In the perennial battle of rads versus trads, Penn professor and former Slate architecture critic Witold Rybczynski often sides with the trads. So it was a bit of a surprise to see Rybczynski take to the op-ed page of the New York Times in defense of Frank Genry's design for the Eisenhower memorial. Genry's design has numerous critics including two of Eisenhower's granddaughters, as well as the usual suspects who think classicism is the only appropriate approach to everything really, especially if it involves patriotism, presidents, or Washington D.C. Rybczynski calls Gehry "our finest living architect" and worries that a design-by-committee approach will undermine the quality of the memorial. Or as Eisenhower might have said, beware of the classicist/reactionary complex.
Posts tagged with "Memorials":
A decade after the 9/11 attacks, the public will soon be able to visit the site, much of which has been fully transformed into the 9/11 Memorial Plaza. While many were dispirited by the years of revisions to and deviations from the Libeskind master plan (which itself had many detractors), AN's recent visit to the plaza, crowded with workers laboring toward the anniversary opening, revealed a vast, contemplative space that we predict will function well as both a memorial and a public space. Next week AN will take a look at the design and offer a preview of the what the public can expect from the space, but, first, a look at how the highly engineered plaza works. With transit tunnels, mechanical systems, and much of the memorial museum located below the surface, the plaza itself could only be approximately six feet thick. Unlike the original World Trade Center Plaza, which many found to be barren and scorching or windswept, the Memorial Plaza is conceived of as an abstracted forest of Swamp White Oaks surrounding two monumental pools outlining the footprints of the original towers. Designed by Michael Arad and Peter Walker Partners, with Aedas, the plaza will include approximately 400 trees, 215 of which will be in place for the opening. About one third of the plaza has yet to be constructed, while the Santiago Calatrava designed PATH station is being completed. Plaza plantings are arranged in bands, alternating between bands of pavers and bands of trees, grass, and ground cover. This creates both a unifying visual language for the large plaza and a highly rational system for organizing the mechanical and irrigation systems on the site. Between the planting bands, accessible utility corridors house electrical and security equipment. Drainage troughs divide the planting bands from the utility corridors. The whole plaza acts as a vast stormwater collection tray. The plaza is very carefully graded to channel stormwater into the drainage troughs. Rainwater is collected in cisterns below and recirculated in the plaza's drip irrigation system as well as funnelled into the memorial fountain. The trees grow in a lightweight mixture of sand, shale, and worm casings. Growing and installing the plaza's oaks has been a long process. Given the pace of slow construction, the trees, which have been cultivated at a nursery in New Jersey, are much larger now, most standing around 25 feet tall. Trees were hauled onto the site with cranes and then placed in the planting beds with a specially designed lift. Tree roots will spread laterally, filling in the planting bands, and designers believe they will eventually reach 60 to 80 feet in height. The roots are anchored with bracing under the stone pavers. While the PATH station is being completed, the remaining unfinished plaza is still an uncovered construction site, inaccessible to the public. According to Matthew Donham, a partner at Peter Walker, the construction of that portion of the plaza will be even thinner in depth. Aside from an expansion joint, there will be no visible difference between the two sides.
Today, Frances Anderton shares her loving tribute to West Hollywood urban designer and dear friend to the LA design world John Chase. If you wish to share your own, friends and family will gather in West Hollywood for a memorial service this afternoon. Technically it's considered a "celebration of his life." And in that spirit all are encouraged to "dress as if John picked out your outfit." That means bright and cheery, to say the least—no architect's black allowed. We can't wait to see what people choose to wear in his honor. The event takes place from 4pm to 7pm at Fiesta Hall in Weho's Plummer Park at on his beloved Santa Monica Boulevard. UPDATE: Below are a few fashionable pix from the event. The colorful clothes were a perfect tribute that John would have no-doubt loved.
This week, the Port Authority of New York and New Jersey (PA) and Santiago Calatrava released renderings of the scaled back World Trade Center Transportation Hub. Gone is the sweeping column-free span, originally envisioned by the Spanish architect known for his expressionistic structures. Tapered columns have been added, which the Port Authority and the architect argue will speed along construction and reduce the amount of steel needed to complete the project. The skylights, which were to bring natural light into the mezzanine, have also been eliminated. This is only the latest compromise at the WTC site. As Alec Appelbaum wrote on October 2, a new report from the PA laid out plans for a revised timeline and simplified construction, including at the hub. When the report was released, the PA pledged to open the memorial in time for the tenth anniversary of the attacks. By Tuesday, Christopher Ward, executive director of the PA, speaking at a City Council hearing, pushed back the schedule for the public opening of the memorial to 2012. Calatrava has often said the new hub would rival Grand Central Terminal as one of New York's grandest public spaces. As his vision has steadily been eroded, it's time to ask if the space will be closer to the underground interior of Pennsylvania Station.
Amid the endless hand wringing about design and planning compromises and the pace of construction at the World Trade Center site, the dedication of the Pentagon Memorial on September 11 offered some solace. A simpler project by far, the Pentagon Memorial still took years longer to complete than expected. “When we got the commission, we took an 18 month lease in Alexandria, Virginia,” said Julie Beckman, one of the memorial’s designers, “but it ended up being a 66 month long project.” Fundraising for the memorial, all which came from private sources, proved challenging, but the architects believe the extra time improved project as built. “It was a blessing in disguise,” she said. Beckman and her partner Keith Kaseman, who together run the Philadelphia-based firm KBAS, used the extra time for research and development. They had initially planned to use a single piece of anodized aluminum for each bench, or “memorial unit,” as they call them. After consulting metallurgical experts at Virginia Tech who questioned the long-term durability of aluminum, they opted for stainless steel above grade and pre-cast concrete below grade. They also tinkered with the gravel base, adding a bit of cement to the mixture, while leaving a thin layer of loose gravel on top. Six concrete paths were added to improve accessibility. Though the project took longer to complete than expected, the end result looks almost identical to their competition-winning design. “I hope 9/11 families everywhere feel welcome to use the memorial for their thoughts and reflections,” Beckman said. For KBAS, the project has left an indelible mark on their practice. Said Beckman, “We want to keep working on projects that have a positive impact on their communities.”