Posts tagged with "Philadelphia":

Paul P. Cret, storied Philadelphia architect, highlighted in Athenaeum show

A number of local institutions are marking the 100th anniversary of Philadelphia's majestic boulevard, the Benjamin Franklin Parkway, by celebrating one of its leading architects: Paul P. Cret. Under consideration since the Civil War, the development of the parkway occupied Philadelphia for the first third of the 20th century. Philadelphia and other American cities planning similar projects during the same period created the “city beautiful” movement, America’s first important contribution to urban design. In 1892 Philadelphia’s city council passed a bill to build what was then called the Fairmount Parkway, after Fairmount Park, the city’s 9,000-plus-acre green space. A parkway plan created in 1907 by Horace Trumbauer, Clarence Zantzinger, and Cret for the Fairmount Park Art Association envisioned “a direct, dignified and interesting approach from the heart of the business and administrative quarter of the city, through the region of educational activities grouped around Logan Square, to the artistic center to be developed around Fairmount Plaza, at the entrance” to the park. Parkway construction began in 1917, ten years after groundbreaking, and in November 1918, according to a local newspaper, an “uninterrupted parkway at last leads from City Hall to Fairmount’s entrance.”

Lyons, France-born Cret (1876-1945) moved to Philadelphia in 1903 to become a professor of design at the University of Pennsylvania and eventually the leader of Philadelphia’s city beautiful movement. He was in France when World War I broke out and served in the army for the next five years before returning to Philadelphia where he resumed his teaching at the University of Pennsylvania and engaged in his architectural practice. He designed bridges, such as the Delaware River Bridge in Philadelphia, as well as museums (the Rodin Museum in Philadelphia, the Barnes Foundation Gallery in Merion, Pennsylvania, and the Detroit Institute of Arts) and the Folger Shakespeare Library in Washington, D.C., and also worked on the architecture of campuses of the University of Pennsylvania, Brown University, and the University of Texas at Austin. In addition, he was the consulting architect for the American Battle Monuments Commission from 1923 to 1945, whose mission was to design memorials, chapels, and cemeteries in honor of the dead of World War I.

Cret’s work is the centerpiece of an exhibition at the Athenaeum of Philadelphia called Professor Cret’s Parkway: One Architect’s Legacy on Philadelphia’s Grandest Thoroughfare. The show features over 30 built and unbuilt designs by Cret, many never before exhibited. The Rodin Museum, located on the parkway and designed by Cret, is simultaneously displaying a 1927 model of its building and gardens with photographs and related material exploring Cret’s design there. Both exhibitions are on display through August 31.

 In May the Athenaeum also conducted a symposium on Cret that considered his theory, work on the Rodin Museum, and engineering collaborations, among other subjects. Architecture critic Paul Goldberger delivered the keynote address, asking, “what does the city beautiful mean for the 21st century city?”

Also in May, the American Battle Monuments Commission inaugurated the new Chateau-Thierry American Monument Visitor Center on Hill 204, at a World War I monument designed by Cret overlooking the Marne River Valley. The monument, which was dedicated in 1937, commemorates the sacrifices and achievements of Americans and French people before and during the Aisne-Marne and Oise-Aisne offensives in 1918.

The show will be up through August 31, 2018.

Philly is set to open new arts pier inside a century-old maritime warehouse this fall

