Posts tagged with "New York":

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The role of projection in architectural drawings is explored at Austrian Cultural Forum

Don’t call it a comeback. It appears that drawing is now everywhere. Drawings’ Conclusions just closed at Anyspace, New York; Drawing Codes: Experimental Protocols of Architectural Representation is in the Taubman Gallery at the University of Michigan; The Drawing Show opened recently at the Yale School of Architecture Gallery; Drawbot is at the AA[n+1] Gallery in Paris; and there is the current exhibition at the Austrian Cultural Forum titled The Projective Drawing.1  It might seem obvious that to exhibit architecture is to exhibit drawings, but for the past twenty years, it has been infrequent to focus an exhibition of contemporary architectural work around the question of drawing. The quick reaction would be to attribute this to the pinging pain of nostalgia in the midst of our image-saturated world. But this would be a mistake, for at their best, these shows revolve around not a return, but a provocation concerning how to define drawing and image in contemporary aesthetic discourse. The curator of The Projective Drawing exhibition, Brett Littman, has explicitly tied the show to a collection of essays written by Robin Evans and published posthumously in 1995 as The Projective Cast. An exhibition squarely in the realm of art that is developed from a piece of architectural theory is quite rare, which is what immediately excited me about the prospects of this show. The drawings exhibited here often reference architecture, and several pieces use techniques more commonly associated with architectural drawing, (the axonometric being the prime example), but these pieces are clearly art, not architectural drawings. Specifically, the difference is that none of the drawings in this exhibition work through projection as practiced by architects and explicated in the texts of Robin Evans. This may initially sound like a critique of the premise of the exhibition, but I assure you it is not, for the problem of projection in relation to drawing is what is at stake. In the essays compiled for Evans’s The Projective Cast and in the influential earlier essay “Translations from Drawing to Building” (1986), Evans observes that a significant amount of architectural representation does not consist of iconic plane geometry or the pictorial under-drawing used to structure composition in painting. Instead, it is focused around translations of formal and spatial notations toward construction. Projective geometry is engaged in order to control these transformations. The shadows cast by projection are controlled distortions, traces registering movements of graphic information, and residues that elude symbolic interpretations associated with the pictorial. For many architects, orthographic projections (which are very different than orthographic drawings), perspectives, or obliques are what differentiate architectural from other types of drawing practices. These are the techniques that discipline an architect toward thinking three-dimensionally through two-dimensions. In other words, projection is the background operating system of architectural drawing. Over the last 25 years, the digital model has replaced the architectural drawing. If drawings are produced from a digital model, they are no longer the graphic traces of constructed projections, they are images, rendered to follow the visual conventions of drawing.2 Although this output may be an image, projective geometry is fundamental for digital modeling software. This is evident not just through the real-time updating of views, or the unfolding/sectioning of surfaces, but also, projection is at the root of calculating texture maps and indices of light reflection; commonly called “rendering.” Evans was prescient about this aspect of projection, for it is much more concerned with the optic than the haptic. Interestingly, architecture has typically considered projection as having more to do with drawing than rendering. The history of drawing is so entwined with projection that the graphic lines constructing projections were literally called “pencils” in early descriptive geometry textbooks. Furthermore, many architects view digital software with suspicion, precisely because of its affiliation with images as opposed to drawings. Evans may not have written much about digital representation per se, but in many ways his arguments accurately articulate the background of contemporary digital modeling software. As it stands, architects today are continuously engaged with the transformations of projective geometry through digital modeling, even if these projections no longer leave a visual residue, and most often operate hidden within the commands of the software. And it is here that we have the problem. If the visible trace of projection was crucial for defining an architectural drawing, and if digital software removes these traces in the production of images, we are left with a curious predicament. When looking at digitally produced drawings, either we are not looking at architectural drawings or, we are not looking at drawings at all. One of these is a disciplinary problem, the other aesthetic. The digital is not a new paradigm in itself. But, it does require revaluations regarding the conventions of different mediums, and it is in these transformations that we may formulate new sets of concerns. The Projective Drawing exhibition offers some fascinating insights on this issue for architectural representation. The drawings in this show mix mediums continuously. At the same time, this is not a post-medium mush where drawing is fused with painting, graphic design, architecture, etc. The questions this work raises have more to do with the tensions between abstraction and realism, and the manners through which drawing can question the ways in which we image the world. In a series entitled transmissions: a more radical elsewhere (2005-2012), William Cordova creates mixed media collages of drawings that build worlds suggesting telecommunication transmissions to places “out-of-field”—potentially even out-of-time. Brigitte Mahlknecht has produced a series of drawings of unfolding axonometric boxes titled Fast Architektur (2017), that use wavering stumbling lines ghostly layered to suggest the impossibility of ever folding these objects back up. The large oblique drawing titled Flatlands (corner) (2016) and created by Seher Shah is clearly indebted to the precision of architectural line drawings and the techniques of axonometry. But in this case, the line work shifts over edges that should define corners calling attention to the flickering instability of optical depth. In a series of small-framed untitled pieces, Leopold Strobl draws on top of color manipulated newsprint clips. Into these landscapes and cities he intervenes with dark blank masses. These hover between object-like figures and void-like removals, establishing a tension with the realism of the mechanically reproduced images in the background. In the most provocative instances, the viewer finds their attention drifting into these backgrounds, wondering what world(s) could contain these things. The works in The Projective Drawing are projective as speculations, not as medium-dependent techniques. Architects have placed too much emphasis on drawing versus imaging as a disciplinary conflict. What matters are paradigms, the concepts made intelligible beside (para) aesthetic provocations. The Projective Drawing exhibition is in many ways an exploration of exactly this; the mediums appropriated within the aesthetics of the works provoke allusions that extend outward. These are relations between aesthetics and politics, between what can be seen and said, and what actions we project into the world. I would much rather have architects arguing about these issues than if their images looked more like drawings or photos.
  1. 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.
  2. 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)
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University College of Dublin announces masterplan finalists

