Posts tagged with "Pittsburgh":

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Colored concrete and perforated fins keep this downtown school cool

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Completed in November 2017, the Perkins Eastman–designed School of Nursing and Science Building occupies a former parking lot in downtown Camden, establishing a new institutional heart for Rutgers University in the slowly reviving city. The design inhabits a formidable full-block mass, reaching a height of four stories with a multidimensional facade of high-performance concrete and glass curtainwall shaded by perforated panels.
  • Facade Manufacturer Kawneer, Taktl, Glazing Concepts
  • Architects Perkins Eastman, NELSON Architects (architect of record)
  • Facade Installer Glazing Concepts, Robert Ganter Contractors
  • Facade Consultants Atelier Ten
  • Location Camden, New Jersey
  • Date of Completion November 2017
  • System Kawneer 1600 with concrete panels and curtain wall window modules
  • Products Kawneer 1600 Wall System, TAKTL Architectural Ultra High Performance Concrete, Glazing Concepts window modules
Similar to other urban centers across the Rust Belt, Camden has undergone a significant period of economic stagnation and demographic decline since the mid-20th century. However, the continued expansion of healthcare institutions, such as the Nursing and Science Building, is fundamentally reshaping the city’s character. The project is located on a triangular site adjacent to Camden City Hall, and the residential neighborhood of Lanning Square. Owing to the irregularity of the site, each elevation of the 101,000-square-foot project is a different length. Rather than attempting to establish conformity across the Nursing and Science Building, Perkins Eastman’s design plays with each facade's unique dimensions. The southwest elevation features a hollowed-out frame filled by a three-story glass facade, while the northeast elevation recalls the more traditional masonry punched window style found around the area. For the rainscreen, Perkins Eastman turned to TAKTL, a design and manufacturing operation located in the Greater Pittsburgh Region, to produce rectangular high-performance concrete panels. To blend in with the prevailing use of stone ashlar and brick for historic buildings in downtown Camden, the concrete panels are colored reddish-brown and finished to resemble non-glazed terra-cotta. The panels, measuring one-by-three feet, are face-fastened with color-matched screws to the light-gauge structural steel stud framing. While the rainscreen serves as an oversized framing device, the bulk of the 110,000-square-foot project resides behind glass curtain wall. Sections of the curtain wall bulge from the assembly, providing room for a variety of functions within. “The facade is composed of two distinctive wall types,” said James Butterfield, RA, design Principal at Perkins Eastman. “One which employs a full-height, vertical perforated metal shading system, and a second which introduces opacified shadowbox panels to minimize the quantity of unshaded vision glass.” Each curtainwall module reaches a height of 30 feet and is anchored at the end of each concrete slab. Aluminum brackets project from the Kawneer-produced wall system and are fastened to the 1/4-inch-thick vertical perforated panels at four points. The overall goal of these devices is the mitigation of solar incidence and internal glare associated with typical large-scale curtain wall design.
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The 57th Carnegie International digs where it stands

Within the last three months, two rustbelt cities have opened international art exhibitions. Cleveland, Ohio, debuted FRONT International in July, and this weekend Pittsburgh opened its 57th Carnegie International. While FRONT sends artists and art-tourists into sites throughout the city, this year’s Carnegie International keeps its art in and around its own house. The exhibition draws visitors to Andrew Carnegie’s immense, turn-of-the-century building—a complex with two museums, a concert hall, and library all under one roof—and proves that its long institutional history is a fertile ground for provocative new work. The notion of an “international” exhibition perhaps still conjures the hubris of the industrialist who founded the show in 1896 to identify the “old masters of tomorrow.” But this year’s curators, Ingrid Schaffner along with Liz Park and Ashley McNelis, aimed to use the exhibition to spark “museum joy.” The curatorial joy is certainly contagious, evident even in the team’s abolition of wall texts, which Schaffner denounces in favor of a bound book developed with Dancing Fox Press that hearkens back to a 19th-century travel guide. By saturating the building with new artwork, the 57th Carnegie International strives to construct new narratives and celebrate the art as a lived experience with architectural and artistic juxtapositions. The exhibition may be bounded by the museum walls, but the 32 artists and collectives, as well as one independent exhibition maker have taken it upon themselves to respond to Pittsburgh’s local histories and regional conditions that still have international resonance. The 57th Carnegie International is open now through March 25, 2019. Admission is free with tickets to the Carnegie Museums of Art and Natural History.
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Exclusive: Venturi Scott Brown-designed house suffers secret demolition

