Posts tagged with "Memorials":

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New York City’s AIDS memorial completed in time for World AIDS Day

After five years of construction, the AIDS Memorial in the West Village at St. Vincent’s Triangle on Seventh Avenue was dedicated yesterday, December 1, for World AIDS Day.

NYC AIDS Memorial dedication moment ‪#nycaidsmemorial‬

A photo posted by Michael Longacre (@m.longacre.ny) on

Community members and activists joined Mayor Bill de Blasio and city councilmember Corey Johnson to dedicate the park in memory of those who lost their lives or are affected by AIDS. The dedication included a performance by the Gay Men’s Chorus and the names of those who died as a result of AIDS. The memorial was designed by Brooklyn architecture firm Studio a + i and features an 18-foot metal canopy made from three connected triangles. Artist Jenny Holzer engraved Walt Whitman’s poem, “Song of Myself” in the granite pavers beneath the canopy—her first permanent installation in New York City.
It is appropriately located across the street from the former St. Vincent’s Hospital, the second dedicated AIDS clinic in 1984, and is less than a block away from the LGBT Community Center on 13th Street. Although the hospital was converted to condos by the Rudin family and Global Holdings after it closed in 2010, the building is still remembered as being on the forefront of the AIDS crisis. The memorial itself came to fruition in part thanks to the efforts of Christopher Tepper and Paul Kelterbrn, who started the NYC AIDS Memorial organization in 2011 and raised more than $6 million to make the monument in honor of those who suffered from the disease.
“There are no definite dates or victims. In our design process, we emphasize the changing and varied ways through which AIDS affects us personally and as a society,” Studio a + i said on its website. The memorial will also feature a park and a water feature designed by Rick Parisi of M. Paul Friedberg & Partners with Manhattan-based company Rudin Management, offering repose and reflection to everyone.
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Design for Memorial to Peace and Justice unveiled

In Montgomery, Alabama, a new museum and a memorial to victims of lynching—one of the first and the largest in the nation—are set to open in 2017. The Memorial to Peace and Justice, founded by the nonprofit Equal Justice Initiative (EJI) and designed in partnership with MASS Design Group, is reminiscent of a gallows, with hundreds of hanging stone slabs inscribed with the names of lynching victims. The EJI released a report last year documenting over 4,000 victims of lynchings between 1877 and 1950 and purchased six acres of hilltop land in Montgomery for the memorial.

Accompanying the memorial will be a museum, “From Enslavement to Mass Incarceration,” that will draw a parallel between slavery and our present-day criminal justice system. Set on the site of a warehouse where slaves were held before being sent to the market, the museum will focus on remembering the history of slavery as well as highlighting contemporary issues related to racial inequality, such as police brutality and wrongful convictions, through interactive displays, and archival footage, photographs, and documents.

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Four finalists named in Memorials for the Future competition

