Posts tagged with "I.M. Pei":

LinkNYC brings never-built megaprojects to the streets of New York

New Yorkers can catch a glimpse of a parallel universe this summer. LinkNYC, the Department of Information Technology & Telecommunications, AN contributor Sam Lubell, writer Greg Goldin, and publisher Metropolis Books have teamed up to bring images from Never Built New York to the city' streets via LinkNYC kiosks. The display of unbuilt megaprojects from some of the biggest names in architecture follows the release of the Never Built New York book in 2016, and the accompanying show at the Queens Museum last fall. The kiosks won't display the full array of weird and wild never-realized projects, but the curated images will still depict how New York could have grown into a very different city. Some of the work on display includes I.M. Pei’s proposal for the Hyperboloid, a 102-story tower proposed in 1954 that would have replaced Grand Central, and Robert Moses’s heavily contested Mid-Manhattan Expressway. Images of the Dodger Dome, an enclosed stadium designed by Buckminster Fuller meant to keep the Dodgers in Brooklyn, and Moshe Safdie’s tessellating Habitat New York (originally slated for the Upper East Side) have also been selected. LinkNYC will display images of each project on kiosks close to the location where they would have risen. LinkNYC’s 1,650 kiosks can be found all over the city following the program’s launch in 2016. The Never Built New York 'exhibition' follows a June show that presented historical New York City photos from the Museum of the City of New York’s ongoing Through a Different Lens: Stanley Kubrick Photographs exhibition.

Ian Ritchie advocates for subtlety and organic geometries in glass architecture

On April 19, for the afternoon keynote of The Architects Newspapers Facades+ conference in New York, architect Ian Ritchie discussed his decades-long involvement in forward-looking glass architecture. Beginning with the tongue-in-cheek statement, “Glass is the answer; what was the question? the British architect detailed the technological specifications and design considerations behind his projects. Ranging in size from personal residences to convention centers, the projects convey his expertise with manufactured materials.

As head of his own practice, Ian Ritchie Architects, Ritchie’s process is influenced by a range of fields, from neuroscience to poetry.

Ritchie began with one of his earliest projects, the self-constructed Fluy House (1976). Composed of a prefabricated set of materials, including a lightweight steel frame and pre-cast concrete floor slabs, Ritchie described his early curtain wall as glass acting as a windbreaker, a thin protective barrier between shelter and the sites surrounding countryside.

Ritchie also described projects he worked on as a founding partner of the engineering firm, RFR Engineers. For example, he talked about unique projects such as engineering I.M Peis Louvre Pyramids, which entailed the creation of a full-scale Kevlar mockup and the use of "phantom fixing to insure the transparency of the glass structures final design.

Next, in talking about the design of Reina Sofia Museum of Modern Arts circulation towers and the Messe-Leipzig Glass Hall, Ritchie described how unique engineering devices such as externally suspended and grid-worked glass panels bring the tectonics of design and engineering into public view while creating open and accessible spaces.

In line with his firm’s straightforward forms, Ritchie was critical of the contemporary trend of hyper-engineered glass facades with multiple curves and contortions, asking, "Is architecture intelligence or indulgence?" Instead, he emphasized the natural, biological forms that influence his creative process and, ultimately, his firms output.

Ritchies drive to bridge the highly technical, manufactured character of glass with natural objects and processes was also highlighted by his presentation of the firms recently completed, 150,000-square-foot Sainsbury Wellcome Center.

Located in Londons Fitzrovia, a central city district surrounded by architectural conservation areas predominantly comprised of Georgian architecture, Ritchie saw the Sainsbury Wellcome Center as a melting ice block spilling into the surrounding neighborhood." To fulfill this analogy, the firm opted for translucent cast glass with vertical, corduroy-like detailing that imitated the stone rustication and brick-and-mortar facades of the surrounding area.

Ritchie concluded with a call for architects to recognize that current glass design and architecture may be surpassing contemporary engineering capabilities. In his view, too many architects are acting as sculptors, an approach that will fail to make glass warm and haptically friendly to the public.