Downtown Philadelphia will debut its newest cultural space this fall: an unlikely arts venue, marketplace, bar, and public park set inside a converted 99-year-old maritime warehouse. Cherry Street Pier, designed by Groundswell Design Group and Interface Studio Architects, will open on October 12 at Pier 9 along the Delaware River. The $5-million project will transform the 55,000-square-foot municipal structure into a mixed-use waterfront destination and studio facility for 14 local artists. Located south of the Benjamin Franklin Bridge and the Race Street Pier, the long-neglected, 19th-century building has undergone major renovation work over the last year. The project, dreamed up by the Delaware River Waterfront Corporation (DRWC), aims to introduce a new space for civic engagement as well as a collaborative home for the city’s visionary artists and entrepreneurs. The group announced Wednesday that the park will open ahead of the three-week arts celebration, Festival for the People, put on by the Philadelphia Contemporary. According to Philly Magazine, DRWC president Joe Forkin said that the Cherry Street Pier will serve as a foundation for the arts to flourish along the city’s waterfront. The historic building will house affordable studios and offices for emerging artists within repurposed shipping containers featuring glass walls. Community members and visitors to the dock can peer inside the studio spaces—dubbed the Garage— and watch the artists at work throughout the day. Tenants will be able to showcase their art in a 10,800-square-foot open space dedicated to large-scale art installations and performances. The site will also include room for a pop-up retail market, public events, and food vendors. A café and bar are being built for the open-air garden at the edge of the facility. The architects will peel back the roof of the warehouse in this section, exposing the steel trusses and stone masonry to reveal the historic structure’s core and unveil a unique perspective of the river. Wood benches, railings, plants, and trees will fill the space so people can relax and enjoy one another’s company.

Frank Gehry’s new restaurant, Stir, is set open at the Philadelphia Museum of Art

Frank Gehry’s $196 million masterplan for the Philadelphia Museum of Art will reveal its first signs of life this fall with the opening of Stir, the famed cultural institution’s new restaurant and cafeteria that will open to the public in October. Operated by Starr Catering Group and led by Executive Chef Mark Tropea, Stir will offer museum-goers and guests a seasonal and locally-sourced menu inside a very Gehry, contemporary atmosphere. The design centers around a grid-like sculpture shaped out of Douglas fir slats and beams that extends from an undulating ceiling. The walls are also wrapped in Douglas fir panels while red oak covers the restaurant’s floors. Hints of frosted glass, felt, steel, leather, bronze, and onyx are also featured throughout the space, all coming together to create a warm and inviting setting. Gehry Partners will design the tables and chairs that will hold up to 76 people. In addition to Stir, the firm will reimagine a new, full-service cafeteria for the museum that will seat 160 people. The space will extend the entire width of the building and include windows offering views of the East Terrace and its garden as well as the Schuylkill River on the west side. It will have stations for salads, sandwiches, and brick oven pizza. The museum’s North Entrance, which will open at street level in early 2019, will house a new espresso bar in the Vaulted Walkway that will also be accessible to the public. There, visitors can enjoy views of the building’s facades through the skylights above in a space that’s been closed off since the mid-1970s. Gehry’s masterplan is part of the museum’s Core Project, a massive interior renovation of the neoclassical landmark built in 1928 which has long suffered from poor circulation and a lack of clear wayfinding. The redesign will add 67,000 square feet of new public space to the facility and an additional 23,000 square feet of gallery space, while also opening up the heart of the museum. Gehry will introduce a new central space, called the 'Forum', by removing the upper-level auditorium, thus heightening the ceiling and adding glass walls to create sightlines between The Great Stairs Hall and Lenfest Hall, the building’s grand lobbies that were previously completely disconnected.     Construction on the Core Project began early last year and is expected to wrap up in 2020.  Stir will be open for lunch Tuesday through Saturday, from 11:00 a.m. until 2:30 p.m., and will offer brunch on Sunday from 11:00 a.m. until 3:30 p.m.

Philadelphia passes affordable housing tax on new construction, but it may not last

