Posts tagged with "Modernism":
This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We’re publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.
Preservation efforts aimed at recognizing and restoring Cuba’s storied architectural relics—long a pet project within professional and academic circles—might finally become mainstream as the country adopts market-based policies.
The implications of these economic and political changes for Cuba’s cultural heritage—much of which suffers from decades of deferred maintenance—are potentially vast and unknown. Architect Belmont Freeman, who has led many tours to Cuba on behalf of Docomomo and the Society of Architectural Historians, said, “There are a lot of cranes in Havana right now, every one of them related to a hotel project.”
Recent years have seen a ballooning interest in Cuba by international hoteliers. European luxury-hotel group Kempinski is set open its first hotel in Cuba this summer. The hotel will feature 246 rooms in the renovated Manzana de Gómez building, a UNESCO World Heritage site that was designed as Cuba’s first shopping mall in 1910. Starwood Hotels & Resorts Worldwide is also entering Cuba by taking over operations of Havana’s neoclassical Hotel Inglaterra, the Hotel Quinta Avenida, and the colonial-era Hotel Santa Isabel. The move makes Starwood the first United States hotelier to enter the Cuban market since 1959. Hotel Quinta Avenida was renovated in 2016 and opened last summer. The Hotel Inglaterra, originally built in 1844, is expected to open in late 2017 after its renovation.
Real questions exist, however, not only in terms of the quality of these renovations, but also with regard to the status of other cultural, archeological, and architectural artifacts in the country. Cuba is home to a vast array of architectural history, including relics and sites important to the indigenous cultures that originally inhabited the island. However, colonial-era fortifications and more recent building stock, including successive waves of 18th-, 19th- and 20th-century development, make up the vast majority of structures across the country. What will happen to those less prominent and more sensitive relics? Many of the city’s inner neighborhoods are filled with eclectic Beaux Arts–style structures, while the outer city and its environs are a hotbed of proto- and early-modernism, with works like the Hotel Nacional by McKim, Mead & White from 1930 and the Habana Libre Hotel by Welton Becket with Lin Arroyo and Gabriela Menendez from 1958 standing out both in terms of architectural style and for their respective roles in local and international history.
Furthermore, the Revolution’s communist utopianism was codified through the prodigious production of radically progressive works of architecture by Cuban modernist architects. Those works include the expressionist National Schools of Art by Ricardo Porro, Vittorio Garatti, and Roberto Gottardi from 1961; the Brutalist Ciudad Universitaria Jose Antonio Echeverria (CUJAE) building by Humberto Alonso from 1961; and the vast neighborhoods of Habana del Este that are made up of locally derived designs modeled after Soviet modular apartments.
It is unclear if and when future building improvements are undertaken across the city, whether more recent works of architecture will be prized to the same degree as colonial-era works. Freeman painted a grim picture, saying, “There has been a steady pace of cosmetic refurbishment of old buildings in the colonial core of Old Havana, but (generally speaking) historic preservation efforts have not picked up in any significant way except for those related to tourism infrastructure.”
The effects of the recent formal economic and political changes in official policy are not necessarily new phenomena, however: Havana has strong track record of using historic preservation as an economic driver. The office of the City Historian, led by Eusebio Leal Spengler, has pioneered local attempts to embed the preservation and restoration of Old Havana’s neighborhoods into economic development plans. Old Havana is a UNESCO World Heritage Site in its own right, and while many projects in the colonial core have benefitted from Leal Spengler’s efforts—namely the restoration of Plaza Vieja and a slew of other properties the office has converted for hotel and tourismuses—many of the city’s early modernist and post-revolutionary architectural marvels sit in various states of decay and disrepair. The restoration of the National Art Schools was, until recently, slated for completion and renovation. Those efforts have petered out, subsumed by a new economic downturn following geopolitical turmoil in Venezuela, one of Cuba’s chief oil providers.
Cuban architect Universo Garcia Lorenzo, who was coordinating the renovations for the National Art Schools until the funding dried up, explained that with the Cuban government strapped for cash, major restoration projects in the country will have to rely on international funding. Some help is coming: The Italian government is funding the continuation of work on Gottardi’s School of Dramatic Arts and also, England’s Carlos Acosta International Dance Foundation was working to finance the rehabilitation of the ruined, Garatti-designed School of Ballet. But, Garcia Lorenzo said, “I can’t speculate now on when the restoration will be completed,” adding that despite the fact that Porro’s School of Plastic Arts and School of Modern Dance had been completely renovated in 2008, the current funding lapses meant there would be a shortage of funds “dedicated to maintaining those structures into the future.”