Four finalists have been named in the “Memorials for the Future” design competition, launched to find new ways to create, experience and think about memorials in the nation’s Capitol. Competition sponsors on Wednesday announced the finalists, who were selected from a group of 30 semi-finalists by an 11-member jury. The jurors originally planned to name three but ended up adding a fourth that they didn’t want to eliminate. The proposals were very different from each other, ranging from a series of oral histories of significant places, told by a “roving flock of bright parrot-like automated story tellers,” to high definition videos of national parks projected inside the Anacostia Metro station, to disappearing rows of cherry trees that would show the effect of climate change and rising sea levels. The competition was organized by the National Park Service, the National Capital Planning Commission and the Van Alen Institute. The finalists will be asked to ask to take part in a research and design process that will lead to proposals for site specific memorials in Washington, D. C.  A winner will be named on September 8. The finalists are: American Wild: A Memorial Team: DHLS. Members: Forbes Lipschitz, Halina Steiner, Shelby Doyle, Justine Holzman American Wild virtualizes the National Parks through an interactive, immersive installation. Using ultra-high-definition video, recordings of each 59 natural parks can be projection-mapped at full scale. Audio recordings heighten the visceral experience and establish emotional connections to the landscape. The memorial democratizes National Park access by creating an installation in one of the most economically and racially diverse neighborhoods in the nation’s capital. Full scale, immersive environment design expands access to both phenomenological experience and ecological understanding. In so doing, the memorial reinvigorates the ways in which we interact with the cultural and biological diversity of the American landscape. Climate Chronograph Team: Azimuth Land Craft. Members: Erik Jensen, Rebecca Sunter A platform for witnessing rising seas, the Climate Chronograph is a living observatory for an unfolding global story. As seas rise, cherry trees die in place, becoming bare branched delineations of shorelines past. Over a lifetime, a visitor will experience the same place in its ever-changing condition, a legible demonstration of generational-paced change. This new memorial is continually becoming, and in doing so offers a new approach to monumentality. A light human hand sustainably initiates a profound pastoral meditation. This landscape chronograph marks both our vulnerability and our response. It records the challenges before us. The IM(MIGRANT) : Honoring the Journey Team: Honoring the Journey. Members: Radhika Mohan, Sahar Coston-Hardy, Janelle L. Johnson, Michelle Lin-Luse The experience of movement and migration is the elemental experience of what it means to be an American. Leaving home, hopeful and expectant, and meeting hostility and kindness, misunderstanding and acceptance. Overcoming obstacles fueled by ambition and resourcefulness. Making a new home among people familiar and strange. Immigrant experiences, including those of native peoples, are at the foundation of the national psyche. They are also experiences that divide our country and have been a part of our political debate since the country’s founding. THE IM(MIGRANT) is a proposal that responds to these ideas, reinforcing core American beliefs by unfolding and commemorating the varied journeys that grandparents, parents, brothers, sisters, cousins, aunts, uncles, friends, and strangers have taken through the landscape of Washington, DC. It offers the visitor access to the experience of movement, of arrival, and of making a new home. VOICEOVER Team: Talk Talk. Members: Anca Trandafirescu, Troy Hillman, Yurong Wu, Amy Catania Kulper VOICEOVER: histories, memories, and flights of fancy. VOICEOVER is a project that embraces a spirit of revisionism as a means toward a broader and more democratic form of national memorialization. Rather than a freestanding monument, VOICEOVER is a supplemental overlay that expands the original monuments’ meanings and extends the territory of possible memorial subjects deeply into Washington DC’s urban fabric. Fragmentary and dependent by nature VOICEOVER makes no claims toward cultural conclusions on historic events. Rather, VOICEOVER is a loud call to reawaken a nation to its relevant and multi-faceted pasts. It gives voice to the diverging understandings and conflicting perspectives of a multi-cultural society.
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Semifinalists announced for Washington, D.C. Memorials for the Future competition

Thirty semi-finalists for the Memorials for the Future competition have been announced. Launched in mid-April, the competition was organized by the National Park Service (NPS), the National Capital Planning Commission (NCPC), and Van Alen Institute, and seeks a design concept for a temporary memorial somewhere in Washington, D.C. (see our prior coverage here). Part of the competition criteria was that the memorial be adaptive to different perspectives/narratives, ephemeral, virtual, interactive, or event-focused. One semi-finalist submission, The Installation of 6 Million Stars, commemorates the victims of the Holocaust. This interactive memorial consists of two joined open triangles whose lights can be activated digitally (i.e. remotely) or by touch. While certain details on this project are forthcoming, the proposal states that selecting a light would lead you to more information on a Holocaust victim’s name and his/her biography. Because the lights can be activated from different places and at different times, the memorial would be constantly changing. The Installation of 6 Million Stars intends to encourage the participation of young people through its digital interface. Among the many semi-finalists that utilize digital technology is M.A.R.K. (Memorial Augmented Reality Key). M.A.R.K. consists of physical markers and a M.A.R.K. mobile device app. When a marker is scanned using the app, your phone can display different points in history of the landscape, “[adding] a visual and auditory layer of history to the existing scene,” according to the design summary found on the competition’s website. RFID, GPS, and your camera allow this virtual reality to be accessed. A timeline on your phone's screen acts as a time machine, from which users can select a time period to see the surrounding landscape. At a time when virtual reality experiences are exponentially gaining popularity, this type of memorial aims to fit into the dynamic environment of D.C. and encourage a broad audience to engage with history. A less digitalized memorial is Memorials for the Future Lost Cities which commemorates cities that will likely be radically changed or destroyed by the rising sea level. An elevated pavilion-like structure located on Hains Point would include “a small exhibition space, a covered picnic/play area and a server to host a digital library.” The library will document the history of these “future lost cities.” Of the semi-finalists, many pay tribute to American history, environmental concerns, or current issues such as terrorism and gun violence. Finalists will be announced on June 8.
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Breaking: World War I Centennial Commission names winner in memorial competition