Architect and planner Richard Weinstein passes away at 85

Richard Weinstein, an architect whose contributions helped to rethink traditional zoning and urban planning in both New York and Los Angeles, passed on February 24 at the age of 85 from complications related to Parkinson’s disease. Weinstein, a proponent of public-minded urban planning, was known for crafting zoning regulations that were specific to the context of individual neighborhoods rather than conform to a universal template. Weinstein began his academic career in the field of psychology, receiving his B.A from Brown University and an M.A from Columbia. As reported by the New York Times, Weinstein’s professional tenure as a psychologist based in Washington D.C exposed him to the works of Frank Lloyd Wright that dot the capital’s landscape. Spurred by this exposure, Weinstein enrolled in Harvard’s architecture program but ultimately transferred to the University of Pennsylvania, where he received his master’s in 1960. The architect’s planning career began following John V. Lindsay’s successful campaign for mayor in 1965. Under the Lindsay administration, Weinstein served as the director of the Office of Planning and Development for Lower Manhattan and was a founding member of the Urban Design Group, a revolutionary body that embedded architects and planners within city governance and decision-making. With the authority of the mayor’s office, the Urban Design Group negotiated directly with the development community to guide New York towards an inclusive and pluralist policy of urban design. Prior to his involvement with the Lindsay administration, Weinstein worked for the firms of Edward Larrabee Barnes and I.M Pei. Weinstein’s approach to planning is described by UCLA as grounded in the belief that “the city’s mandate was to preserve and enrich the life of the public and cultural street as the city grew taller with private investment,” increased tax revenue was not to be considered a valid exchange for building variances. While working for the Lindsay administration, Weinstein was crucial in the protection of Manhattan’s South Street Seaport, Cass Gilbert’s United States Custom House, and pushed for the creation, and expansion, of the Times Square Historic District. His knowledge of New York's complex system of air rights facilitated economic self-sufficiency for the city's landmarks and simultaneously guided development along predetermined channels Weinstein took up the post of dean of UCLA’s Graduate School of Architecture and Urban Planning in 1985, a post he held until 1994. He remained at UCLA as a professor of architecture and urban design until 2008. There, his influence on a generation of architects was immeasurable. As Thom Mayne, founder and principal of Morphosis, and a professor of architecture at UCLA, stated, "Richard saw architecture/urbanism as a noble profession with immeasurable potential to shape everyday life, inextricably linked to its social, political and cultural circumstance. We often discussed the seemingly unknowable nature of our profession which only propelled us to stubbornly attempt to achieve the impossible — in every project.” Weinstein is survived by his wife, Edina, and two sons – Nikolas and Alexander.

IKD has pioneered hardwood cross-laminated timber

Thanks to a two-year, $250,000 Wood Innovations Grant from the United States Forest Service, and with further support from the National Hardwood Lumber Association, Indiana Hardwood Lumberman’s Association, and the Indiana Department of Natural Resources, IKD is currently working on an advancement that may completely change the cross-laminated timber (CLT) market. Currently, CLT is made primarily of softwoods, which have the advantage of being fast growing and inexpensive. IKD believes the future of CLT should also include hardwood, and now it just might. As a proof of concept, IKD has constructed a large installation, which stands as the first hardwood CLT structure in the United States. The project was built with an experimental CLT material made from low-value hardwood-sawn logs for Exhibit Columbus, the new architectural exhibition in the modernist mecca of Columbus, Indiana. A reference to the conversation pit in the Eero Saarinen–designed Miller House, the IKD’s Conversation Plinth is a multilevel occupiable installation in the plaza in front of the I.M. Pei–designed Cleo Rogers Memorial Library. The motivations behind using hardwood are two-fold. Currently, over 50 percent of the 80 million cubic feet of hardwood harvested in Indiana each year is used for low-value industrial products. By integrating this wood into the higher-value CLT, it raises the value of what is already Indiana’s largest cash crop. And from the perspective of designers and engineers, hardwood CLT provides the possibility of a more fire-resistant panel and a form-factor advantage. “We are currently exploring a number of applications that could have larger scale building applications,” IKD partner Yugon Kim said. “Since hardwood has superior mechanical properties, we believe we can achieve a panel that could be thinner to meet the same structural capacity of an equivalent softwood CLT panel.” The Conversation Plinth is not simply an exhibition piece for IKD. It is a test of the hardwood CLT the firm developed with SmartLam, the first CLT manufacturer in the United States. Over the months, the project will be subjected to the varied and sometimes-extreme weather of south-central Indiana, providing firsthand data that IKD and SmartLam can use to advance their research on the material. From the beating sun of late summer through the sleet, snow, and ice of winter, the project will be monitored for durability as well as aesthetic and structural changes. “We are closely observing the mixed-species panels and seeing how they react in the extreme temperature and moisture fluctuations so that we can continue to refine the species mix within the panel, the adhesion process, and the finish application and approach,” Kim explained. “It is really interesting to see how differently hardwood moves from softwood when the moisture content varies, and we are looking deeper at the fiber structures and unique characters of species themselves as well to create a superior CLT panel.” The project continues much of the timber research IKD has been doing, including its design for the Timber City at the National Building Museum in Washington, D.C., and work on timber modular waste units, a timber version of CMU made from timber waste that has won numerous awards. Resources Project Lead and Designer IKD CLT Fabrication SmartLam Timber Engineering Bensonwood Phase One Hardwood Testing Material Supplier Pike Lumber Company Phase Two Conversation Plinth Hardwood Material Supplier Koetter Woodworking General Contractor Taylor Brothers Construction Co. Softwood Material Supplier And Fabricator Sauter Timber