University College of Dublin (UCD) has just announced the finalists of its Future Campus – University College Dublin International Design Competition. Of the ninety-eight firms that submitted proposals, six have been chosen for the project’s shortlist: Diller Scofidio + Renfro (New York), John Ronan Architects (Chicago), O’Donnell + Toumey (Dublin), Steven Holl Architects (New York), Studio Libeskind (New York), and UN Studio (Amsterdam). The Future Campus Competition is for two connected projects on the university’s campus, a sixty-acre master plan and a new academic building. With over 30,000 students, University College of Dublin is Ireland’s largest university. Founded in 1854, the university migrated to its current 330-acre Belfield campus in 1963, which was designed by Polish architect Andrej Wejchert. Wejchert’s design is primarily composed of four- to five-story Brutalist structures within a landscaped setting. The campus is located on the edge of Dublin, just over two miles from the city center. UCD views the future master plan as a “highly-visible and welcoming entrance” establishing an “urban design vision that values high-quality placemaking, architecture, and public realm.” Within the master plan area, UCD envisions an approximately 90,000-square-foot academic lab dubbed The Centre for Creative Design. The estimated budget for the project is just under $60 million. Professor Andrew J. Deeks, President of University College Dublin, describes the competition process as a rare moment to build “a design that will become an icon for the University – representing our vision to create something extraordinary and brilliant.” All six firms will conduct a site visit at the campus by the end of the month, with a winner announced in August 2018.
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Hans Hollein’s son is tapped as the Met’s new director