The World War I Centennial Commission in Washington D.C. has announced Chicago–based designer Joe Weishaar and New York–based sculptor Sabin Howard as the winners of the World War I Memorial Completion. The-Weight-Of-Sacrifice-presspacket-aerial The two stage competition solicited proposals to design a national WWI memorial for the Pershing Park, which currently contains a memorial to WWI General John J. Pershing. The park was designated a National WWI memorial by the federal government in late 2014, but the park was not been redeveloped to reflect this new designation. Joe Weishaar & Sabin Howard’s design entitled "The Weight of Sacrifice", was picked from five shortlisted finalists after an open competition in 2015. The winning design is comprised of a 137’ long gradually slopping wall which surrounds a grass lawn and singular sculpture. The wall, constructed of darkened bronze is animated with reliefs depicting the various roles of soldiers throughout the war. The cubic space encapsulated by the wall is also equal to that of the number of U.S. Soldiers lost in the war – one cubic foot for each of the 116,516 lost. At the heart of the project is an intent to keep the site as a public park space. The project narrative reads, “The allegorical idea that public space and public freedom are hard won through the great sacrifices of countless individuals in the pursuit of liberty provides the original design concept for this project.” The four other shortlisted offices included proposals ranging from contemporary rectilinear concepts to a neo-classical design reminiscent of a triumphal arch design. Each of the designs was guided by 10 design goals set forth by the World War I Centennial Commission. These included guidelines addressing enclosure, access, contextual considerations, and sustainability. The negotiation of what to do with the current park amenities and memorial was left up to the participants to address. The winning design proposes to keep the current General Pershing monument as it stands. Though the park has already been designated as the National WWI Memorial, the park itself has also recently been named as being eligible for listing in the National Register of Historic Places by the National Park Service. If the park achieves this designation, there would be a foreseeable conflict of redevelopment as the project attempts to move forward. The parks current configuration was designed by landscape architects M. Paul Friedberg and Oehme van Sweden.
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Remember the Triangle Fire Coalition gets $1.5 million state grant to build Richard Joon Yoo– and Uri Wegman–designed memorial

This year marks the 104th anniversary of the Triangle Shirtwaist Factory fire, one of the most lethal industrial disasters in the United States. To the shock and delight of labor activists and descendants of workers who died in the fire, New York State Governor Andrew Cuomo announced yesterday that the state would provide a $1.5 million grant to Remember the Triangle Fire Coalition (RTFC) to build a memorial at 29 Washington Place, the site of the former factory. The grant, culled from state economic development funds, will cover the full cost of construction, the New York Times reports. The building that housed the factory still stands. Now owned by New York University (NYU), it houses some of NYU's biology and chemistry labs. Due to its significant place in labor history and the women's rights movement, the structure is a New York City and a National Historic Landmark. In 2013, New York-based architects Richard Joon Yoo and Uri Wegman won the memorial design competition sponsored by RTFC. Yoo has his own firm, Half & Half Architecture, while Wegman practices at Matthew Baird. Their design,“Reframing the Sky,” is sensitive to the historic architecture while bringing visibility to labor issues, past and present. The names of 146 victims will be inscribed on steel panels 13 feet above the sidewalk. At about knee height, a mirrored steel panel will reflect the etched names above before shooting up the side of the building to the eighth floor, where the fire originated. The lower panel will also feature a description of the blaze and its aftermath. The insufficient fire safety and emergency exit measures the disaster exposed strengthened the organizing of the International Ladies' Garment Workers' Union (ILGWU) and prompted building code and fire prevention reforms nationwide. Mary Anne Trasciatti, president of RTFC, stated that the organization will raise an additional $1 million to maintain the memorial. The money will also fund scholarships for the children of present-day garment workers and students pursuing labor history.
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Under budget pressures, WXY reveals new ideas for long shuttered Brooklyn War Memorial

