Tightening the Greenbelt. Per Square Mile explores why greenbelts fail to hold back city sprawl. Using London and San Francisco as examples, Tim De Chant writes that perimeter actually parks attract suburbs to form outside their borders. Role of a lifetime. The AIA has awarded Portland U's Sergio Palleroni the Latrobe Prize for his research on the role of architects in future public interest projects. A Portland Architecture interview plays well with De Chant's article above, as Palleroni casts a critical eye on Portland's sprawl. Going, Going. The list of the top seven endangered buildings in Chicago was today released by Preservation Chicago. Curbed Chicago pounced on list an hour after it went online. At the very top is a relative youngin': the 1975 Prentice Tower (by Mies student Bertrand Goldberg), whose uncertain fate AN's Julie Iovine covered in a recent issue. Bids 4 Bush... Bids for yet another NYC waterfront property are begin accepted by the New York Economic Development Corporation Crain's reports, and this one comes with a 99-year ground lease. The 130,000 square-foot property sits on Gowanus Bay at Bush Terminal in Sunset Park Brooklyn.
Posts tagged with "Mies van der Rohe":
Towering Ambition. An amazing exhibition that recreates some of the world's most iconic buildings in miniature is ongoing at the National Building Museum in Washington, D.C through September 5th. Design Quarterly has more info on the Lego structures by Adam Reed Tucker (via Notcot) and the NBM has an interview. (There's also a lecture on architectural toys planned this Thursday.) High Hopes. The Atlantic features an Ed Glaeser article on the benefits of building up, detailing the benefits of the skyscraper and acknowledging the "misplaced fear" that planners and preservationists harbor toward the tower. Loop the Loop. In St. Louis, a proposed streetcar line connecting Forest Park with the Delmar Loop is right on track. With an Environmental Impact Study expected any day now, the St. Louis Business Journal says $3 million of a $25 million federal grant will push the project forward. Rich Zip. New York's bronze-clad Seagram Building by Mies van der Rohe has long been a symbol of wealth, but now the Wall Street Journal reports that the 38-story tower, with its own zip code (10152 if you were wondering), is also home to the wealthiest per capita income in the U.S. at $13.9 mil. The General Motors building came in second with an average income of $9.9M.
Virginia Tech's Solar Decathlon-winning Lumenhaus is currently cooling its heals in the opulent surroundings of Millennium Park. The house, which has been touring the globe, was brought to town to coincide with GreenBuild, and is remaining on view through Saturday. The compact house is efficiently designed both in terms of space and energy use, and is completely self-sustaining. Though its stay in Millennium Park will be brief, it's not going far. The house will be stored on the grounds of the Farnsworth House for the winter and will be open to the public when it reopens for the spring season in April 2011. Whitney French, executive director of the Farnsworth House, sees a deep connection between the two structures. "The design is deduced from the ideas of Farnsworth. It's organized around a utility core with broad views out to the landscape," French said. She also points out that Mies' design take advantages of natural cross ventilation and seasonal changes in sun and shade. And while Farnsworth was revolutionary in its day--and is still considered one of the world's great houses--Lumenhaus is decidedly more high-tech, with the latest in sustainable bells and whistles. It also uses more passive techniques, including rainwater retention ponds and passive heating. The interior is bright and open, a model of efficient, contemporary living. The Lumenhaus won't have to compete directly with the Farnsworth in terms of aesthetics, though. It will be situated near the visitors center, some distance from Mies' materpiece. The Lumenhaus is expected to remain at the Farnsworth site until June, 2011.
Everyone may be a critic, but none moreso than Roger Ebert. While film has long been the Chicagoan's preferred medium, he has increasingly cast his eyes and pen elsewhere on his Sun-Times blog (begun after a bout of thyroid cancer). Yesterday, he fixed his attention—and mostly scorn—on modern architecture. It's a highly opinionated piece, one in which Ebert openly admits his increasingly "reactionary" preferences:
It was not always so. My first girlfriend when I moved to Chicago was Tal Gilat, an architect from Israel. She was an admirer of Mies. Together we explored his campus of the Illinois Institute of Technology. She showed me his four adjacent apartment buildings on Lake Shore Drive and said they looked as new today as when they were built. It is now 40 years later, and they still look that new. Then I was impressed. Now I think of it as the problem. They will never grow old. They will never speak of history. No naive eye will look at them and think they represent the past. They seem helplessly captive of the present.Ebert goes on to bemoan the loss of character in Chicago and beyond, in buildings new and old. "Remember a deli, with its neon signs, its daily prices, its sausages and cheeses and displays of pop and wine in the window. Now it has been defaced and replaced by this branch of the Bank of America, which was not even conceived for this site, but offers as little glass and metal as it possibly can, devoid of any ornamentation at all." Yet this seems much more like a problem with capitalism than architecture, not to mention that the latter has always been a product of the former, a reality of both the most grandiose and spare buildings. There's long passages applauding Sullivan—and defaming Mies for denuding him, as Ebert sees it. With all this praise for the past, is there anything he does like? Never having watched much Ebert ourselves, we always got the sense he was rather conventional. What does he think about Jean Gang's Aqua or the compelling work of Krueck+Sexton? Surely it can't all be bad, much as Ebert seems to be remembering the past a little too fondly, as there has been the good and the bad throughout history, architectural and otherwise. Over at the LA Times there's a poll asking readers what they think of Ebert's arguments. About a little more than a third say he's being too simplistic, while the same amount find him to be right on the money. Whatever said you take (and we think we can guess what that is) it's still a thoughtful, if disagreeable piece, and well worth reading.