Philadelphia’s City Council narrowly approved a tax on new construction projects last Thursday, in a 9-to-8 vote that may not stand up to mayoral scrutiny. The measure would bring in about $22 million a year for affordable housing, but trade unions and developers are arguing that the tax would slow the city's economic growth. The one percent tax on new construction and significant redevelopments is part of a sweeping package aimed at boosting the city’s affordable housing tools. In a move to capitalize on Philadelphia's meteoric building boom, the fee would apply to projects of any scope and be paid when filing a building permit. Funds from the new construction tax would go into a Housing Trust Fund, which non- and for-profit developers could tap for construction or closing costs. A zoning change was also included in the measure, which would allow developers to increase the height and density of their projects in exchange for making 10 percent of their rental and condo units affordable. Opting into the zoning bonus would not preclude developers from also paying the new tax. “Affordable” units, in this measure’s language, would be open to households who have lived in Philadelphia for at least three years, and who make less than a combined $105,000 a year; 120 percent of the city’s median income. Not everyone is on board, and building trade unions, developers, businesses, and some affordable housing advocates around Philadelphia have come out against the tax on new construction. In a letter to the City Council’s finance committee ahead of a vote earlier in the month, trade unions came out swinging against the tax, arguing that it would dissuade Amazon from picking the city for its second headquarters. On the other end, affordable and low-income housing advocates feel the $105,000 income cap is too generous, and that the city should do more to tighten the requirements. Of course, the tax’s passage is far from assured. Sources within the City Council have reportedly indicated that Mayor Jim Kenney is likely to veto the bill over the rising pushback in a move similar to Seattle’s recent head tax controversy. The veto would be the first of Kenney’s career, and would require 12 City Council votes to override–far from a sure thing, considering the slim margin that the bill originally passed with.

Philadelphia cuts the ribbon on its own “High Line” park

After years of planning and handwringing over fundraising, the first phase of Philadelphia’s own “High Line,” the transformation of the Reading Viaduct rail line, was opened to the public last Thursday. Although the Rail Park’s first spur is only a quarter mile long, the rail line will be twice as long and wide as New York’s High Line when fully built out. The first section of the linear park, located on the northern edge of Center City and designed by landscape architects Studio Bryan Hanes, reflects the neighborhood’s industrial past. Native plants and trees were planted on top of the viaduct’s steel arches, and remnants of the embedded rail track are woven throughout the zigzagging walkway. Riveted I-beams have been turned into seating, and structural steel beams are used to support the hanging benches. A timeline of the neighborhood and a historical list of the city’s industrial manufacturers have been cut into a weathered Cor-ten steel “history wall” that visitors can walk beside. Unlike New York’s High Line, the Rail Park is wide enough to include both dedicated bike trails and footpaths for pedestrians, creating new links to traditionally underserved neighborhoods when the three-mile-long park is complete. Construction on the $10.8 million elevated park was beset with delays. In planning since 2010, the project finally broke ground in October of 2016 after SEPTA, the site’s former owner, agreed to lease the rail spur to the nonprofit Center City District (CCD) during construction. Now that the section is finally open, ownership has been handed over to the City of Philadelphia, with maintenance and management split between the CCD, the nonprofit Friends of the Rail Park, and the city’s Department of Parks & Recreation. Funding for the Rail Park’s 25,000-square-foot first phase was raised in combination by the Friends of the Rail Park and through a $3.5 million Redevelopment Assistance Capital Program grant from the state government. According to the CCD, this section of the Rail Park will serve as a design proof-of-concept and fundraising tool for the rest of the viaduct’s development. No timeline or estimated construction dates have been given for the second and third phases.

An interactive fountain driven by train traffic is coming to Philadelphia’s Center City

Pulse, a snaking public art piece linked to the Dilworth Park fountain in Philadelphia, will soon be showing commuters what’s going on underneath their feet. The fountain sits in front of Philadelphia City Hall in Center City, and sculptor Janet Echelman will soon be realizing a light-and-mist installation that will track underground SEPTA trains in real time, thanks to a $325,000 grant from the William Penn Foundation. The project was originally commissioned in 2009 by the Center City District Foundation (CCD), and major pieces of its foundations were embedded in the surrounding plaza when the park’s fountain was built in 2014. Pulse, described as “a living X-ray of the city's circulatory system” by the artist, would create four-foot-tall walls of colored mist that track the trains passing below, specifically, the green, orange, and blue lines. Separate tracks of light embedded in the concrete would project into an atomized mist to create the kinetic effect. Echelman worked closely with the park’s architects, OLIN, to integrate Pulse’s infrastructure into the plaza redesign.' The $325,000 grant that the CCD announced last Monday will cover the construction of Pulse’s green section, which would follow SEPTA’s underground green line trolley. The installation of that phase will come to life this July, though the CCD is still seeking funding for the remaining orange and blue line tracks. The project was conceived as a tribute to Philadelphia’s first water pumping station, and Echelman was brought on board to design the piece back in 2010. However, the CCD has been trying to drum up the $4 million required to complete and maintain Pulse ever since it was announced (though a $20,000 National Endowment of the Arts grant awarded last year helped to get the ball rolling).