International funding cannot come soon enough, as the partially completed and dilapidated structures are exposed to the tropical elements. Garcia Lorenzo said, “Essentially, the three unfinished buildings are frozen in time, slowly decaying and waiting to be restored.”
This week Dallas is celebrating its newest landmark, a goodie but not an oldie.
The Landmark Commission voted on Monday to designate One Main Place, designed by SOM's Gordon Bunshaft, as the city's newest landmark. Beyond its waffled exterior, the 48-year-old International Style tower houses 19 floors of offices and a Westin Hotel spread out over its 33 stories.
Usually, buildings have to be at least 50 years old to be considered for landmarking, but officials made an exception for its high quality design and its singular place in Dallas's history. The New Orleans–based owners sought the designation for one particular reason: historic preservation tax credits.
The gridded concrete and granite building, though, is already listed on the National Register of Historic Places. According to its designation report, One Main Place was supposed to be part of a three-phase redevelopment of downtown Dallas that was proposed in the 1960s. That superblock scheme, which would have replaced downtown with Corbusian Cities of Tomorrow, was never realized in full.
According to the Dallas Morning News, one preservation expert told the Landmark Commission that Bunshaft's building, like Dallas' pedestrian tunnels, merited protection because it reflects a specific approach to planning that prevailed in the city through the 1980s.
One Main Place is "the center and genesis of the tunnel system," said Jay Firsching, a senior historic preservation specialist at Architexas. That system was proposed by Vincent Ponte, the Montreal urban planner behind his city's famous tunnels that keep pedestrians out of the cold during long Quebec winters.
To become official, though, the landmark still needs the Plan Commission and City Council's approvals.
Back east, Bunshaft's SOM designs are getting recognition by another landmarks commission: In 2015, New York City's Landmarks Preservation Commission added 28 Liberty, an office tower and plaza in Manhattan's Financial District, to its roster of protected modernist buildings.
AIA Gold Medal–winner Paul Revere Williams: An African American architect who transformed L.A.’s modernist architecture
How Should We Live? Propositions for the Modern Interior will recreate a dozen full-scale interior spaces dating from the 1920s to the 1950s and feature over 200 objects. Each interior will focus on the design elements within its specific setting, as well as its connection to external factors and attitudes—aesthetic, social, technological, and political.Divided into three chronological groupings—the late 1920s to the early 1930s, the late 1930s to the mid-1940s, and the late 1940s into the 1950s—the scenes will also explore several designers’ own living spaces, and frequently overlooked areas in the field of design, such as textile furnishings, wallpapers, kitchens, temporary exhibitions, and promotional displays. Works by major women architect-designers, many created in partnerships, also will be highlighted. Featured collaborators include Lilly Reich and Mies van der Rohe; Florence Knoll and Herbert Matter; and Charlotte Perriand and Le Corbusier. Among the interiors on display will be the 1927 Velvet-Silk Café, designed by Reich for a women’s fashion exhibition in Berlin, with tubular steel furniture by Van der Rohe; 1929 furniture and exhibition designs by Perriand, Le Corbusier, and Pierre Jeanneret; the 1948 Knoll furniture showroom in Manhattan, designed by Knoll and Matter; and a 1959 study bedroom for the Maison du Brésil at the Cité Internationale Universitaire de Paris by Perriand, Le Corbusier, and Lúcio Costa.
How Should We Live? Propositions for the Modern Interior Museum of Modern Art, 11 West 53rd Street, New York Through April 23
A new book delves into Mellon Square, the modernist landscape masterpiece at the heart of Pittsburgh
Pittsburgh is slowly, and fitfully, reappraising its modernist legacy of corporate towers, postwar infrastructure, and neighborhood-obliterating “urban renewal.” In this complex and frequently polarizing narrative, the role of landscape is perhaps only now being properly addressed in academic and political discourse regarding the past, present, and future potential of communal civic space.
Mellon Square is the second volume in “Modern Landscapes: Transition and Transformation,” a timely series from Princeton Architectural Press. As series editor Charles Birnbaum notes in his foreword, if Lawrence Halprin’s Denver Skyline Park (the first site in the series) has suffered “disastrous alteration,” this 1950s landscape at the heart of Pittsburgh has “in contrast (…) been very well chronicled, documented, and analyzed” resulting in “a renewed, enhanced, and revitalized Mellon Square.”
