Until recently, the Tent of Tomorrow looked very yesterday. Part of the Philip Johnson–designed New York State Pavilion at the 1964 World's Fair has been restored to its original color, "American Cheese Yellow," earlier this month. New York City has allocated almost $8.9 million to shore up the tent, the pavilion, and other relics of the World's Fair in Queens' Flushing Meadows Corona Park (including the Unisphere). Designs for the structural reinforcement and preservation of the pavilion will be in by fall 2016, with construction to begin in 2017. The National Trust for Historic Preservation and preservation group People for the Pavilion, in partnership with the city, will begin soliciting ideas for design and programming in the space early next year. New Yorkers got a rare glimpse inside the relic at last week's Open House New York Weekend. Sixteen, 100-foot-tall columns support a 50,000-square-foot ceiling with colored clear panels. Three towers of 60 feet, 150 feet, and 226 feet—most recently famous as spaceships from the film Men in Black—stand adjacent to the tent. The shorter towers held cafeterias, while the tallest supported an observation deck. To fulfill apprenticeship requirements, 30 bridge painters from Painters DC 9 and the Painting Contractors Association worked for a combined 8,000 hours to bring the Tent of Tomorrow's steel diadem back to its original color. This phase of the project was done pro bono, with an estimated value of $3.25 million (really). The city estimates that the fresh paint will extend the life of the structure by about 15 years.
Posts tagged with "Philip Johnson":
This weekend, 256 public and privately-owned sites across New York City will open their doors to thousands of architecture and history nerds for the 13th annual Open House New York (OHNY) Weekend. All sites are free to visit, though some require registration in advance. Gregory Wessner, executive director of OHNY, said the event is an "opportunity to get an audience to look at the city through different disciplinary lenses." This year, 1,200 volunteers will staff 256 sites. Wessner explained the selection criteria: sites are evaluated for their architectural, cultural, and historical significance; location; proximity to public transportation; period, style, and typology. Last year, OHNY Weekend attracted approximately 75,000 visitors over two days. 80 percent of those visitors were New Yorkers. Given the depth and breadth of the offerings, it's impossible to privilege one site over another, though Wessner said he's particularly excited about City Hall. City Hall, he believes, "represents what's great about OHNY. It represents the seat of government, which most of us don't get to go into, and welcomes the public to go in and look around." New York's Beyer Blinder Belle renovated the palatial 1812 structure this year. A little-known architectural mecca is Bronx Community College. From 1959–1970, New York University (then owner of the campus) commissioned Marcel Breuer to design four buildings. DOCOMOMO New York/Tri-State will lead tours of Breuer's buildings on Saturday and Sunday. Also on campus: the Beaux-Arts Gould Memorial Library and Hall of Fame (Stanford White, 1900) and North Hall and Library (Robert A.M. Stern, 2012). Though the weekend is the group's biggest event, OHNY operates throughout the year, organizing tours and talks to encourage dialogue around major issues affecting the city's built environment. The Final Mile is a yearlong exploration of the "challenges and choices for an equitable and resilient food system" in New York. Food manufacturing, Wessner stated, is the fastest growing manufacturing sector in the city, and drives real estate development (think Smorgasburg and Chelsea Market). Tomorrow, Friday, OHNY is leading tours of food manufacturing facilities as a lead-up to the weekend. Visitors should check the OHNY Weekend for updates ahead of their trip. See the gallery below for more images of featured sites.
