The exhibit, The Vienna Model: Housing for the 21st Century City, currently on view at the Austrian Cultural Forum, is meant to provoke a discussion with housing advocates in this country. The Forum will host weekly tours of the exhibit by a variety of housing experts from various academic and professional fields. This Wednesday, the tour will be led by Srdjan Weiss, a Serbian-born architect and theorist based in New York City, with broad knowledge of the subject of housing in this country and Eastern Europe. The tour will be based on Weiss' parallel living experience and expertise in housing design from former socialist countries of Eastern Europe and Yugoslavia. Viennese contemporary examples presented at the exhibit in the Austrian Cultural Forum in New York will also be viewed from the lens of large immigrant population—coming precisely from former socialist systems. The socialist culture of communal living with good architectural design seem to have all but disappeared in post-socialist systems neighboring Austria, but they have remained in Vienna as a model that can be learned from. The Austrian Cultural Forum is at 11 East 52nd Street.
Posts tagged with "Housing":
The American Institute of Architects has announced the winners of the 2013 Small Project Awards, a program dedicated to promoting small-project designs. Since 2003 the AIA Small Projects Award Program has emphasized the work and high standards of small-project architects, bringing the public's attention to the significant designs of these small-projects and the diligent work that goes into them. This year's ten winners are grouped into four categories: projects completed on a budget under $150,000, projects with a budget under $1.5 million, projects under 5,000 square feet, and theoretical design under 5,000 square feet. CATEGORY 1: These three recipients had to complete small-projects constructions, objects, an environmental art, or architectural design with a budget of $150,000. Bemis InfoShop Min | Day Omaha From the AIA: "More than a new entry and reception area for a contemporary art center, the InfoShop is a social condenser and transition space between the city and the galleries. With increasing emphasis on social and environmental issues, the art center is becoming a laboratory for ideas rather than a repository for artifacts." The jury commented: "This is such a remarkable process! It represents a designer's victory as opposed to an ideologically born, experientially rich element. ... A context is built on triangular patterns cut into a wall of panels and beautifully engages a sculpturally reception desk that double as a bar for entertaining. The reception space looks great, effortlessly orients the visitor and functions very practically. It is playful without being whimsical. This project is an exemplary demonstration of craft in the digital age." Cemetery Marker Kariouk Associates South Canaan, PA From the AIA: "Before dying, a woman left a note for her children to be read after her death. This note was less a will (she had nothing material to leave her children) than several abstract wishes for them. The sole request on her own behalf was that her gravesite becomes a garden." The jury commented: "This is a design that embodies the idea of ‘remembrance’. The bronze plates, graced with a deeply personal and poetic message, are organized beautifully—pushing and pulling you through the space as you engage it. This is respectful, celebratory work that gracefully merges with its landscape and poignantly reveals the spirit of a woman." Studio for a Composer Johnsen Schmaling Architects Spring Prairie, WI From the AIA: "An unassuming structure nestled into a rural Wisconsin hillside, this intimate retreat serves as a studio for a Country Western musician to write his work and reconnect with nature." The jury commented: "The wood detailing, the use of color, and the simplicity of this retreat for a musician is inspiring. An inspiring place in which to create music and commune with nature. The color palette is at once animated and subtle." CATEGORY 2: These three recipients had to create small-project constructions with a budget of $1,500,000. Nexus House Johnsen Schmaling Architects Madison, WI From the AIA: "This compact home for a young family occupies a small site in a historic residential district in downtown Madison, Wisconsin. Successfully contesting the local preservation ordinance and its narrow interpretation of stylistic compatibility, the house is an unapologetically contemporary building, its formally restrained volume discreetly placed in the back of the trapezoidal site to minimize direct visual competition with its historic neighbors. The jury commented: "This is absolutely beautiful. It is well detailed and not overwhelming. It fits fantastically into the surrounding neighborhood and doesn’t take away from the other architecture. As the name Nexus suggests, this house is very well connected. Composed of a brick podium and a wood clad block on top, it masterfully accomplishes a variety experiences in a compact footprint." Pavilion at Cotillion Park Mell Lawrence Architects Dallas From the AIA: "Commissioned by the Dallas Parks Department, this new shade structure bridges the gap between two groups of trees at a natural gathering