57th Carnegie International will bring artists who engage spatial politics around the world

The Carnegie International is the oldest exhibition of contemporary art in North America, founded by industrialist Andrew Carnegie in 1896 just one year after the first Venice Biennale. The exhibition was designed to help identify the “Old Masters of tomorrow.” The recent announcement of participating artists in the 57th iteration of the International, which opens on October 13, 2018 at the Carnegie Museum of Art (CMoA) in Pittsburgh, is a look at who these new "old masters" might be. Curated by Ingrid Schaffner, who was chief curator at the Institute for Contemporary Art in Philadelphia before taking the helm of the International in 2015, the list lives up to her reputation for taking an expansive approach to contemporary art. While only one artist has an architectural background—Saba Innab, an architect and urban researcher practicing between Amman and Beirut—several of the exhibition’s artists explore questions of territory, body, commodity, craft, agency, and spatial practice. The participants are all working on site-specific works for the CMoA, so this International will certainly be an immersive and provocative museum experience. Here’s a look at what’s to come. Innab’s work, pictured above, explores the relationship between architecture and territory, exemplified by her cast depicting the rock of Gibraltar in the 2016 Marrakech Biennale. It is fitting, then, that she will install work in dialogue with the Carnegie Museum of Art’s Hall of Architecture, a historic collection of plaster casts of building fragments from around the world. Postcommodity, an interdisciplinary arts collective that explores “Indigenous narratives of cultural self-determination,” will also address spatial and cultural politics head-on. Their recent work, Repellent Fence (2015), for example, was a 2-mile work that consisted of 26 balloons stretching across the U.S.-Mexico border. The design of the balloons references both indigenous iconography and “an ineffective bird repellent product,” and signal unity between indigenous peoples, the land, and history. Park McArthur is a New York-based artist whose work examines notions of accessibility, agency, and the city. Her 2014 exhibition at ESSEX GALLERY, for example, gathered the improvised ramps used by twenty galleries in Lower Manhattan in a minimalist arrangement on the gallery floor. Similarly, at SFMOMA in 2017, where she displayed design drawings and improvised ramps made by family and friends to accommodate her wheelchair in everyday spaces. The Carnegie Museum of Art’s Heinz Architectural Center will host works by Jessi Reaves, known for her sculptural furniture that looks both familiar and somewhat grotesque, with common materials assembled in unsettling combinations that plays with ideas of incompletion in art and design. Reaves’ voluptuous recliners will neighbor work by Beverly Semmes and her Feminist Responsibility Project (FRP), which explore issues of censorship and the female body overlaying paint onto pages of “gentlemen’s magazines.” The FRP is one project in Semme’s practice, which otherwise operates at an