Max Hollein, an Austrian-born museum director, is set to take over the Metropolitan Museum of Art's directorship. Hollein's appointment follows the tumultuous departure of Thomas P. Campbell in 2017, a period noted for lagging financial growth and deferred maintenance. Since Campbell’s departure, the Met has been led by interim director Daniel H. Weiss, who will retain his position as the museum’s CEO. As the Met's tenth director, Hollein will be the first recruited from outside the Met's curatorial ranks in over six decades. Hollein's new job managing the largest art museum in America entails a broad set of responsibilities. The Wall Street Journal describes the position as a mix of "curator, lawyer, and diplomat," charged with managing a 2,200-person staff, overseeing maintenance of the Met's millions of objects, and leading approximately 40 exhibits annually. The new director’s proficiency in both modern and classical art may be partially influenced by his father, the late Pritzker-Prize winning architect Hans Hollein. Hans, who graduated from the University of California Berkeley in 1960, was a world-renowned postmodern architect. As noted by The Guardian, the Austrian architect was known for mixing forms and materials with overstated historicist references, creating one-of-a-kind projects such as Vienna’s Haas Haus. As reported by the New York Times, Max Hollein has worked as a museum director since the age of 31, stacking his directorship credentials with tenures at Frankfurt’s Stadel Museum, Schirn Kunsthalle and Liebieghaus. Hollein will be departing his position at the Fine Arts Museum of San Francisco, where he has served as director since 2016. While his tenure at the Fine Arts Museum of San Francisco lasted just two years, Hollein has received praise for his leadership there. In a profile of Max Hollein published by The New Yorker, the young director is cited as boosting the museum’s digital programs through free online courses, as well as through more outlandish schemes such as creating a crossover between the popular video game Minecraft and the former exhibition “Teotihuacan: City of Water, City of Fire.”
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Cuomo adds controversial, last-minute proposal to control Penn Station-area development

As New York State’s 2018-2019 budget negotiations come down to the wire, Governor Andrew Cuomo's office has reportedly slipped in a proposal that would give the state virtually unrestricted development authority over the area surrounding Penn Station. According to the anonymous sources who briefed Politico yesterday, if passed, the state would gain the ability to build without restrictions on height or density, the need to conduct any environmental review, or to win community approval. Through the use of the Empire State Development Corporation and the Metropolitan Transportation Authority­–both controlled by the governor’s office–the state would redevelop from 30th to 34th Streets between 6th and 8th Avenue. After facing serious blowback from city leaders, especially over how the proposal would exempt the state from local zoning or preservation laws, the governor’s office released the following statement:
“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.

Current Work: Josep Lluís Mateo – Mateo Arquitectura

Over the past four decades, Spanish architect Josep Lluís Mateo has made significant contributions to the field through publishing and teaching as well as design. Early in his career, Mateo spent nine years as the editor of Quaderns d’Arquitectura i Urbanisme, the journal of the Architects’ Association of Catalonia. He has since contributed to numerous books and magazines; in 2007 a compilation of his essays was published as Textos Instrumentales. In 2015 he launched BCN Architecture Guide, a mobile app dedicated to design in Barcelona. A professor emeritus at ETH Zurich, he has taught at Harvard’s Graduate School of Design and the Barcelona School of Architecture. Mateo’s built work ranges from multifamily housing in France to office buildings in Germany and the Netherlands. His Barcelona-based firm is now working on several urban development projects, including:
  • Nice Grand Arenas, Nice, France
  • Montpellier Cité Créative, Montpellier, France
  • Draga district, Sibenik, Croatia
His Current Work lecture will include:
  • 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.
This event is sponsored by the Architectural League of New YorkThe Irwin S. Chanin School of Architecture of The Cooper Union.

Emerging Voices 2018 Night 4: LA-Más & Estudio de Arquitectura

Emerging Voices 2018

Helen Leung, Elizabeth Timme, LA-Más, Los Angeles Luis Aldrete, Estudio de Arquitectura, Guadalajara Introduced by Paul Makovsky 1.5 AIA and New York State CEUs The fourth evening of the annual Emerging Voices lecture series. Emerging Voices spotlights individuals and firms based in the United States, Canada, or Mexico with distinct design voices and the potential to influence the disciplines of architecture, landscape architecture, and urbanism.

Nonprofit urban design group LA-Más focuses on underserved Los Angeles neighborhoods. It collaborates with community members, government agencies, and developers with a goal to grow cities equitably through design projects and policy initiatives. Recent work includes Go Avenue 26, enhanced public transit access near a major highway overpass in East Los Angeles; and “Backyard Basics: An Alternative Story for the Accessory Dwelling Unit,” a conceptual proposal exploring how collectively developed accessory dwelling units could serve as a model for affordable housing along the LA River.

Since establishing Estudio de Arquitectura in 2007, Luis Aldrete has designed residential, hospitality, and cultural facilities, where he works with local craftspeople to employ construction techniques developed over generations. Recent projects include BF Residence, a Guadalajara house whose program nods to the traditional Mexican hacienda; Rinconada Margaritas Residential Complex, a high-rise development in Guadalajara that responds to an adjacent ravine; and Pilgrim Route Shelters, an infrastructural network of shelters designed with other collaborators to support an annual Jalisco pilgrimage.