New map pays tribute to concrete and Brutalist buildings across New York City

Blue Crow Media, a publishing group that publishes architectural guides for cities worldwide, just released a map glorifying concrete structures across New York City—titled, appropriately, Concrete New York. Among the structures highlighted by the map, many will be familiar to AN's readers. Eero Saarinen's TWA Terminal at JFK airport, currently being renovated into a 505-room hotel, is listed, as is the Marcel Breuer–designed granite and concrete monolith now home to the Met Breuer. Perhaps less visited is Breuer's Begrisch Hall on the Bronx Community College campus or I.M. Pei's Silver Towers at NYU. Concrete infrastructure also gets its due: the Cleft Ridge Span at Prospect Park (completed in 1872) is featured as well as the more recent Dattner Architects and WXY Studio-designed Spring Street Salt Shed (completed in 2015). In Greenwich Village, New Yorkers will recognize New Orleans architect Albert Ledner's Curran/O'Toole Building, unmistakable with its double cantilevered, scallop-edged facade, formerly serving as St. Vincent's Hospital (a landmark institution for victims of the HIV/AIDS crisis). The guide also points out historic works by Paul Rudolph, Frank Lloyd Wright, Edward Durell Stone, and many others. The map was edited by Allison Meier, a Brooklyn-based writer. The next guide will look at the use of concrete in Tokyo, and will be available next month. Previous maps by Blue Crow Media have examined modernism in Berlin and Belgrade, art deco in London, and constructivism in Moscow, although Brutalism remains their favorite topic to date, with maps on the subject for Boston, London, Paris, Sydney, and Washington, D.C.

I.M. Pei–designed art museum to get major renovation

The Indiana University Art Museum has received a $15 million gift which will be used for the renovation of the museum’s current 1982 I.M. Pei building. The gift was bestowed by the Indianapolis-based philanthropists Sidney and Lois Eskenazi. In honor of their gift, the museum has been renamed the Sidney and Lois Eskenazi Art Museum. The updates to the 34-year-old museum building, due to be completed in 2020, will be designed by the New York-based Ennead Architects and Indianapolis-based Browing Day Mullins Dierdorf. Along with the $15 million gift, the university will also be spending an additional $20 million on the project as part of their current gift-matching program. Along with the monetary gift, the Eskenazi’s have donated a nearly 100 works of their personal collection to the museum. The collection includes pieces by Miró, Picasso, Calder, Chigall, Dali and others. These pieces will be added to the museums already 45,000 piece collection, which ranges from ancient to modern art of a diverse range of cultures. The current I.M. Pei-designed museum is often cited as having no right angles. Though this is not accurate, the building is defined by two large triangular forms connected by a large triangular glass atrium.

Who needs Paris? Chinese copycat culture strikes again with I.M. Pei’s Louvre

China is no stranger to unashamedly ripping off landmark Western structures—the country has replicas of the Eiffel Tower and several renditions of the White House. However, this time they have copied one of their own architects, I. M. Pei, with a 1:1 duplicate of the Louvre in a Shijiazhuang theme park. The latest addition to the country's collection of replica Parisian architecture lies among overgrown shrubs and unkempt grass in an obscure amusement park in Hebei province. Perhaps unsurprisingly, it sits adjacent to an ancient Egyptian Sphynx. China has already created "Little Paris" in Yuhang, Hangzhou, Zhejiang (East China), which features more mock-Parisian style architecture replete with Tower de Eiffel (though not the real one, obviously). Is this latest piece of "mockitecture" a tipping point or a simply one of more to come?

