Posts tagged with "New York City":
On April 19, for the afternoon keynote of The Architect’s Newspaper’s 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 site’s 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 Pei’s 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 structure’s final design.
Next, in talking about the design of Reina Sofia Museum of Modern Art’s 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 firm’s output.
Ritchie’s drive to bridge the highly technical, manufactured character of glass with natural objects and processes was also highlighted by his presentation of the firm’s recently completed, 150,000-square-foot Sainsbury Wellcome Center.
Located in London’s 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.
- Drawings’ Conclusions at Anyspace curated by Jeffrey Kipnis and Andrew Zago brought to New York by Cynthia Davidson; The Drawing Show at the Yale School of Architecture Gallery, originally at A+D Museum Los Angeles curated by Dora Epstein Jones, Drawing Codes curated by Adam Marcus and Andrew Kudless on view at the Taubman Gallery at the University of Michigan, originally at the CCA in San Franciso, Drawbot 2 is on display at the AA[n+1] gallery Paris, France curated by Emmanuelle Chiappone-Piriou and Leslie Ware, and The Projective Drawing at the Austrian Cultural Forum curated by Brett Littman.
- A fascinating discussion of this condition was recently put forward by John May in the article “Everything is Already an Image” published in Log 40 (MIT Press, 2017)
“Penn Station is currently untenable. It is congested, chaotic and poses a serious threat to public safety in this time of heightened terrorist threats,” said Dani Lever, press secretary for the governor, in a statement to the New York Times. She emphasized that any potential development would be done in “consultation with community leaders and elected officials, environmental reviews and local government reviews.”The Cuomo administration has previously played a major role in the redevelopment of the Penn Station area, including backing the transformation of the James A. Farley Post Office into the Moynihan Train Hall. While the city has reportedly been in talks with the MTA and developers Vornado Realty Trust, who own much of the property surrounding Penn Station, Wednesday was apparently the first time that any party outside of Albany had seen the proposal. When reached for comment by Politico, Cuomo spokesperson Peter Ajemian suggested that their reporting on the day-old plan was already outdated.
"Throughout the budget process, documents are exchanged hundreds of times over to advance solutions for New Yorkers," said Ajemian. "The document you’re basing your story on is outdated, inaccurate and not comprehensive."The governor’s office has suggested that the original broad outline was simply a starting point, and would likely be narrowed down in the back-and-forth as budget negotiations continued. Still, with Governor Cuomo’s self-imposed March 30th deadline looming, it’s unclear if the plan will make the final cut. The full version of the leaked document can be found here.
- Nice Grand Arenas, Nice, France
- Montpellier Cité Créative, Montpellier, France
- Draga district, Sibenik, Croatia
- Cultural Center of Castelo Branco, a dramatic form cantilevered over an ice skating rink in a small Portuguese city
- Film Theatre of Catalonia, whose simple concrete facade was designed to fit into a gentrifying Barcelona neighborhood
- Prague National Gallery Entrance Hall, a sensitive design for a museum entry in a historic Prague complex.