Only a month-and-a-half after a colorful Robert Venturi and Denise Scott Brown-designed house in Shadyside, Pittsburgh was put up for sale, AN has learned that the new owner plans on tearing it down. The Abrams House, commissioned by Irving and Betty Abrams and completed in 1979, is a striking example of Venturi’s playful postmodernist style. One-half of the roof curves and swoops like a cresting wave over the more traditionally-shaped rectangular portion, with a 20-foot-high vaulted ceiling below. The house’s front facade is capped with a window arrangement that resembles both a ship’s wheel as well as the rising sun and is accentuated with green-and-white “rays” emanating from the window assembly. A ribbon window wraps around the house and illuminates the interior, allowing the primary colors used everywhere from the soffits to the furniture to stand out. A mural by Roy Lichtenstein in the living room accentuates the house’s pop art aesthetic. Other than the colorful flourishes, the Abrams House is particularly notable for its location; the house is surrounded by midcentury work from well-known architects, including the Frank House by Walter Gropius and Marcel Breuer and the Giovannitti House by Richard Meier. The two-bed, two-and-a-half bath was put up for sale in mid-June of this year for $1.1 million, and the new buyer, Bill Snyder, closed on the building on July 20. Preservationists had briefly hoped that Snyder, who also owns the Giovannitti House, would restore the building, but a demolition permit was filed on July 23. Pittsburgh requires a 15-day wait period between the filing of a demolition permit and the start of work, but an anonymous source has informed AN that the interior of the house has already been gutted. The large Lichtenstein piece has been covered and removed, either causing or revealing significant degradation in the wall behind, and fixtures throughout the house have been cleared out. Snyder had purchased the Giovannitti House from its original owners, Frank and Colleen Giovannitti, in 2017 and is currently restoring the exterior of the home to its original condition. With the demolition of the Abrams House, the entire lot may become a landscaped addition to complement Meier’s building. Brittany Reilly, a board member at the nonprofit Preservation Pittsburgh, has been trying to raise awareness of the house. According to Reilly, the home is a unique piece of architecture for Pittsburgh in a neighborhood full of architecturally-significant houses. The problem? The Abrams House isn’t visible from the street, and Reilly believes that seclusion has led the public to overlook it. The next step for preservationists is to “respectfully” drum up community attention to the demolition. Preservation Pittsburgh has reached out to VSBA Architects & Planners, who were unaware of the demolition, as well as other Pittsburgh-based preservation groups, and is currently trying to establish a dialogue with Snyder. Update: After this story was originally published, the Pittsburgh History and Landmarks Foundation (PHLF) has been working to mount an individual landmark nomination with the Historic Review Commission, planning commission and Pittsburgh City Council before the 15 day period elapses. Denise Scott Brown expressed her displeasure with the demolition reached for comment by the Pittsburgh Post-Gazette. "Why does he need to do that? Why doesn’t he save it,” said Brown. “This is not very honorable.” AN will follow this story up as more details become available.
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A High Line in Pittsburgh? Officials bet big on elevated park in Steel City

Move over, New York. Earlier this month, developers McKnight Realty Partners held a ceremonial groundbreaking for the Highline, Pittsburgh’s newest mega-conversion. Developer McKnight Realty teamed up with local firm Indovina Associates Architects to redevelop the Pittsburgh Terminal Warehouse and Transfer Company (map) on the city’s deindustrialized South Shore. The $110 million complex will bring 600,000 square feet of office and retail to the area. The building—they are one, but appear to be two—is connected by a five-hundred-foot-long elevated roadway that will be converted into a park-like space with lighting and seating. The walkway will be extended to the abutting Monongahela River and face north towards the city’s Downtown. Similar in name and form to Manhattan’s High Line, which brought a disused freight railway line back to life as a public park and spurred a development boom on Manhattan’s Far West Side, Pittsburgh's Highline project seeks to revitalize a significant site within the city's post-industrial landscape. Indovina’s design incorporates vegetative and hardscaping features, such as raised planters and textured concrete pavers. Below the Highline, and along the facility’s loading docks, there will be a lower park dubbed the Yards which will serve as an extension to Pittsburgh’s preexisting river trail system. Restoration is key to the project. Notably, all of the complex’s damaged windows will be replaced with historically accurate units and both the cast-iron detailing and brick curtain walls will be entirely restored. Completed in 1906, The Terminal Building was designed by prominent Pittsburgh architect Charles Bickel. Like the former warehouses adjacent to Manhattan’s High Line, the facility was designed to integrate freight and warehousing logistics in an urban setting. The conversion of The Terminal Building joins Pittsburgh’s ongoing restoration and construction trend that has brought similar warehouses back to life, such as the city’s Produce Terminal and the Allegheny Riverfront Green Boulevard. The Pittsburgh Tribune reported the project will receive approximately $17.5 million in federal and state financial incentives, and construction should be complete by 2019.
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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.
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A new book delves into Mellon Square, the modernist landscape masterpiece at the heart of Pittsburgh