Cleveland looks to link lakefront and downtown with soaring pedestrian bridge

Cleveland's lakefront attractions and downtown have long been estranged neighbors, not easily accessed from one another without a car. The city and Cuyahoga County plan to fix that, offering a 900-foot bridge for pedestrians and bicycles that will hop over railroad tracks and The Shoreway, a lakefront highway built in the 1930s. The $25 million bridge takes off from the downtown Mall, touching down between the I.M. Pei–designed Rock and Roll Hall of Fame and the Great Lakes Science Center, designed by Boston's E. Verner Johnson. Another Bostonian is heading up design duties for the new bridge. Miguel Rosales' firm Rosales Partners hatched three design schemes with the help of Parsons Brinckerhoff. The final design has not been selected, and regional officials say it will come down to community input. Construction is expected to begin May 2015, wrapping up by June 2016. But before that, public authorities are seeking comment from the bridge's eventual users by hosting a free public meeting from 6:00 to 7:30 p.m. on Thursday, November 13, in the County Council chambers on the fourth floor of the county administration building, 2079 East Ninth Street, Cleveland. All the options are visually striking. Whether suspension, cable-stayed, or arched, the bone-white bridge wends through renderings made public last week, framing the Cleveland Browns' lakeside FirstEnergy Stadium. As the Cleveland Plain Dealer's Steven Litt wrote, the bridge fulfills a longtime goal of planners and urbanists in northeast Ohio:
Creating a bridge from the Mall to North Coast Harbor and lakefront attractions including the Rock Hall has been something of a holy grail in Cleveland city planning for nearly two decades. Yet until now, the city has been unable to mobilize support and fund the project. The city failed three times in recent years to win a federal grant for the project under the TIGER program, short for Transportation Investment Generating Economic Recovery.
But now, Litt wrote, the city and county each agreed to kick in $10 million, which led the state to close the $5 million gap. A 2013 city-county partnership and the news that Cleveland would host the next Republican National Convention apparently provided the incentive they needed to take on the project, which officials said will be complete by the convention in 2016. The three design options are as follows: The suspension bridge option: The cable-stayed option: The arch option:

I. M. Pei’s Sunning Plaza in Hong Kong to be Demolished by End of 2013

In architecturally crowded Hong Kong, plazas are a rare breath of open air. The luxurious Causeway Bay district, whose retail rental rates surpassed New York City’s Fifth Avenue in 2012, is home to one of these sparse open spaces, Sunning Plaza. I.M. Pei’s 27-story edifice faces a large public courtyard, a hardscape relief within the densely built area devoted to commercial shops and restaurants. But, such a luxury is always in threat of expansion. Artinfo reported that developer Hysan will soon be converting the space into additional commercial stores and offices. Pei’s 1982 building is to be demolished by the end of this year and the plaza is going with it. 31 years ago, Sunning Plaza was Pei’s first structure built in Hong Kong. The mirrored glass office tower is still only one of his two architectural projects in the city. Although visitors often make use of the building’s public court, Causeway Bay is a high traffic shopping and business district. Hysan plans the new structure as a larger, mixed-use complex. Sunning Plaza will be demolished before the end of 2013. The entire redevelopment project is expected to be complete by 2018.