Paul Makovsky is Vice President of Design at Metropolis Magazine. He served on this year’s Emerging Voices committee.
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Cooper Union will be tuition-free again…by 2029

On March 15, Cooper Union announced its intention to return to a tuition-free model for all undergraduates in the next ten years. The prestigious design and engineering school has been mired in controversy since 2012, when the discussion to introduce student fees began. In 2014, after two years of debate and student protests (including a lock-in of the school’s Foundation Building), the school’s board of trustees had announced it would begin charging tuition, with some students responsible for as much as 50 percent of the tuition, estimated at $38,500 a year at that time. In a statement reported by the New York Times, Laura Sparks, Cooper Union’s president, stated that the return to tuition-free education could be accelerated if the institution exceeds its financial targets in any given year. Strengthening the school’s financial health relies on greater fundraising outreach and what are for now unspecified cuts in expenses. The precarious financial health of the educational institution primarily derives from a non-diversified endowment and an insufficiently developed donor network. While the industrialist Peter Cooper founded the institution in 1858 to provide first-rate, higher education for the working class of New York City, the establishment of an endowment in 1902 by Cooper's heirs insured that the school remained tuition-free for over a century. The reversal towards this former model will bring to a close a contentious and tumultuous period in Cooper Union’s history.

Emerging Voices 2018 Night 3: Comunal: Taller de Arquitectura & Davidson Rafailidis

Emerging Voices 2018

Jesica Amescua and Mariana Ordóñez Grajales, Comunal: Taller de Arquitectura, Mexico City Stephanie Davidson, George Rafailidis, Davidson Rafailidis, Buffalo Introduced by Stella Betts 1.5 AIA and New York State CEUs The third evening of the annual Emerging Voices lecture series. Emerging Voices spotlights individuals and firms based in the United States, Canada, or Mexico with distinct design voices and the potential to influence the disciplines of architecture, landscape architecture, and urbanism.

Founded in 2015, Mexico City-based Comunal: Taller de Arquitectura provides design services to underserved communities. Their work centers around five methodological axes which they feel are fundamental to “developing inclusive, participatory, and contexutal projects.” Recent work includes Childbirth Houses, designs for midwife workspaces informed by extensive dialogue with an indigenous Chiapas community; and Territory and Inhabitant, a research project for a house that could be built in Yucatán for less than $10,000.

Stephanie Davidson and Georg Rafailidis established Davidson Rafailidis in 2008. Both are members of the architecture faculty at the University of Buffalo and have also taught at the RWTH Aachen University in Germany and the University of Toronto. Recent projects include He, She & It, a structure with three distinct workspaces for a Buffalo couple; Café Fargo (Tipico Coffee), a coffee shop in a former corner store also in Buffalo; and Mirror, Mirror, the winner of a competition aimed at reimagining the street festival tent.

Stella Betts is a co-founding Principal of the New York-based LEVENBETTS and a past Emerging Voices winner in 2009. She has taught at Columbia University Graduate School of Architecture, Planning and Preservation, The Cooper Union, and Cornell University’s College of Art, Architecture, and Planning, among other institutions. She served on this year’s Emerging Voices committee.
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Ten temporary public art installations coming to ten New York City parks in June