Pittsburgh is slowly, and fitfully, reappraising its modernist legacy of corporate towers, postwar infrastructure, and neighborhood-obliterating “urban renewal.” In this complex and frequently polarizing narrative, the role of landscape is perhaps only now being properly addressed in academic and political discourse regarding the past, present, and future potential of communal civic space.

Mellon Square is the second volume in “Modern Landscapes: Transition and Transformation,” a timely series from Princeton Architectural Press. As series editor Charles Birnbaum notes in his foreword, if Lawrence Halprin’s Denver Skyline Park (the first site in the series) has suffered “disastrous alteration,” this 1950s landscape at the heart of Pittsburgh has “in contrast (…) been very well chronicled, documented, and analyzed” resulting in “a renewed, enhanced, and revitalized Mellon Square.”

Principal author Susan Rademacher concurs. She has written a compact volume, presenting with modest clarity, a rich spectrum of knowledge from local history and detailed plant selection to technical refinements particular to the project. Emphasizing Mellon Square’s centrality in the self-image of Pittsburgh, Rademacher calls it “a symbol of Pittsburgh’s astounding capacity for reinvention and self-improvement” and potentially “a model for the national movement to preserve modern landscape.”

Mellon Square was the first modernist urban park situated above a subterranean parking structure by Mitchell & Ritchey. Fifteen years earlier, Dahlen Ritchey, a Carnegie Tech and Harvard alum, had assisted Walter Gropius and Marcel Breuer on their luxurious Frank House in Pittsburgh’s Squirrel Hill. The main design heroes of Rademacher’s book are John O. and Philip D. Simonds, Pittsburgh landscape architects and environmental planners. John, also a GSD man, published his seminal Landscape Architecture shortly after Mellon Square’s completion in 1955.

Other key figures in Pittsburgh’s “renaissance” include then-Mayor David L. Lawrence (a Democrat), Richard King Mellon (a Republican), and Edgar Kaufmann. Kaufmann not only engaged Frank Lloyd Wright to imagine fantastical infrastructures at the juncture of the Allegheny and Monongahela rivers, he also commissioned a master plan titled Pittsburgh in Progress from Mitchell & Ritchey. Displayed at Kaufmann’s Department Store, a mere block from the future Mellon Square, this Corbusian-inflected plan heralded an urban agenda for the 1950s, radiating back from that historic origin of the city.

Rademacher delves deeply into the design process, a complicated story for many an urban project, yet especially so here with a business elite keen to impact the fabric and the perception of the city. Not by chance, Mellon Square functioned something like the plaza at Rockefeller Center. (No ice-skating, although early proposals did include flamingos and penguins and a circular platform for sea lions, along with less sculptural bling.) Yet the square was clearly envisaged as the centerpiece of what Rademacher describes as “an integrated complex for the Mellon enterprises.”

Indeed, there are three Harrison & Abramovitz-designed landmarks for Mellon-related businesses in the immediate vicinity: the sober U.S. Steel/Mellon Bank Building, the innovative Alcoa Building directly overlooking the square, and later, the U.S. Steel headquarters, a towering paean to weathering steel at the intersection of Pittsburgh’s two urban grids. Disliking the orthogonal paving proposed by Simonds & Simonds, Sarah Mellon Scaife’s fondness for St. Mark’s Square led to the harlequinade pattern that brings Mellon Square its graphic elegance, especially when viewed from the surrounding towers.