The band Barenaked Ladies famously speculated on what a million dollars could buy: a little tiny fridge filled with pre-wrapped sausages, K-cars, a woman's eternal, undying love, or fancy ketchups.  Well, this isn't the nineties anymore, and, as community leaders in Brooklyn are learning, seven figures will not be nearly enough to renovate and preserve the Brooklyn War Memorial. New York's WXY, lead consultants on the 2014's Brooklyn Strand and 2013's Brooklyn Tech Triangle master plan, led the design team and facilitated community visioning sessions for the memorial. The memorial renovation is a component of the "Brooklyn Strand," a project to unify the patchwork of parks, plazas, and green spaces between Brooklyn Bridge Park and Borough Hall. This month, the Mayor's Office released The Brooklyn War Memorial Feasibility Study to delineate proposed changes to the area. Spearheaded by the Cadman Park Conservancy, the Downtown Brooklyn Partnership, and the Borough President Eric Adams, community leaders are looking to raise $11.8 million by 2019 for the renovation. Adams has allocated $1 million to the project, but other politicians, businesses, and foundations will need to come forward with the difference. Though the memorial, in Cadman Plaza Park, sits near eight subway lines, is proximate to a year-round farmer's market, and is often surrounded by lunching office workers, its prime location has not helped with fundraising. So far, the conservancy has received a paltry $4,060 through a May crowdfunding campaign. WXY facilitated workshops with residents and community groups to generate ideas for the memorial and surrounding park space. Designed by New York's Eggers and Higgins and dedicated in 1951, the memorial honors the 300,000 Brooklynites who served in World War II. Due to lack of maintenance funds, the site has been closed to the public for the past quarter century. Currently, the memorial building contains offices and storage on the lower level, while the primary attraction, a Wall of Honor that displays the names of more than 11,500 borough residents killed in battle, occupies the main floor. The renovation of the 33,660-square-foot space would add a visitor's center, exhibition hall, and cafe to the lower level, and a rooftop terrace that can be rented out for events. Gentle slopes will flank the entrance, inviting Strand strollers to linger around the memorial. An ADA compliant entrance ramp at the main level and elevator are planned, as well.
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Höweler+Yoon combine cutting-edge tech and age-old craft to complete the Sean Collier Memorial at MIT