place in the park." The jury commented: "This is such a fantastic way for the public to be able to experience architecture in a park setting. The whimsical pop of red draws the eye and leads to you walk in and experience the space. It plays with light and provides a shading experience. An exquisite filigree steel structure, that is at once shade pavilion and large environmental art piece." Webb Chapel Park Pavilion Cooper Joseph Studio Mission, TX From the AIA: " We were asked by the Department of Parks and Recreation to create a picnic pavilion to replace a decaying 1960s shelter. Given Texan heat and humidity, climate control was a priority." The jury commented: "Cleverly integrated into the site the side berm and concrete overhead create a thermal cooling mass the way sustainable design traditionally did. This pavilion project is unlike anything we have seen before. A beautiful public work that will surely inspire those that experience it to embrace architecture in a new way." CATEGORY 3: The three recipients in this category had to complete a small-project construction, object, an environmental art, or architectural design under 5,000 square feet. These projects had to be designed as well as constructed, fabricated, and/or installed majorly by the architect. 308 Mulberry Robert M. Gurney, FAIA Lewes, DE From the AIA: "The starting point for this project is small house at 308 Mulberry Street, originally constructed in the early nineteenth-century in the heart of the historical district of Lewes. In the redesign, the exterior of the original structure is meticulously restored." The jury commented: "A demanding redesign that respectfully preserves the original architecture, while artfully transforming the home." Nevis Pool and Garden Pavilion Robert M. Gurney, FAIA Bethesda, MD From the AIA: "Located in a neighborhood bordering Washington, DC, this suburban site has the advantage of being located adjacent to woodlands. A contemporary house surrounded by mature trees and manicured gardens anchors the site. A new swimming pool, stone walls, and terraces behind the house organize the rear yard and establish a dialogue between the existing house and a new pavilion." The jury commented: "A suburban backyard is transformed with a new panoramic awareness of water, forest and sky." Tahoe City Transit Center WRNS Studio Tahoe City, CA From the AIA: "The Tahoe City Transit Center (TCTC) represents a vital step toward achieving a more sustainable transportation network within the region." The jury commented: " This is first class design and craftsmanship that works on many levels. The scale of the bus is tamed. The project is reminiscent of the approachable architecture of the early century. The wood siding and trees in the background integrate very well. The design is modern and vernacular at once. This profound piece of public infrastructure serves a very important civic function with a low impact modest foot print." CATEGORY 4: The recipient in category 4 was challenged to draft a completely original architectural design that is purely hypothetical and theoretical, and less than 5,000 square feet. Four Eyes House Edward Ogosta Architecture Coachella Valley, CA From the AIA: "A weekend desert residence for a small family, the Four Eyes House is an exercise in site-specific "experiential programming". Rather than planning the house according to a domestic functional program, the building was designed foremost as an instrument for intensifying particular onsite phenomenal events." The jury commented: "The imagery is expertly rendered and communicated. Both rational and lyrical and possessing excellent spatial quality. Architectural towers and horizontal lines modulate the viewer's experience and connection with an elemental landscape. It redefines how a home should be built. ... This project takes the experience of place and via an ‘architectural amplifier’ of thoughtful movement (ascension into each bedroom space) and choreographed view capture / light receiver (well-placed windows), makes it a triumphant celebration of humankind situated in the center of the natural universe."
It has been a rocky few months for the New York City Housing Authority (NYCHA), but the battered agency finally has some good news to report. State officials announced the opening of the Arbor House, a 124-unit affordable housing complex, located in the Morrisania section of the Bronx, that is not only LEED Platinum certified, but also features a hydroponic farm on the roof that supplies residents and the surrounding community with fresh produce. Built from local and recycled materials, the 8-story building was designed by New York-based ABS Architecture and includes a living green wall installation in the lobby, air-filtration systems, and indoor and outdoor exercise areas. This $37.7 million housing development came out of a collaboration between city agencies and Blue Sea Development, and according to The New York Observer, is part of a larger initiative by Mayor Bloomberg, which “pairs dilapidated and vacant NYCHA land with private developers to create affordable housing.” The apartments are reserved for low-income households that earn less than 60 percent of the city's median income. Residents will start moving in within the next month.