In a 1973 article, John listed the project concepts as a platform (“a vast tray”), a structure (with “footings spaced out on the floor of a prehistoric stream bed some sixty feet below”), an island (“surrounded by and cut off from the rest of the city”), a space (“expanded, modulated, and articulated by all means at the architects’ command”), a focal center, a civic monument (“a source of pride and lasting inspiration”), a gathering place (“human in scale and human in its appeal”), and an oasis (“the welcome relief of foliage, shade, splashing water, flowers, and bright color.”)

Inevitably perhaps, some problems ensued—with tiles, flower beds, and wiring—eventually, “the main fountain and lighting no longer worked.” According to Rademacher, “despite efforts (…) continued maintenance did not remain a priority”. It was not until 2007 that the Parks Conservancy, then the guardian of Pittsburgh’s verdant sequence of robber baron-era parks, got involved. In 2008, the Conservancy published its Mellon Square Preservation, Interpretation and Management Plan. Soon, a planning team was in place, led by Patricia M. O’Donnell of Heritage Landscapes.

Mellon Square: Discovering a Modern Masterpiece goes into considerable detail on both the birth and now the rebirth of this important mid-century landscape set in a city that is itself experiencing economic and social renewal. The book may be slim, yet it is packed with information—a slight drawback of its dimensions is the small size of many illustrations. Rademacher has performed a service for Pittsburgh and for other U.S. cities unwilling to jettison the recent past and the timeless value of offering, “a place of pure delight—an inviting refreshing environment,” to quote Simonds.

Mellon Square: Discovering a Modern Masterpiece Susan M. Rademacher With essays by Charles A. Birnbaum, Patricia M. O’Donnell, Richard C. Bell and Barry W. Starke Published by Princeton Architectural Press, $24.95

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Bohlin Cywinski Jackson unveils Pittsburgh’s Frick Environmental Center

Bohlin Cywinski Jackson’s Frick Environmental Center (FEC) in Pittsburgh will be publicly unveiled September 10th. The FEC is the first municipally owned, free and public Living Building Challenge targeted facility. The project is also built to LEED Platinum standards. The FEC will act as an environmental education center for an estimated 20,000 students from Pittsburgh public schools, along with thousands of other visitors. Located in the 644-acre Frick Park, the project will provide support spaces, fully equipped classrooms, and offices for the Pittsburgh Parks Conservancy. The FEC will be free and open to the public, and available for event rental by spring 2017. A public “living room” and gallery will welcome visitors to learn about the park’s history, its extensive trails, the building itself. Bohlin Cywinski Jackson collaborated with the City of Pittsburgh and the Pittsburgh Parks Conservancy on the project. The team also worked with more than 1,000 community stakeholders on the design. Along with the new building, other portions of the park will be restored, including historic gatehouses, an alleé, and fountain. To achieve the Living Building Challenge and LEED Platinum standards, the project uses 35% less energy than baseline structures. With a goal of net zero energy and water, the building will also ground-source heat pumps, radiant floors, a photovoltaic array, and a reclaimed water system. All building materials were sourced within 1,200 miles of the site and subcontractors and tradespeople were hired from the region. Bohlin Cywinski Jackson has also had a local office in Pittsburgh for the past 40-years. “The September 10 celebration will give a sampling of the beautiful building and grounds, environmental education programming, and community spirit that the Center will have to offer our city for generations to come,” explained Pittsburgh Parks Conservancy founder and CEO Meg Cheever.
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Pittsburgh gets its own smartphone architecture guide

The Boston-based interdisciplinary architecture firm over,under has launched a mobile architecture guide app called Jaunt Pittsburgh. The app provides navigation to a curated list of historic and contemporary architecture throughout the city, and can be downloaded for free for from Apple's App Store or Google play. Users can search and find architecture in three ways. Projects can be sorted through 1) a grid of icons, 2) a sortable list of architects, location, date, or other characteristics, and 3) a navigable map. Along with helping users find buildings throughout the city, the app includes photographs and historical information. Each project also includes a list additional readings outside of the app. "It has unusual breadth—it showcases Pittsburgh buildings as well as industrial and infrastructural sites dating from the city’s founding to the present,” says Martin Aurand, Architecture Librarian and Archivist at Carnegie Mellon University, and collaborator on the app. “It includes rare archival images from the Carnegie Mellon University Architecture Archives, and is particularly strong in its inclusion of modern and contemporary projects." over,under worked with students from Carnegie Mellon School of Architecture and from the Carnegie Mellon Qatar campus on the app. The interdisciplinary practice works on architecture, urban design, graphic identity, and publications. The firm produces everything from architectural films and mobile apps to building and urban design proposals. "<yoastmark
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Carnegie Science Center raises money for new Science Pavilion