On April 18th, 2013, the Boston Marathon bombers went on a crime spree that included the killing of Officer Sean Collier who was shot in the line of duty on the MIT campus. In honor of the slain MIT patrol officer, the university commissioned Boston-based Höweler+Yoon Architecture to design the Sean Collier Memorial—a somber, grey stone structure that marks the site of the tragedy. The heaviness of the unreinforced, fully compressive masonry structure is meant to convey the concept of “Collier Strong,” or strength through unity. Thirty-two solid blocks of granite form a contemporary version of a five-way vault. "Our goal was to not post-tension the structure, to make it compressive and use solid blocks," Höweler + Yoon principle Meejin Yoon told AN, "It could have been built out of concrete or steel, but we wanted solid blocks." The large stone pieces were digitally designed and fabricated to work as a self-supporting structural system. Forces are translated into form via a robust combination of cutting-edge computational processes and ancient techniques for making masonry structural spans. The stones were precisely milled within a .5 millimeter tolerance, so that they fit together perfectly to form a compression ring with a keystone that caps the shallow masonry arches. In the center of the buttressed vaults is a covered space for reflection. The buttresses act as walls that extend out to the surrounding campus context. The novel concept required many moving parts to work in harmony. "It is very pure. It is a simple idea," Yoon said. "It took so much collaboration to make this simple idea have the integrity that it did. There were students from 8 degree programs, including a PhD student, undergraduate architecture, undergrads in building technology, and grads in engineering and architecture." Engineering and design were intricately linked form beginning to end. The whole design process was influenced by a feedback loop of physical, analog, and digital models as well as digital simulation. Massive quarried blocks of stone were cut with a single-axis robotic block saw, then with a multiple axis KUKA 500 robot. Robotic milling processes made the tiny tolerances possible. Some of the blocks took as long as seven days to carve, with machines running 24 hours. Often, the cutting tools would wear down, causing the tolerances to change mid-fabrication. The team compensated by altering the digital model and then the next piece would change to match what had been previously carved IRL. Sensors were placed at each joint as the project was assembled on site. As stonemasons placed the high-tech monoliths into the 32-part final assembly, the structure was a choreographed symphony of new technology and timeless craft. The legible visualization of forces is parallel with the MIT ethos of openness and transparency, while the poetic nature of a dry masonry vault represents togetherness of the community in recovery. The project team also included structural engineer Knippers Helbig- Stuttgart, masonry consultant Ochsendorf DeJong and Block Consulting Engineers, landscape architect Richard Burck Associates, civil engineer Nitsch Engineering, geotechnical engineer McPhail Associates, lighting designer Horton Lees Brogden Lighting Design, and electrical engineer AHA Consulting Engineers.
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LEGO Architecture honors the Great Emancipator with a miniature of the Lincoln Memorial

A miniature LEGO model of the Lincoln Memorial has just launched under the LEGO Architecture brand, a “Lego for grownups” product line that celebrates architecture and the chameleon capabilities of the LEGO brick. Featuring recreations of landmark buildings such as the Leaning Tower of Pisa, Sydney Opera House and Dubai’s Burj Khalifa, the latest set honors the memorial completed in May 30, 1922 in homage to the 16th president of the United States. The final cost of the memorial approached $3 million, although just $2 million had been initially allocated. Despite not being immediately apparent to the naked eye, the building’s columns and exterior walls are slightly inclined toward the interior to compensate for visual perspective distortions that would make the building appear to bulge at the top. Honoring the 57th anniversary of Lincoln’s assassination, the memorial designed by Henry Bacon resembles a Greek temple, with 36 fluted Doric columns to represent the number of recognized states at the time of Lincoln's death. Visible from the outside is the famous oversize statue by Daniel Chester French, with Lincoln’s left hand clenched to symbolize strength and determination and his right palm open in a show of charity and compassion. While the LEGO model measures a mere two inches tall, 4 inches wide, and 3 inches deep, it has an easily removable roof for viewing the statue inside. Aspiring towards a true-to-life remake, the model includes the steps leading up to the building from the reflecting pool. The set includes a sorely-needed plastic brick separator for detaching those notoriously clingy flat bricks, as well as a 65-page instruction manual.
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Gehry unveils latest design for controversial Eisenhower Memorial in Washington D.C.

[beforeafter]01-eisenhower-new-a 01-eisenhower-new-b[/beforeafter]   Frank Gehry has offered up another design for his remarkably controversial Eisenhower Memorial in Washington D.C. The revised approach comes a few months after the National Capital Planning Commission shot down Team Gehry’s last design which included massive metal tapestries and columns that obstructed views of the capitol dome. [beforeafter]02-eisenhower-new-b 02-eisenhower-new-a[/beforeafter]   For the new iteration, Gehry ditches the large tapestries and columns that frame either end of the site, but he hasn't given up entirely on the tapestry idea just yet. The memorial still includes the significant mesh screen that runs the length of the memorial and is supposed to depict the Kansas landscape where Ike grew up. Overall, the commissioners seemed to appreciate the design changes, but let's not overstate things. DCist reported that Ellen McCarthy, the director of Washington's Office of Planning, questioned the team’s decision to keep two freestanding 80-foot columns at the site. The director reportedly compared them to left-over pieces at the end of a Planet of the Apes movie. California congressman Darrell Issa said they look more like the structural columns holding up Eisenhower’s interstate highway system. Still, Issa said he would rather move forward with this plan than start over with an entirely new design. The panel will vote on the revised plan at its next meeting.
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Gehry to Unveil New Eisenhower Memorial Plans Next Month