New York City’s iconic Four Seasons Restaurant inside the Seagram Building is at the center of a renovation dispute
Traditionalists went into a tailspin over proposed modifications to the landmark Four Seasons Restaurant, a gastronomic and architectural emblem of New York City housed in the historic Seagram Building. The high-ceilinged enclave, clad with French walnut walls, plays daily host to high society a big business in Midtown Manhattan. The eatery garnered landmark status in 1989 for the building’s architectural prowess. Nevertheless, the New York City Landmark Preservation Commission (LPC) cautions that this designation does not shield the Mies van der Rohe Barcelona chairs, Florence Knoll banquettes, Eero Saarinen cocktail tables, and table settings by L. Garth Huxtable. Building owner and noted art collector Aby Rosen of RFR Holdings recently filed plans to make changes to the restaurant, reportedly without consulting owners Julian Niccolini and Alex von Bidder. While the LPC approved the proposed new carpeting without qualm, they balked at a removal of the cracked-glass and bronze partitions separating the dining area and bar. Originally installed by legendary architect Philip Johnson, who designed the space with Ludwig Mies van der Rohe in 1959, the partitions would be replaced by movable ivy planters to open up the space. Selldorf Architects is also considering nixing the large walnut panels separating the square-shaped 60-foot-by-60-foot Pool Room from the dining room on the mezzanine. These will be replaced with five panels, the outer two of which would be operable for reconfiguration of the space. According to Rosen, this would improve the flow between the mezzanine and the Pool Room without the upper tier framing the space. “This landmark is elevated to a level where any kind of intervention would not be living with preservation,” objected LPC Chair Meenakshi Srinivasan. Conservationists bristled last year when Rosen entertained an eviction of the Le Tricorne Picasso tapestry hanging inside the restaurant in order to facilitate reparations to the wall behind it, where a “potentially serious steam leak” from the two-story kitchen had purportedly crippled the structure. The preservation commission retorted that removal of the tapestry would cause it to “crack like a potato chip.” A New York State judge issued an injunction prohibiting Seagram from removing the painting, but Rosen, a real estate developer and avid collector of post-war art, is in conservationists’ crossfire again for daring to alter a landmark. “These are features that are integral to the sense of space. Not just decorative but have architectural meaning and value,” said Commissioner Diana Chapin. Edgar Bronfman Jr., whose family owned Seagram, claimed that RFR’s proposal displays “utter contempt” for the icon. RFR representative Sheldon Werdiger maintains that the changes are restorative rather than invasive. “We’re not making changes as much as we’re restoring. Our local press is trying to make it into a controversial situation,” he told Arch Record.
This Friday, catch the world premiere of “Modern Ruin” all about the New York State Pavilion from the 1964 World’s Fair
World Premiere of Modern Ruin: A World’s Fair Pavilion Friday, May 22nd, 2015 Cocktails 7:00–8:00p.m., Screening 8:00–9:30p.m. Queens Theatre, 14 United Nations Avenue South Flushing Meadows Corona Park, Queens Philip Johnson and Lev Zetlin's New York State Pavilion for the 1964 World's Fair in Queens' Flushing Meadows Corona Park should be more than an eyebrow raiser as those curious, disc-on-pole structures seen when driving to JFK airport. It was Munchkinland, the starting place for Dorothy's journey to Manhattan—correction, Oz—in the 1978 film The Wiz. It was an alien spacecraft tower in the original 1997 Men in Black which crashes into the nearby Unisphere. And it was the site of Tony Stark/Ironman's confrontation with his adversaries in Iron Man 2 on the grounds of Stark Expo 2010, a digitally updated 1964 World's Fair grounds (director Jon Favreau's childhood home overlooked the park). And it will appear in the new film Tomorrowland starring George Clooney that opens May 22. But the common current perception of what Ada Louise Huxtable called “sophisticated frivolity" when the buildings opened is one of dereliction, decay, and outmodedness. That is, except for a number of dedicated citizens called People for the Pavilion and architectural simpaticos, who rightly see this as a preservation issue. What results is a new documentary called Modern Ruin: A World's Fair Pavilion by Matthew Silva and executive produced by the makers of Modern Tide: Midcentury Architecture on Long Island (2014), Jake Gorst and Tracey Rennie Gorst, which will premiere the same day as Tomorrowland. The towers were a favorite of master-builder and fair impresario Robert Moses, who saw these structures as one of the few 1964 World's Fair buildings intended to live beyond the event. Paul Goldberger said it used "advanced engineering combined with a very exquisite sense of architectural composition, to make something that was both aesthetically and structurally quite beautiful and fully resolved." The pavilion consists of three components made of reinforced concrete and steel: the "Tent of Tomorrow," the Observation Towers, and the "Theaterama." The elliptical “Tent of Tomorrow” measured 350-feet by 250-feet with sixteen 100-foot-tall columns supporting a 50,000 square foot roof of multi-colored fiberglass panels—like a Rose window over a circus tent—once the largest cable suspension roof in the world. The Observation Towers are three concrete structures, the tallest at 226 feet high, with observation platforms once accessed by two "Sky Streak capsule" elevators. The adjacent “Theaterama” was originally a single drum-shaped volume of reinforced concrete where pop artworks by Andy Warhol, Roy Lichtenstein, Robert Indiana, and Ellsworth Kelly—plus art from local museums—were exhibited alongside a display from the New York State Power Authority featuring a 26-foot scale replica of the St. Lawrence hydroelectric plant. A 360-degree film about the wonders