In June 2018, the Department of Parks & Recreation is launching its Art in the Parks: UNIQLO Park Expressions Grant initiative. The initiative will deliver the work of ten emerging New York-based artists across ten city parks designated as in need of more cultural programming. The artists were awarded their grants in February, and are tasked with temporarily transforming these parks into cultural destinations attracting residents from across the city. This is the second year of operation for the Park Expressions Grant, which in total has provided $200,000 in funding for the Arts in the Park program. The initiative builds off of the NYC Parks’ longstanding Art in the Parks program that invests in the installation of temporary and permanent installations throughout the city’s public park system. Notable past installations of the decades-long initiative include the work of Christo and Jeanne-Claude, Robert Indiana and Tony Smith. The locations of this year’s art installations are evenly distributed across the five boroughs, and are listed below. Bronx: Dionisio Cortes Ortega, Sitting Together Joyce Kilmer Park Located adjacent to the Bronx Supreme Courthouse, Sitting Together is an interactive and sculptural critique of the status quo of proceedings in courtroom cases. Cara Lynch, I’m So Happy You’re Here Virginia Park I'm so Happy You're Here will transport a gradient of interior parquet flooring patterns, with a broad color palette, to the public ream. Brooklyn: Tanda Francis, Adorn Me Fort Greene Park Tanda Francis' Adorn Me questions the lack of African-American representations in American public space, and draws upon African sculptural tradition and Ife portraiture. Roberto Visani, (x)ofmanychildren Herbert Von King Park  Visani's (x)ofmanychildren utilizes 3-D modeling software and is inspired by West African figurative sculptures. Manhattan: Karla & James Murray, Mom-and-Pops of the L.E.S. Seward Park Mom-and-Pops of the L.E.S consists of four-life sized mom-and-pop businesses that have recently disappeared from the Lower East Side streetscape due to rising gentrification. Harumi Ori, I am Here Thomas Jefferson Park I am here consists of folded and sewn orange industrial mesh depicting snapshots of Thomas Jefferson Park taken by Harumi Ori.

Queens:

Zaq Landsberg, Islands of the Unisphere Flushing Meadows Corona Park

Landsberg recreates several islands from the adjacent Unisphere, which will form a publicly accessible archipelago representing the diversity of Queens. Rose DeSiano, Absent Monuments Rufus King Park These mirrored obelisks will stand upon blue and white Dutch Delft photographic tiles which interact with Native American pattern work. Staten Island: Jackie Mock, The Pencil Museum Faber Park The Pencil Museum is a collection of antique writing instruments, located on the former grounds of Johann Eberhard Faber's Mansion. Faber was the owner of the Johann Eberhard Faber Pencil Factory, the first of its kind in America. Adam Frezza & Terri Chiao, Stick Stump & The Lawn Lumps Tappen Park Frezza & Chiao's exhibit is a collection of playful forms meant for public interaction.

Emerging Voices 2018 Night 2: AGENCY & Fernanda Canales

Emerging Voices 2018

Ersela Kripa and Stephen Mueller, AGENCY, El Paso Fernanda Canales, Mexico City Introduced by Sunil Bald 1.5 AIA and New York State CEUs The second evening of the annual Emerging Voices lecture series. Emerging Voices spotlights individuals and firms based in the United States, Canada, or Mexico with distinct design voices and the potential to influence the disciplines of architecture, landscape architecture, and urbanism.

AGENCY was founded in 2010. Partners Ersela Kripa and Stephen Mueller use research, publication, and design to explore broad-ranging issues such as material ecology, government policy, and ethics. Recent projects include Fronts, a research project and book focusing on the relationship between military doctrine and informal urbanism; Breach, which explores the simulated environments developed to train military and security forces; and Border Dispatches, a series of Architect’s Newspaper articles about the U.S.–Mexico border.

Fernanda Canales grew up in Mexico City, where her eponymous firm was founded. She believes “architecture is about creating connections between people, territories, and history.” Recent projects include Bruma House (with Claudia Rodríguez), a residence divided into different modules organized around a central patio, with each location based on views, orientation, and vegetation; Reading Rooms, flexible community spaces that can be built by residents of low-income neighborhoods; and The Monterrey School of Higher Learning in Design, a new campus on the city’s outskirts.

Sunil Bald is a co-founding Principal of the New York-based studioSUMO and a past Emerging Voices winner in 2010. After an initial term as Louis I. Kahn Visiting Assistant Professor at Yale, Bald has continued to teach design studios and visualization at the School. He served on this year’s Emerging Voices committee.
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Trump administration vows to block Gateway tunnel funding over political rivalries