Frank Gehry has had a hell of time with this Dwight D. Eisenhower Memorial in Washington, D.C. Since the architect was selected to design the memorial in 2009, his plans to honor Ike have been met with sustained and scathing backlash. Countless columnists have pilloried Gehry's design, the U.S. Commission of Fine Arts objected to key elements of the memorial, Eisenhower's granddaughter compared the metal tapestries that frame the site to fences at a Nazi concentration camp, congress rejected $49 million in construction funding for the project, and then, in April, the National Capital Planning Commission (NCPC) voted 7-3 to reject the the plan. But it's going to take more than that to stop Gehry. According to Reuters, the architect will unveil a revised design to the Planning Commission at their next meeting in July. It will be interesting to see what that means for  the most controversial element of the project:  the 80-foot-tall columns and the large metal tapestries, which are intended to depict the Kansas landscape where Eisenhower grew up. Here is Gehry explaining his proposal to the NCPC in 2010.
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Major Rejection for Gehry’s Eisenhower Memorial Threatens Project’s Future

The road to fruition for the Frank Gehry–designed Dwight D. Eisenhower Memorial has been full of twists and turns. And now, it seems, the Los Angeles architect’s plans may have reached a dead end. Last week, the National Capital Planning Commission (NCPC) voted seven to three to reject the preliminary site and building plans for the memorial. The vote followed five hours of testimony from the proposal’s supporters and detractors, including House Oversight and Government Reform Chairman Darrell Issa (R-CA). Issa spoke against one of the design’s most (but not only) controversial features: the massive stainless-steel “tapestries” meant to depict scenes from Eisenhower’s life. Gehry’s design, which centers around a colonnade supporting three 80-foot-high tapestries, has been the subject of fervent debate since its unveiling in early 2010. In late 2011, two of Eisenhower’s granddaughters expressed public dissatisfaction with the design. The following March, Congress held a hearing on the matter. Then, in March 2013, Rep. Rob Bishop (R-Utah) proposed a bill to shut down the design. In the meantime, the most vocal of the Gehry proposal’s opponents, the National Civic Arts Society, launched a competition for a more traditional design. Last July, the U.S. Commission of Fine Arts approved an updated design, but in January, Congress, unimpressed with Gehry Partners’ revisions thus far, cut off funding to the Eisenhower Memorial Committee. The NCPC executive director’s recommendations [PDF], which the commission adopted on Friday, cited concerns with “the proposed scale and configuration of the tapestries” and how they jeopardize several of the design principles outlined during the 2006 site approval process. These include protecting views to and from the Capitol building, preserving building and tree lines along Maryland Avenue, and working within the L’Enfant Plan’s broader vision for Washington, D.C.’s civic core. The report asked Gehry Partners to modify the memorial design to address specific issues of pedestrian circulation, perimeter security, lighting, and public space. On a positive note, the NCPC report announced that the stainless steel alloy proposed for the tapestry panels passed a series of durability tests. No one has said for certain that Gehry’s design is a goner. The NCPC report “[n]otes the Commission’s continued support for a modern and innovative approach to commemorate President Dwight D. Eisenhower, including the possible use of stainless steel tapestries, although not as currently proposed.” If nothing else, the price associated with scrapping the Gehry proposal—an estimated $17 million—has kept the process going this long. But the question remains: how many more stops and starts can one project take?