Single Room Occupancy hotels are a dying breed in Chicago. Notoriously undermanaged and generally unpopular among immediate neighbors, the majority of these base-service dwellings have been condemned or rehabbed into other residential uses over the past decade. The fate of the Chateau Hotel, one of the last SRO hotels on Chicago’s North Side, looks to be leaning toward the latter. On Tuesday, city building inspectors met with an attorney for the Chateau’s new owners in housing court to address ongoing code violations present at the depression-era hotel, located at 3838 N Broadway Street in the city’s Lakeview neighborhood. Those violations—which number over 130 and include fire code, plumbing, and waste management abuses—were brought before the building’s former owner, Jack Gore, in October. Gore recently sold the hotel to a group of land trust investors represented as Arbas Investments LP, the stakeholders of which have yet to be publicly revealed. The partnership’s attorney, Mitchell Asher, said that his clients had the funding to bring the Chateau back up to code. This would likely include a full gut and rehab of the 138-bed building—a job that the 100 tenants currently residing at the hotel would not be around to see, he said. “It has to be vacated,” Asher said. For the dozen or so residents who attended the hearing, this was somewhat expected. In 2009, Gore handed the city another nearby SRO, the Diplomat Hotel, in light of similar building and fire code violations; that building is now being rehabbed into housing for people with mental illnesses. Last year, Gore sold his Abbot Hotel property to Jamie Purcell, a principal at BJB properties who is rumored to have a hand in the new ownership of the Chateau. Occupants at these hotels pay daily to monthly rates for rooms that include basic furnishings with shared or private bathrooms. Once an abundant source of housing in Chicago, SROs are a requisite option for some who can’t lease apartments because of background and credit issues and could otherwise be on the streets. Donna Crosier has lived at the Chateau for two-and-a-half years. She and her husband pay $575 a month for a room with a bathroom, but no fridge or stove. Crosier said she doesn’t mind eating out, but what gets to her is the lack of maintenance services in the building, namely rodent control. “That’s not fair, and it doesn’t help the building,” said Crosier. In the hallway of the Daley Center courtroom following the hearing, Alderman James Cappleman (46th) promised residents that his office would begin the supportive housing process ahead of eviction notices at the hotel, where, he said, the continuing code violations were the sign of “a broken system in Chicago.” “You’re living in market-rate housing, but you’re just living in market-rate housing that is so sub-standard,” said Cappleman. “It’s worse than I’ve even seen.” A hearing to discuss a compliance order at the Chateau has been scheduled for March 5.
At the recent Interieur 2012 Biennale in Kortrijk, Belgium, Venice, California-based Greg Lynn shared his vision of the future of housing: architecture that rotates to accommodate different uses. The model above, called "RV Prototype" (RV stands for Room Vehicle), part of the Biennale's Future Primitives exhibition program exploring our future living environment, rotates via a robotic stepper drive and consists of a super-lightweight structure built with a carbon shell lined with a foam core. As its name suggests, the proposal is just a scale prototype, but if enlarged and tricked out, Lynn argues it could contain living spaces on one side and a kitchen or bedroom on another, for example. All you have to do is spin. The device is now on a boat returning to Los Angeles from Belgium. We'll let you know when the future arrives—and where to store your forks and pillow when they're upside down.
“What if mobile, self-sufficient living units were the building blocks for future cities?” asked New York artist Mary Mattingly. She explored this question in her Flock House Project, experimenting with migratory living solutions through fantastical inhabitable installation art. The project is going on throughout the city this summer. Mattingly’s series of four “Houses” have been traveling around the five boroughs since June. Individually titled the Microsphere, Terrapod, Chromasphere, and Cacoon, they are now on display at the Bronx Museum, Snug Harbor, the Maiden Lane Exhibition Space, and Omi Sculpture Park in Ghent, NY. In response to an era of increasing environmental, political, and economic instability in which one seventh of the world’s population—that’s one billion people—is continuously “on the move,” the Flock Houses offer a new mobile framework through which urban dwellers can experience these issues. These small structures provide minimal amenities for the artists who have chosen to inhabit them for two-week spans, emphasizing an alternate system for urban flexibility and decentralization. Up to two participants sleep in hammocks, while a combination of solar and bicycle power, along with levers and cranks, power the dwellings. Container gardening is utilized to demonstrate the possibilities of ultra-small-scale self-sufficiency, and water is collected from rain run-off. The structures were built collaboratively through a “gift culture,” using reclaimed materials and construction site leftovers. They are also modular, and can be snapped together to from a flock, or tagged onto the side of an existing structure to feed of of its utilities. Together, these methods reflect the combination of autonomy and community interdependence that is at the heart of the Flock House Project. The project offers workshops, events, and narrated cell phone tours. To find out more about visiting the Flock Houses, check out their website.
Having successfully covered the world (or at least all 11 outposts of the global Gagosian empire) in colorful spots, Damien Hirst is turning his attention to architectural matters. The artist is planning to build more than 500 homes on the land he owns in Devon, England as part of a broader expansion of the glam seaside resort town of Ilfracombe. Mike Rundell of London-based MRJ Rundell+Associates is putting his undergrad degree in fine art to good use and working with Hirst on the project. “He has a horror of building anonymous, lifeless buildings,” said Rundell of his artist client. Pressed for details, Rundell described the houses as modern and possibly incorporating eco-friendly touches such as photovoltaic panels and wind turbines nestled in the roofs. Pickled sharks or spin art not included.