architectural scale. Schaffner describes Beverly Semmes' art as flowing “from the female body and out into the landscape,” with flowing dresses the scale of a room. New Dehli-based photographer Dayanita Singh’s concern for the physical relationship between the viewer and the photograph has led her into an exploration of architectural and spatial arrangements for her work. Singh designs standalone “museums” for her photographs that, as she described in a recent talk at the Silver Eye Center for Photography in Pittsburgh, “liberate the photograph from the wall.” Koyo Kouoh, a Dakar-based “exhibition-maker,” will similarly take the visitor’s relationship to artwork into her own hands. Kouoh is founding artistic director of RAW Material Company in Dakar, Senegal, and for the International she will organize “Dig Where You Stand.” This exhibition within an exhibition will mine the Carnegie Museums’ collections to reconfigure the galleries devoted to “Pre-1300, African, and Asian Art.” “Koyo’s piece would be a lever for clearing this out, something the museum has wanted to do for a long time, a rupture so that we can begin again,” Schaffner said. Though probing the term “international,” the exhibition meaningfully ties into Pittsburgh’s artists and histories. Conceptual artist Mel Bochner will make a homecoming, and Pittsburgh-based artists Lenka Clayton & Jon Rubin will develop a new work based on the International’s archives. This International will feature sculptor Thaddeus Mosley, whose wooden carvings were inspired by the Internationals of the early 1950s. Photograph from the archives of Teenie Harris, a prolific photojournalist for the Pittsburgh Courier, will offer a new look at the post-industrial city’s past. Though the International opens in October, the fun is already underway. One of Schaffner’s aims is to spark “museum joy” in visitors. In fact, the curatorial team is sharing the delight of all aspects of the exhibition, from the design process to the curatorial research, through the International’s website. Wkshps founder Prem Krishnamurthy’s article chronicles the charrettes that brought the editorial, curatorial, and design teams together early in the process to, in Schaffner’s words, “design for the unknown.” Travelogue essays written by writers who weren’t with Schaffner on her extensive travel research take the reader into new territories nonetheless. Illustrator Maira Kalman’s fanciful interpretation of Schaffner’s pilgrimage to Zaha Hadid’s Heydar Aliyev Center in Baku, Azerbaijan and historian Markus Rediker’s analysis of Vodou Surrealism in response to a curatorial trip to the Caribbean are particularly worth a read. Following Andrew Carnegie’s ambitions for the museum, Schaffner has tasked each artist to lead a public workshop, or “Tam O’Shanter drawing session.” Thaddeus Mosley has already done a workshop on jazz playlists, and a class used coffee to paint with Ho Chi Minh City-based collective Art Labor. In April, visitors can make zines with Mimi Cherono Ng’ok and artifact critters with Lucy Skaer. With many more events to be announced in coming months, this is already a very playful and political exhibition not to be missed.