Principal author Susan Rademacher concurs. She has written a compact volume, presenting with modest clarity, a rich spectrum of knowledge from local history and detailed plant selection to technical refinements particular to the project. Emphasizing Mellon Square’s centrality in the self-image of Pittsburgh, Rademacher calls it “a symbol of Pittsburgh’s astounding capacity for reinvention and self-improvement” and potentially “a model for the national movement to preserve modern landscape.”
Mellon Square was the first modernist urban park situated above a subterranean parking structure by Mitchell & Ritchey. Fifteen years earlier, Dahlen Ritchey, a Carnegie Tech and Harvard alum, had assisted Walter Gropius and Marcel Breuer on their luxurious Frank House in Pittsburgh’s Squirrel Hill. The main design heroes of Rademacher’s book are John O. and Philip D. Simonds, Pittsburgh landscape architects and environmental planners. John, also a GSD man, published his seminal Landscape Architecture shortly after Mellon Square’s completion in 1955.
Other key figures in Pittsburgh’s “renaissance” include then-Mayor David L. Lawrence (a Democrat), Richard King Mellon (a Republican), and Edgar Kaufmann. Kaufmann not only engaged Frank Lloyd Wright to imagine fantastical infrastructures at the juncture of the Allegheny and Monongahela rivers, he also commissioned a master plan titled Pittsburgh in Progress from Mitchell & Ritchey. Displayed at Kaufmann’s Department Store, a mere block from the future Mellon Square, this Corbusian-inflected plan heralded an urban agenda for the 1950s, radiating back from that historic origin of the city.
Rademacher delves deeply into the design process, a complicated story for many an urban project, yet especially so here with a business elite keen to impact the fabric and the perception of the city. Not by chance, Mellon Square functioned something like the plaza at Rockefeller Center. (No ice-skating, although early proposals did include flamingos and penguins and a circular platform for sea lions, along with less sculptural bling.) Yet the square was clearly envisaged as the centerpiece of what Rademacher describes as “an integrated complex for the Mellon enterprises.”
Indeed, there are three Harrison & Abramovitz-designed landmarks for Mellon-related businesses in the immediate vicinity: the sober U.S. Steel/Mellon Bank Building, the innovative Alcoa Building directly overlooking the square, and later, the U.S. Steel headquarters, a towering paean to weathering steel at the intersection of Pittsburgh’s two urban grids. Disliking the orthogonal paving proposed by Simonds & Simonds, Sarah Mellon Scaife’s fondness for St. Mark’s Square led to the harlequinade pattern that brings Mellon Square its graphic elegance, especially when viewed from the surrounding towers.
In a 1973 article, John listed the project concepts as a platform (“a vast tray”), a structure (with “footings spaced out on the floor of a prehistoric stream bed some sixty feet below”), an island (“surrounded by and cut off from the rest of the city”), a space (“expanded, modulated, and articulated by all means at the architects’ command”), a focal center, a civic monument (“a source of pride and lasting inspiration”), a gathering place (“human in scale and human in its appeal”), and an oasis (“the welcome relief of foliage, shade, splashing water, flowers, and bright color.”)
Inevitably perhaps, some problems ensued—with tiles, flower beds, and wiring—eventually, “the main fountain and lighting no longer worked.” According to Rademacher, “despite efforts (…) continued maintenance did not remain a priority”. It was not until 2007 that the Parks Conservancy, then the guardian of Pittsburgh’s verdant sequence of robber baron-era parks, got involved. In 2008, the Conservancy published its Mellon Square Preservation, Interpretation and Management Plan. Soon, a planning team was in place, led by Patricia M. O’Donnell of Heritage Landscapes.
Mellon Square: Discovering a Modern Masterpiece goes into considerable detail on both the birth and now the rebirth of this important mid-century landscape set in a city that is itself experiencing economic and social renewal. The book may be slim, yet it is packed with information—a slight drawback of its dimensions is the small size of many illustrations. Rademacher has performed a service for Pittsburgh and for other U.S. cities unwilling to jettison the recent past and the timeless value of offering, “a place of pure delight—an inviting refreshing environment,” to quote Simonds.
Mellon Square: Discovering a Modern Masterpiece Susan M. Rademacher With essays by Charles A. Birnbaum, Patricia M. O’Donnell, Richard C. Bell and Barry W. Starke Published by Princeton Architectural Press, $24.95