diversity, and family-friendly policies." While the website and its associated documents are light on the specific methodologies to be employed in phase two of the process, or indeed who will be evaluating the firms, the ambition of this program is to cultivate a field that is symbiotically beneficial to workers and employers alike. JustDesign.Us is endorsed by a handful of groups, mostly academic in nature, however has not yet recruited professional organizations such as The American Institute of Architects and The National Council of Architectural Registration Boards. The nomination process is not meant to be punitive and will only review positive employee questionnaires, celebrating firms that excel in fair treatment of their employees not shaming companies that underperform in this regard. Nominations for the first round of review are due by July 15.
The University of Virginia has announced the appointment of Bradley Cantrell as the new Chair of Landscape Architecture at the School of Architecture. Cantrell is currently an associate professor of Landscape Architectural Technology at Harvard University’s Graduate School of Design (GSD) and director of their Master in Landscape Architecture Program. The Architect’s Newspaper met with Cantrell in April of last year to discuss his groundbreaking work in the fields of landscape architecture, ecological analysis, technology, and artificial intelligence. In that interview, Cantrell describes his work as "cyborg ecologies" that focus on blurring the lines between natural and man-made systems. “I think a lot of people have issues with the idea that we’re actually extending even more control over the landscape,” said Cantrell. “I think there is a fear of that we’re constantly in discussion about how we relinquish control. I think it’s an open question.” He believes that the integration of technology and nature should be seen as a powerful and positive synthesis and something to be celebrated, as opposed to an “us versus them” duality between man and nature. Cantrell discusses the power of technology that is not only designed to serve mankind, but can also be used to serve the natural environment. In our interview, he explained: “I think this idea that there are competing goals and that humanity might not always be at the center of all of those goals—that takes somewhat of an enlightened viewpoint, but it also is one that is necessary for us to have.” Cantrell will step into his new role at the University of Virginia on June 25, 2017.
The Harvard University Graduate School of Design (GSD) has unveiled the winners of its inaugural Richard Rogers Fellowship. Namik Mackic, Maik Novotny, Jose Castillo, Saidee Springall, Shantel Blakely, and Dirk van den Heuvel will spend three months undertaking urban and architectural research at Richard Rogers's seminal south London dwelling. The class of fellows will be awarded free travel to London as well as $10,000 to aid their research. The residency program was made possible after Richard and his wife Ruth donated the house to the school in 2016. Situated in Wimbledon, the Grade II listed building was built in 1969 and commissioned by Rogers’s parents, Dada and William Nino Rogers. The colorful residence, regarded by many as a British modern masterpiece, emulates the U.S. West Coast vernacular of the time and features a prefabricated yellow steel structure which is made visible by a glazed facade. "The spirit of the Fellowship is intended to carry forward and expand on Lord Rogers’s deep commitment to cities not as ends in themselves, but as a fundamental means of bettering human life," said Mohsen Mostafavi, dean and Alexander and Victoria Wiley Professor of Design at Harvard GSD, in a press release. "At the GSD, our work is organized around the urgent issues cities are facing globally, a pedagogical approach requiring exploration and collaboration across disciplinary lines. We are very fortunate and excited about this opportunity to support, learn from, and promote such cross-disciplinary research internationally, in the context of London’s thriving architecture, design, and art communities and vast institutional resources." Rogers's Wimbledon dwelling will now be used for research into areas that have been pivotal in the architect's life and career. In doing so, questions pertaining to urbanism, sustainability, and how people use cities will be addressed. Projects from this year's fellows will look at public and affordable housing; how food and cooking transform cities; and citizen-driven urban regeneration initiatives.