The acrimony between the Trump administration and New York and New Jersey officials has reached new heights, as President Trump is reportedly pushing congressional Republicans to block funding for the Hudson River-spanning Gateway tunnel project. AN had previously reported that the administration had pulled federal funding from the $12.7 billion project, but it seems that the move was made to punish New York State Senator Chuck Schumer and other Democratic leaders in those states. Although Trump’s predecessor had once called the Gateway tunnel, part of a $30 billion revitalization plan for the area, a top priority and promised that the federal government would contribute half, U.S. Transportation Secretary Elaine Chao has called Obama’s promises “a throwaway rally line.” Even after the states upped their combined contributions in the tunnel to $5 billion, the Trump administration turned up their nose at financing the rest. Now, as both the New York Times and Washington Post have reported, President Trump has been personally lobbying House Speaker Paul Ryan to shoot down any chance of Gateway funding making its way into the next spending bill. According to sources in the administration, this is in retaliation to Senator Schumer for supposedly corralling Senate Democrats into delaying or blocking the confirmation of President Trump’s nominees to key positions. It’s unlikely that any money from a future infrastructure bill would find its way to the Gateway tunnel either. In the $1.5 trillion version pitched by President Trump, Gateway would simply be too expensive, owing to contribution limits imposed on the federal government, and would be too old to qualify for much money anyways–projects approved after the bill’s passage are weighted to receive more funding by default. The 105-year-old, two-track rail tunnel that currently runs under the Hudson River is owned by Amtrak, and the company has repeatedly warned that saltwater intrusion from Hurricane Sandy means that one of the tracks will need to be repaired sooner rather than later. Closing one half of the tunnel, intentionally or otherwise, without a backup would reduce train traffic, approximately 200,000 riders daily, under the river by up to 75 percent. Of course, it’s possible that Trump could change his mind yet again down the line; the Gateway project was listed as the administration’s number one priority in the 2016 transition plan.
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Architect and planner Richard Weinstein passes away at 85

Richard Weinstein, an architect whose contributions helped to rethink traditional zoning and urban planning in both New York and Los Angeles, passed on February 24 at the age of 85 from complications related to Parkinson’s disease. Weinstein, a proponent of public-minded urban planning, was known for crafting zoning regulations that were specific to the context of individual neighborhoods rather than conform to a universal template. Weinstein began his academic career in the field of psychology, receiving his B.A from Brown University and an M.A from Columbia. As reported by the New York Times, Weinstein’s professional tenure as a psychologist based in Washington D.C exposed him to the works of Frank Lloyd Wright that dot the capital’s landscape. Spurred by this exposure, Weinstein enrolled in Harvard’s architecture program but ultimately transferred to the University of Pennsylvania, where he received his master’s in 1960. The architect’s planning career began following John V. Lindsay’s successful campaign for mayor in 1965. Under the Lindsay administration, Weinstein served as the director of the Office of Planning and Development for Lower Manhattan and was a founding member of the Urban Design Group, a revolutionary body that embedded architects and planners within city governance and decision-making. With the authority of the mayor’s office, the Urban Design Group negotiated directly with the development community to guide New York towards an inclusive and pluralist policy of urban design. Prior to his involvement with the Lindsay administration, Weinstein worked for the firms of Edward Larrabee Barnes and I.M Pei. Weinstein’s approach to planning is described by UCLA as grounded in the belief that “the city’s mandate was to preserve and enrich the life of the public and cultural street as the city grew taller with private investment,” increased tax revenue was not to be considered a valid exchange for building variances. While working for the Lindsay administration, Weinstein was crucial in the protection of Manhattan’s South Street Seaport, Cass Gilbert’s United States Custom House, and pushed for the creation, and expansion, of the Times Square Historic District. His knowledge of New York's complex system of air rights facilitated economic self-sufficiency for the city's landmarks and simultaneously guided development along predetermined channels Weinstein took up the post of dean of UCLA’s Graduate School of Architecture and Urban Planning in 1985, a post he held until 1994. He remained at UCLA as a professor of architecture and urban design until 2008. There, his influence on a generation of architects was immeasurable. As Thom Mayne, founder and principal of Morphosis, and a professor of architecture at UCLA, stated, "Richard saw architecture/urbanism as a noble profession with immeasurable potential to shape everyday life, inextricably linked to its social, political and cultural circumstance. We often discussed the seemingly unknowable nature of our profession which only propelled us to stubbornly attempt to achieve the impossible — in every project.” Weinstein is survived by his wife, Edina, and two sons – Nikolas and Alexander.