Photographers and videographers William Zbaren and Robert Sharoff interviewed architect Ron Krueck about his firm's restoration of Mies van der Rohe's towers at 860-880 Lake Shore Drive, better known as the Lake Shore Drive apartments. Krueck, a principal at Krueck + Sexton Architects, calls the towers "revolutionary" for their time for their delicacy and lightness. The video is accompanied by beautiful photographs of the exteriors and grounds.
Mies van der Rohe has suffered some indignities lately, with a building at Chicago’s Illinois Institute of Technology knocked down and plastic palms taking root at the Dirksen Federal Building. Now comes Madrid-born artist Iñigo Manglano-Ovalle’s latest work, Gravity Is a Force to be Reckoned With, which realizes one of the master’s unbuilt projects—albeit upside-down. On display at the Massachusetts Museum of Contemporary Art through October 2010, the installation is an inverted, half-scale replica of Mies’ 50x50 House project (1951). The small, box-shaped house is completely enclosed in glass, and replete with black leather chairs, glass-topped tables, and a wood-partitioned kitchen counter containing a small range, a sink, a French press, and a teaspoon. But in Manglano-Ovalle’s version, the walls and floor of the structure do not touch the ground; the house appears suspended. The interior lighting is a clinical white. Viewers look up to see Miesian chairs and tables hanging from the structure’s ceiling, the floor of the inverted room. On one table, the screen of a cell phone glows next to a pack of cigarettes and a notebook. Below, a coffee cup has fallen victim to gravity, its shards lying in a puddle of spilled liquid on the ceiling. Manglano-Ovalle trained at the School of the Art Institute of Chicago—he remains based in the city—and his many projects include a trio of films that center around Mies’ architecture: Le Baiser/The Kiss (1999), Climate (2000), and In Ordinary Time (2001). These were followed up by the artist’s 2006 film Always After (The Glass House), which is showing alongside the Gravity installation. The film presents broken glass being swept up, footage taken after Mies’ grandson used a sledgehammer to smash a window of IIT’s famous Crown Hall as part of that building’s restoration in 2005.
Wednesday night the Guggenheim held a benefit dinner to honor the fiftieth anniversaries of the Wright museum and of the Four Seasons restaurant. During dessert Guggenheim Director Richard Armstrong interviewed Phyllis Lambert and critic Martin Filler about the two architects, though Lambert held sway for most of the conversation. Lambert was delightfully off the cuff throughout her remarks. When asked about meeting Wright, Lambert, she replied that she and Philip Johnson thought Wright was “from another century,” apparently a reference to Johnson’s banishment of Wright to the hall outside the famed International Style show. She was complimentary about Wright’s building for the way in which it breaks up the street wall of Fifth Avenue, an urban transformation simultaneous with creation of the Seagram Plaza on Park Avenue. Filler cited the great metaphor-maker Vincent Scully’s characterization of the Wright building as a primitive drum in the heart of Manhattan, and praised the building for being as relevant today as it was when it opened fifty years ago. Talk of Mies and Johnson, however, dominated the conversation. At one point, Filler said that Johnson could be more Miesian than Mies, citing the Four Seasons interior as an example. Lambert disagreed, saying that the interior was all Johnson and that Mies would have created an entirely different restaurant had he been in charge. Lambert’s I-was-there certainty was difficult for Filler to refute. Also in attendance were Four Seasons restoration architect Belmont Freeman, Architectural Record’s woman about town Suzanne Stevens, Winka Dubbeldam, Michael Bell, Bernard Tschumi, Peter Eisenman and Cynthia Davidson, Michael Gabellini, Gisue Hariri, and Marion Weiss and Michael Manfredi.
On September 14, the Farnsworth House was engulfed by the Fox River, sustaining significant damage to its interiors and furnishings. The house, designed by Mies van der Rohe and now a National Trust Historic Site, is reopen for tours through October 29 to benefit the restoration. According to a new blog covering the effort, estimates for repairs are still being tallied. While restoration work is proceeding, some suggest that the house should be moved to a more secure location.