CB2 Votes Unanimous Nay on NYU Expansion

Manhattan Community Board 2 unanimously voted against the NYU expansion plan in Greenwich Village last night citing the impact its scale would have on the neighborhood. Grimshaw with Toshiko Mori designed four of the proposed towers and Michael Van Valkenburgh designed the landscape for the 2.4 million square foot expansion. The plans were set within two superblocks that sprang from Robert Moses-era urban renewal projects that featured buildings by I.M. Pei, Paul Lester Weiner, and a garden by Hideo Sasaki. Of the many proposed elements that the board took issue with, density topped the list. Nearly one million square feet would sit below grade. “They kind of gamed the zoning resolution,” said David Gruber, co-chair of CB2’s NYU Working Group. “The zoning talks about density, but that only counts above ground. There was so much underground but that doesn’t get picked up in the zoning resolution.” Even with the below grade component going under the FAR radar, Gruber said that the plan still needs six zoning changes. And though half of the project wouldn’t be seen from the street, the 12,000 extra pedestrians coming to and fro would be. NYU’s vice president of government affairs, Alicia Hurley said that the university was unique in their ability to utilize windowless, underground space, as they can use it for lecture halls, classrooms, auditoriums, and studios. “The thing we’re trying to have people understand is that we know we’re going to have needs for facilities, we’re already thinking of other parts of the city,” she said, referencing downtown Brooklyn and the hospital campus on Manhattan’s East Side. “We are trying to do as much on our own footprint, to limit the spread out into other communities.” After several months of shepherding the proposal through contentious committee meetings, Hurley said that she wasn’t surprised by the vote. Andrew Berman for the Greenwich Village Society for Historic Preservation said the vote revealed larger problems with zoning. “It seems counter intuitive and an enormous loophole that underground space is not counted as zoning square footage,” he said. “It points to the need for reform.” The irony amidst the “Save the Superblock” t-shirts is that the same preservationist crowd may have likely stood in front of bulldozers to thwart Moses’s urban renewal that created the superblocks in the first place. That  blocks are now considered an asset, argued Tom Gray, executive director of the Greenwich Village-Chelsea Chamber of Commerce. “I think that the preservationist angle is not as pure as it sounds; it's used as a club to stop development which I think is a bit disingenuous,” he said. “Robert Moses put the superblocks in place and it worked. It doesn’t mean it has to stay that way forever.”

Crocodile Tears for I.M. Pei’s Terminal 6

Terminal 6 has been on Death’s Row at least since June 2010. So why are so many aflutter now? It’s an old adage but a persistent one: It hasn’t happened until the New York Times reports it, or until there’s a television tie-in as newsworthy as the cheesy jet set-orama, "Pan Am" on ABC. As NYT’s David Dunlap pointed out, the boarding gates are already rubble. More to the point, he describes structural innovations so sophisticated that they are invisible:
While many architects speak of creating transparent spaces, Mr. Pei actually achieved the effect through the complex engineering that underlies the seemingly straightforward structure. The main pavilion of Terminal 6 sits under a deep steel roof truss that rests on the spherical tips of 16 enormous cylindrical concrete columns. That eliminated the need for load-bearing walls, which allowed Mr. Pei to design a pioneering all-glass enclosure that is suspended from the roof truss. Even the supporting mullions between the main window bays are made of glass. One can look all the way through the terminal and out the other side. All sorts of subtle maneuvers make this transparency possible. For instance, rain is drained off the roof in channels that run through the spherical joints between the roof deck and the supporting columns, eliminating the need for any visible ductwork.
In other words, no lovable wings on this hub. Instant image points helped get a last minute reprieve for that other threatened terminal, Saarinen’s TWA, while this one has the slight chill of a grainy B&W that appeals more to connoisseurs. The web-wide chorus of shock and disbelief that got twittering this morning is too late and too little to stop the destruction. Meanwhile Saarinen’s TWA may have been saved, technically, but its current state of limbo is way too far off the beaten path for eager travelers racing to get on security line, and it is far from secure. We keep asking Andre Balazs about his plans to turn it into that utter oxymoron—a hip airport hotel—but no plans have materialized, and he’s busy rescuing hotels that already exist in the East Village. Good luck, Terminal 6, and see you in the history books.

Quick Clicks> On Decq, Walkup, Toxic Town, Pei OK

Odile Speaks. French architect Odile Decq, designer of the recently completed Macro Museum in Rome, will be delivering a lecture at Hunter College in New York on Friday, March 4. The event takes place on the second floor of the MFA building (450 West 41st Street) at 6:00 PM. Walk-way-up. At 45 stories, a skyscraper in Caracas, Venezuela could be the world's tallest walk-up. The New York Times has the story of the stalled tower that's now home to some 2,500 squatters. While the building lacks amenities like an elevator, proper bathrooms, or guardrails, it's said to offer a commanding view of the surrounding city. Toxic Town. Forbes ranks the ten most toxic cities in America and Philadelphia rises up as champion - toxic champion. Based on air and water quality, Superfund sites, and data from the EPA, the list generalizes that the west coast suffers from morbid air quality while New York, 4th worst, could improve its water quality. Pei Okay. The Wall Street Journal reviews I.M. Pei's Manhattan Centurion apartment building and finds that it "embodies an unfussy, functional, and elegant ethos that elevates it well above the schlocky residential construction now omnipresent in New York City." Pei collaborated with his son on the project, which might not be their last.