of New York State, from Jones Beach to Niagara Falls, was screened inside. Warhol’s specially-commissioned Thirteen Most Wanted Men series depicting criminals' mug shots straight on and in profile, displayed on the exterior had a fate reminiscent of Diego Rivera's censored murals at Rockefeller Center: Nelson Rockefeller had it covered over, here because too many Italian Americans were depicted as criminals. (In 2014, the complete series was displayed at the Queens Museum, just 200 yards from the New York State Pavilion.) The Theaterama was converted to the Queens Playhouse in 1972 and is now the Queens Theatre where Modern Ruin: A World's Fair Pavilion will be screened. Connecting the complex was a floor made of 4-foot-by-4-foot terrazzo panels that formed a map of New York State. In fact, it was a Texaco roadmap and was a great hit with people finding their home towns and navigating across the state. At the end of the fair, the floor was supposed to be moved to a building in Albany, but instead was left and became a roller rink—terrazzo is a great skating surface. The site was largely intact until the mid-1970s (the Grateful Dead and Led Zeppelin performed there), but its fate was part of New York City's downslide. The roller rink closed, the roof was taken out. Left open to the elements, the mapped floor was destroyed. Since that time, the complex has continued to deteriorate, but a handful of dedicated citizens have devoted themselves to resurrecting the space. Volunteers for the New York State Paint Project are sprucing up the tent with a fresh coat of paint. CREATE Architecture Planning and Design came up with an idea to make it into an Air & Space Museum—that plan went nowhere. In 2014, New York City government announced a pledge of $5.8 million towards rehab of the structure, and Governor Cuomo’s office pledged $127,000, but estimates for the complete rehabilitation have climbed to a staggering $75 million. The film is a loving portrait with intelligent interviews with Frank Sanchis (World Monuments Fund), Robert A.M. Stern, and Paul Goldberger laced among those who created, remember, and are saving the site.
Hey, one percenters, listen up (or pay someone to do it for you) because we've got some exciting news that might pique your interest. All the rest of you non-global-elite types can amscray. That's right, you heard us, get out of here. It's for your own good. Okay, here we go, the Real Deal reported that the penthouse in Philip Johnson's iconic Sony Tower, née the AT&T Tower, will be listed for the high, high price of $150 million. The triplex unit in the building-shaped-like-a-dresser that helped launch Postmodernism not only gives you 21,504 square feet of living space, eight bedrooms, and 18 bathrooms, but major bragging rights because you, my friend, will be living in the most expensive apartment ever sold in New York City. That is, until an LLC scoops up something even pricier. It's only a matter of time, so get that checkbook out and start scrawling.
Philip Johnson’s only Dallas residential design, The Beck House (1964), has hit the market with a $27.5 million asking price. Current owners Naomi Aberly and Larry Lebowitz—who famously hosted President Barack H. Obama twice within the home’s white walls at fundraising events—recently spent seven years conducting a detailed modernization and renovation of the modernist palace, as well as a re-landscaping of the 6.45-acre park that surrounds it. Dallas firm Bodron + Fruit touched up the architecture, including adding a pavilion beside the new pool, while Massachusetts-based Reed Hilderbrand worked on the grounds.
The village of Sagaponack, New York has confirmed to AN that Philip Johnson’s Farney House has been demolished. A Robert A.M. Stern–designed home is expected to rise in its place. Johnson completed the home in 1946, just three years before his world-famous Glass House in New Canaan. The now-disappeared Hamptons home is believed to have inspired that later work. The demolition does not come as a surprise. In early September, local publication 27East reported that the new owners of the $24 million house were expected to replace it with a Stern-designed structure—and there was little anyone could do about it. According to 27East, Sagaponack’s Architectural and Historic Review Board could not protect the property on legal grounds given the “extensive modifications” it had undergone over the years. Efforts to relocate the home were also unsuccessful. The Farney House, which was built for a couple of the same name, was originally a single-story, rectangular structure clad in cedar siding. According to the village of Sagaponack, the house was set upon a new foundation in 1975, and then underwent more extreme renovations in 1988: The house's main floor was expanded by more than 50 percent and the open space below the existing volume was filled-in to create two stories. The house's original windows windows and siding were also removed. At some unknown point in time, the home's deck was significantly enlarged as well. The village also noted that a swimming pool was added to the lot in 1981 and a tennis court in 1994. According to its sales listing, in its final state, the home comprised about 5,000-square-feet and sat upon 3.6 acres of waterfront property. [h/t Curbed]
Fujiko Nakaya: Veil Philip Johnson Glass House 199 Elm Street, New Canaan, CT Through November 30 For its 65th anniversary, Philip Johnson’s Glass House in New Canaan, Connecticut, is hosting an exhibition by Fujiko Nakaya that utilizes the historic site itself. Veil shrouds the Glass House as well as the surrounding landscape with fog by running fresh water through high-pressure pumps. The fog will be heavily released then dissipated at set time intervals to obscure the visibility of the area and create a unique experience for visitors. Fujiko Nakaya is well known internationally for her consistent usage of fog in her installations. In 1970, Nakaya created the first-ever fog sculpture by enveloping the Pepsi Pavilion at Expo ’70 in Osaka, Japan, in mist. This exhibition is the first of Nakaya’s works to be displayed on the East Coast in the U.S.