A new Philadelphia Design District to debut this April

In 1991, Philadelphia's Old City Arts Association launched the First Fridays initiative to encourage visitors to explore the art galleries that made the historic neighborhood their home. A quarter-century later, the area has been completely transformed into one of the city's premier cultural hubs, and now there's yet another reason to head to the 'hood: the brand-new Philadelphia Design District (PDD). The new collective celebrates the independent design businesses—showrooms, workshops, galleries, and shops—in the area spanning from Second and Third Streets to Market and Race. The PDD will make its official debut this spring with a showcase curated by design studio Mona Rose Berman Interiors that will run from April 14 to 28 at the new LEED Gold–certified Bridge apartment building by Gluck+. The first of its kind in Philadelphia, a city with a rich history of manufacturing and design, the PDD unites 11 founding members, including Moderne Gallery, a city staple for art deco designs and the work of George Nakashima; Mode Modern, the city's go-to destination for midcentury modern designs; Wexler Gallery, which represents contemporary names like Gulla Jónsdóttir; the multidisciplinary art practice Biello Martin Studio; and more. More events will be scheduled in the future, but in the meantime, be sure to check out Philadelphia's newest design destination.

Philly’s Jewelers Row tower raises questions about its design review board

In a city as old as Philadelphia, it says a lot when a neighborhood is deemed of particular historical significance by the city's citizens. One such stretch in the City of Brotherly Love is Jewelers Row, a block-long concentration of retailers known for being the nation's oldest (and second-largest) diamond district. So when Philly 'burb–based developer Toll Brothers proposed a 29-story residential tower that would require demolishing a handful of Sansom Street buildings, it's no surprise that some in the city fought back. Now, after the latest version of the proposed project was unveiled by SLCE Architects for Toll Brothers, Pulitzer Prize–winning Philadelphia Inquirer architecture critic Inga Saffron is weighing in on the tower's latest iteration, deriding the building as an "architectural zombie." But that's not the only target of her criticism; Saffron also places some of the blame for its blandness on the city's Civic Design Board. The most recent renderings show an anodyne 24-story glass tower with a series of simple setbacks rising above the brick-lined street. Beyond the incongruity of the design, Saffron calls out the project as a missed opportunity for architectural expression. She places the blame not only on SLCE and Toll Brothers, but also on the city's Civic Design Board, which was founded in 2011 ostensibly to raise the city's level of architectural design by vetting all large projects. The problem, she suggests, is that the board can't outright veto a poor building, leaving developers the ability to apply again and again with simple concessions rather than innovative reimagining. In the case of the Jewelers Row project, earlier versions of the plan included the use of brick to reference the surrounding buildings, an idea that was scrapped after community feedback that the design overwhelmed the neighborhood. A subsequent plan showed an all-glass face with a pleated crown, but a row of third-floor verandas proved too controversial, leading to their removal a month later in the most recent iteration. "That’s how public relations works," Saffron says of the process, "not architectural design." And that, she argues, is the problem.

Amtrak reveals renderings for Philly’s 30th Street Station

In conjunction with designers FXFOWLE!melk, and Arup, Amtrak announced last week that it had chosen a final preferred concept for the plaza surrounding Philadelphia’s 30th Street Station. In the 107-page proposal, Amtrak called the area around the station a “sea of driveways,” and laid out steps the company was taking to modernize the transportation hub. Following up on an earlier call for input that Amtrak had put out in July, the final proposal comes after months of town hall meetings with Philadelphia residents. The new 30th Street Station will anchor the $6.5 billion 30th Street Station District Plan, an 18-million-square-foot, 35-year redevelopment of University City, the riverfront neighborhood surrounding Drexel, the University of Pennsylvania, Penn Medicine, and several other higher education institutions. 30th Street Station itself is only one piece of the puzzle, with other teams planning concurrent schemes for separate parcels, including SHoP Architects' and Netherlands-based landscape architects West 8’s Schuylkill Yards project. With an estimated 11 million riders passing through every year, and with Amtrak expecting that number to double by the time the 30th Street Station District Plan wraps up, any tweaks to the current station have to accommodate that increase. Besides serving Amtrak trains, 30th Street Station is the heart of Philadelphia’s regional SEPTA rail, and the new proposal better integrates the two disparate systems. A new ground-level entryway to the West Underground Concourse on the plaza was revealed, creating an underground connection to the SEPTA subway and trolley station. One of the biggest concerns that Amtrak has tried to address is how isolated the station is from the street. While 40 percent of the surveyed area around the station was classified as pedestrian-friendly, not all of it is connected to anything else or intuitive to navigate. Creating several pedestrian-only zones, the new proposal calls for the installation of rounded benches, planters and fountains designed to subtly delineate between plaza and parking lot. The west portico and southwest section of the plaza will also be converted into car-free green spaces. One minor change that should make a huge difference in the traffic patterns around the station is the creation of a distinct taxi pick-up zone at the east portico near the train platforms, and a drop-off zone on the west side. A 220-unit bike station will also be coming to the site, complete with lockers and bicycle rentals. Amtrak is currently searching for a “master developer” to actualize their proposal, with construction slated to begin  in 2020 and finish sometime between 2025 and 2030. Read the full proposal here.