In speaking to wounded veterans and their families, the Wounded Warrior Home Project found that soldiers returning home face a cumbersome and costly adaptation to their environment. A private-public partnership, including Michael Graves and Associates, global design firm IDEO, and Clark Realty Capital, has unveiled two universally-accessible prototype houses at Fort Belvoir in Virginia where every element is designed for ease of use. Sinks and stovetops are on motorized lifts, halls and doorways accommodate a wide turning radius for navigating wheelchairs, sliding doors open with a light touch. Architect Michael Graves, who was left paralyzed after an illness almost a decade ago, wanted the space to offer independence and dignity to returning soldiers. For example, the design team concluded through conversations with wounded veterans that the therapy room should be secluded from the rest of the living space to offer privacy and retreat; at the same time, the need for visibility inside and outside the house for security and to keep track of playing children necessitates wide windows and clear doors within the house. These homes are intended to be both starting points for future dialogue on accessibility and laboratories for continuing research as more accessible homes are built.
Form follows People. According to the NY Times, there might be a significant mismatch between "the housing New Yorkers need" and "the housing that gets built." That's why last monday, various NY architects gathered together to pitch their proposals to city commissioners for artist, musician, and other creative-type housing. Surrounded by Superfunds. Four of the most polluted water-ways in the country—all declared Superfund sites—are located in the Tri-State area around New York City. WNET's Metro Focus breaks down of each waterway's problematic histories and the difficult task of cleaning them up. 3-D Printed. Wired reports that we could be only 2 years away from building circuit boards with 3-D printers. Implications? Printed out PCs, printed printers (if a part breaks, that part can be printed out), inventory-less virtual stores, and easier work collaboration across the country or the globe. Costco Bonito. While it might be difficult to call a big-box store beautiful, designers at Costco are certainly trying to punch up the retailer's design in Los Angeles The LA Times has more on the proposed beautification efforts which include adding dark, woodlike metal-slats to the facade.
Tiny Homes. The average size of an American home has been decreasing since 2009 (to at 2,392 SF), the Wall Street Journal reported. With financial and environmental concerns, many homeowners are down-sizing. The book Nano House: Innovations for Small Dwellings examines dwellings under 800 feet, such as the above 215-square-foot house in Belgium. Artificial Leaf. Researchers at MIT have created an artificial leaf that uses sunlight to convert water into oxygen and hydrogen. The device is made of silicon, that is coated with a cobalt catalyst on one side, and a nickel catalyst on the other. When dropped in water, the cobalt separates oxygen and the nickel side hydrogen. The next step: scientists are working on a way to capture the gasses. More at Inhabitat. Sky Sculptures. Brookline, Massachusetts artist Janet Echelman uses Indian fisherman weaving techniques to create ethereal neon nets that float in urban sky-scapes. Check out images of her work, that resembles the translucent fish of the coral reef at Artist a Day. Shrouded Silos. In Omaha, Nebraska, the educational nonprofit Emerging Terrain has wrapped grain silo elevators in giant 80 by 20 feet banners that focus on food and agricultural issues. More at Planetizen.
Could this be the future of architectural photography? The LA Times this weekend published a wonderful virtual tour of Ray Kappe's own house on a heavily wooded lot in the Palisades. Thanks to huge glass walls, skylights, clerestories, floating interior planes and cantilevered wooden decks, trellises and platforms, the house appears to float over its sloping site. It's truly one of the most spectacular houses ever built. And the tours of its facade, main room, kitchen, and deck do it more justice than any two dimensional pictures could. Now if only Kappe could get more props himself. When is he gonna win a Pritzker already?
The latest Upper East Side landmark isn't another of its signature rowhouses, but rather what's atop one of those brownstones. Yesterday, the New York Landmarks Preservation Commission unanimously approved landmark status for mid-century architect Paul Rudolph's less-than-context-sensitive home at 23 Beekman Place. Rudolph moved into the 4-story on which the addition sits in 1961 and added his three-story design in 1977, modifying the house throughout his life. Located between East 50th and 51st Street, 23 Beekman Place has been moving through the landmark process for over a year, and its approval marks an emerging phase in historic preservation. Now that many examples of modern architecture are getting older, they are becoming fair game for landmark protection, a notion the New York Observer says can sometimes be full of contradiction:
And yet there remains a certain alienness to a building like 23 Beekman. In a way, it is an oxymoron, a cancer atop a truly "historic building." The very idea of a modern landmark is itself a contradiction in terms because modernism sought to wipe away history. Consider Robert Moses, Le Corbusier, even Rudolph, all trying to eradicate history, to defeat nature, end poverty and blight, addressing all of the world's ills through their work. Where better to recognize this tension than a building with such a clearly split personality? And yet all of that Utopian zeal failed as much as it succeeded, so much so that many of the buildings it left behind are now unloved, even hated. This makes modernist preservation all the more essential and immediate. Not only have these buildings-beyond-time themselves aged (some quite severely), but they have become examples of architectural idealism, experimentation, and failure. Thus they are something to be saved, even as they sought to wipe out their forebears.