After decaying for years, the New York State Pavilion from the 1964 World's Fair is getting some TLC. The New York Times reported that $5.8 million was allocated in New York City’s budget to stabilize the Philip Johnson–designed pavilion in Queens. A NYC Parks Department spokesperson told the Times that the exact use of the money has not yet been determined yet, but it will likely go toward electrical and structural work at the site’s iconic towers. The decaying Tent of Tomorrow will be getting some love as well. According to engineering studies from the Parks Department, it would cost an estimated $14 million to raze the pavilion, $43 million to stabilize it, and $52 million to restore the towers' elevators. Any attention to the park is a good sign, but considering the high cost of doing just about anything to the pavilion, this is a relatively small investment. But it is a start.
John Catsimatidis, the billionaire-grocery-store-tycoon-turned-failed-mayoral-candidate said he will write a check to save Philip Johnson’s iconic New York State Pavilion in Queens, New York. That is, if someone presents him with the right “visionary” plan. At a recent event to commemorate the 50th anniversary of the World’s Fair, Catsimatidis told the New York Daily News he wants to see another World’s Fair in Queens in the near future. “I can make it happen,” he told The News. “But you need people who have dreams.” It, of course, will take more than dreams alone, and, as the publication notes, Catsimatidis does not have “a specific plan, timeline, or strategy” behind his offer. Oh, the little things. But, if Cats—as he was known during his unsuccessful, but entertaining, mayoral campaign—is true to his word, then he can expect to write a pretty hefty check. A study by the New York City Parks Department found that preserving the structure as-is will cost about $50 million, and renovating it for new use would set someone like Catsimatidis back $70 million.
Anaheim's Crystal Cathedral, designed by Philip Johnson in 1980, and containing more than 10,000 panes of mirrored glass, is one of Orange County's rare architectural treasures. Today the Roman Catholic Diocese, which purchased the church last year, announced that Johnson Fain and Rios Clementi Hale will be leading its $29 million renovation. The exterior of the building will be essentially unchanged outside of cleaning and replacing damaged glass, but the interior will be heavily remodeled to upgrade access, sight lines, finishes, and environmental comfort. The renovation will also add significant new elements to adapt to the church's new Catholic focus (it had once been an evangelical church), including a new altar, a baptismal font, and new cathedral doors. "It's an open palette inside," said Diocese spokesperson Ryan Lilyengren, who likened the iconic exterior to a shell. The 34-acre campus, which includes seven buildings (including structures by Richard Meier and Richard Neutra), will also be master planned to support a larger array of events and, as Rios Clementi Hale principal Mark Rios put it, "unite the campus and make a place that welcomes the community." Twenty four teams applied for the renovation, a list that was pared down to four before this final decision. One of the nation's first "megachurches," the 2,750-seat church will host masses every day, according to Lilyengren. The church will close to the public at the end of October (services will be held in the interim in Neutra's adjacent arboretum), and renovation should be complete by 2015 or 2016.
Look for Beauty: Philip Johnson and Art Museum Design Sheldon Museum of Art 12th and R streets, University of Nebraska, Lincoln, NE Through October 13, 2013 The Sheldon Museum of Art in Lincoln, Nebraska, is currently celebrating the works of Philip Johnson, the influential American architect who promoted the International Style and, later, defined postmodernist architecture. One of his most iconic projects was the design of the Seagram building in Manhattan, a project undertaken in partnership with Mies Van Der Rohe. This particular project marked a decisive shift in Johnson’s career. Look for Beauty examines the design journey of Philip Johnson through the examination of three of his earlier museum buildings: Munson-Williams-Proctor Arts Institute, the Amon Carter Museum of American Art, and the Sheldon Memorial Art Gallery (now the Sheldon Museum of Art). These three projects form a coherent study of Johnson’s developing personal style in the early years of his career. The exhibition includes models, plans, furniture, photographic murals, and archival materials such as correspondence, exhibition photographs, and catalogs.