Philadelphia airport announces five finalists in landscape redesign competition

Last week, the Philadelphia Horticultural Society, in partnership with the Philadelphia International Airport, announced the five finalists selected to compete in the redesign of the 130-acre landscape surrounding the airport. The competition, announced at the beginning of June, asked landscape architects to conceive of an "Image Maker" landscape that leaves a memorable and lasting impression on the city's visitors. The landscape design would offer a chance to showcase Philadelphia as "America's Garden Capital," as well as create a more sustainable landscape for the major transportation hub. The finalists are: James Corner Field Operations Of High Line (New York City) and Navy Yards (Philadelphia) acclaim, James Corner Field Operations wrote that they intended to create a design "environmentally and horticulturally extraordinary, reflective of the diverse identity of the city, feasible, phase-able and achievable." OLIN The only Philadelphia-based firm of the selection, OLIN has previously designed Bryant Park, revamped the plaza at New York's Metropolitan Museum of Art, landscaped Grace Farms in rural Connecticut, and participated in many other high-profile projects. Mathews Nielsen Landscape Architects This New York-based firm is known for their work on Edward W. Kane Park at the University of Pennsylvania, and have done extensive work throughout the New York metropolitan region, including the Governors Island Park and public space. The firm was also collaborating with Heatherwick Studio on the recently killed Pier 55 project. West 8 A Dutch firm with offices in New York and Belgium, West 8 is familiar with airport design, having done a similar revamp for Amsterdam's Schiphol Airport in 1992. Phyto Studio A niche firm from Arlington, Virginia, Phyto Studio aims to honor Philadelphia's "gutsy, gritty, and revolutionary spirit" in their design. They have completed small-scale projects for botanical gardens, residential properties, and public infrastructure across the country.

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Each team will receive a stipend of $20,000 to develop a plan and budget for the challenge. The final designs will be showcased at the Philadelphia Horticultural Society's annual Flower Show from March 3 – 11, 2018, at the Pennsylvania Convention Center at 12th and Arch Streets in Philadelphia.  The winning design will then help to raise funds and take further steps in implementing the project.

Two Philadelphia architects discuss projects beyond Center City

As Philadelphia expands, architects and designers find themselves increasingly working on projects outside of Center City. This is both good and bad news for those in Philly's periphery, which has seen rising rents but also a growth in architectural variation as well. Two architects at Philadelphia-based firms: Scott Erdy, Principal of Erdy McHenry Architecture, and Eric Oskey, a Partner at Moto Designshop, are contributing projects outside of Center City at various scales.   Speaking to The Architect's Newspaper (AN), Scott Erdy spoke of Millennium Hall, a student residence and retail project that was completed in 2009. Here, the end walls of the building are glazed, while the other facades are highly textured, comprised of an array of curved panels which form a composite aluminum rain screen. [intersitial] Such facade projections are seldom seen on student halls where cost limits intricacy. However, Erdy explained that eliminating material waste persuaded the fabricator to go ahead with it. "The folds and side edges are directly related to the size of the raw material fabricated," he said. "We were able to convince NovingerGroup [the fabricators] that it would cost them no more to create than eight inches of relief in the facade as it would be it flat—so long as wasn't wasting any material." "It was a great learning experience for us," he added. "Engaging with the people doing the work for us results in high quality and good price." The relationship with the fabricator was aided by the fact that Erdy McHenry Architecture had worked with them before on another project, Race Street Residence Hall, which was built three years prior. Erdy also spoke about another facade project. At The Piazza at Schmidt’s, a housing complex between Poplar and Fishtown, the facade operates on numerous levels to facilitate views in and out of the building, as well as, according to Erdy, to engage outdoor space as a "social exercise." Erdy elaborated on how the facade came to be. "The skin is basically a window system that was modified with the sub-contractor (GMI)  to make it cost-effective," he said. "The gridded element of that building is a direct expression of the underlying structure." Also speaking to AN, Eric Oskey explained how Moto Designshop has been using layered screens at a residential scale. At the Walnut Estates, a residential complex finished last year, Oskey used a perforated brick wall to form a facade that is offset from the main structure. The white brickwork provided light and privacy to the luxury apartments behind the facade, but was also parted to allow substantial views to a swath of floor-to-ceiling windows. Oskey will be discussing this project and others in further detail at the upcoming Facades+ Conference in Philadelphia. Scott Erdy will also be present to elaborate on the two projects mentioned here, as well as EVO Tower (completed in 2014) and The Radian (completed in 2009). At their panel, "Philadelphia’s Design Trajectories: Growing Beyond Center City," Erdy and Oskey will be joined by Danielle DiLeo Kim, who will discuss how buildings can come together and activate the street level and how facades, as she describes, can act as "identity makers for cities." Facades+AM Philadelphia is being held at the National Museum of American Jewish History on September 25. More information on the conference can be found at am.facadesplus.com. Seating is limited.