The Carnegie Museums of Pittsburgh have announced a new fundraising campaign entitled “SPARK! A Campaign for Carnegie Science Center” to raise the $34.5 Million needed to build a new three-story Science Pavilion addition to the current Carnegie Science Center. Situated along the Ohio River, the Carnegie Science Center was designed by Pittsburgh-based Tasso Katselas in 1991. The new pavilion would add 37,000 square feet of Science Technology Engineering and Mathematics (STEM) Learning Labs and a Special Exhibitions Gallery to the center. The new pavilion’s nine STEM Labs would include 5,800 square feet of classrooms. Three of these classrooms would be flexible in size and format to facilitate different classroom needs, and one room will be specifically designed for “young learners.” A multipurpose space will be used for the center’s educator professional development program, the Teaching Excellence Academy. The new 14,000 square foot Special Exhibitions Gallery will be able to house large traveling exhibitions and serve as a flex space for larger science educational experiments. The space will also be utilized for lectures, forums, and community discussions. As part of the Carnegie Museum system, theSpecial Exhibitions Gallery will be available for use by the Carnegie Museum of Art, the Carnegie Museum of Natural History, and the Andy Warhol Museum. So far over $26.5 million has been raised of the $34.5 million needed.
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Here’s how BIG, West 8, and Atelier Ten will reshape Pittsburgh in a new master plan

BIG news for downtown Pittsburgh: New York–based Bjarke Ingels Group (BIG), West 8 Landscape Architects, and Atelier Ten were tapped by private developers McCormack Baron Salazar and the Pittsburgh Penguins to create a master plan for 28 acres in Pittsburgh's Lower Hill District. Today, those plans were unveiled. The plan will redevelop public space around the erstwhile Civic Arena, build a new public space across from the Consol Energy Center, and dialogue with the city's vertiginous topography to create bike and pedestrian paths that connect the Hill District with Uptown and Downtown. In all, the New Lower Hill Master Plan calls for 1.2 million square feet of residential construction as well as 1.25 million square feet of retail and commercial space. The project is expected to break ground in 2016 and cost an estimated $500 million. “The master plan for the Lower Hill District is created by supplementing the existing street grid with a new network of parks and paths shaped to optimize the sloping hill side for human accessibility for all generations," Bjarke Ingels, BIG's founding partner, explained in a statement. "The paths are turned and twisted to always find a gentle sloping path leading pedestrians and bicyclists comfortably up and down the hillside. The resulting urban fabric combines a green network of effortless circulation with a quirky character reminiscent of a historical downtown. Topography and accessibility merging to create a unique new part of Pittsburgh." Landscape architects West 8 designed terraced parks and walkways informed by granite outcroppings characteristic of the surrounding Allegheny Mountains. Engineers and environmental design consultants at Atelier Ten developed sustainability guidelines that will encourage district heating and cooling, as well a stormwater retention for on-site irrigation. See the gallery for more master plan images and schematic diagrams.
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Pittsburgh in the making: Carnegie Museum of Art examines the building blocks of a progressive city

In the 1950s, Pittsburgh was the American poster child for a progressive city. Forward-thinking gentrification projects such as the Gateway Center, a five-building office complex, and Allegheny Center, the former hub of downtown Allegheny City, were part of a transformative frenzy of high-rise constructions during the postwar period. From September 12, 2015 – May 2, 2016, the Carnegie Museum of Art is hosting an experimental presentation to untangle the evolution of modern architecture and urban planning in Pittsburgh. Titled HAC Lab Pittsburgh: Imagining the Modern, exhibits include archival materials, an active architecture studio, and a salon-style discussion space for urban planners, architects and residents, which collectively unearth layers of history. The museum’s architects-in-residence, Boston-based studio over,under, highlight the stories of pioneering architecture, disrupted neighborhoods, and the utopian ambitions of public officials and business leaders. Pittsburgh, then a public model for the progressive American city, simultaneously bore the brunt of criticism against postwar gentrification for destroying neighborhoods and displacing communities. Photos, films, drawings, and other ephemera document this perennial chafing between idealism and public discourse and protest. The exhibition zeros in on landmark projects such as East Liberty, the Lower Hill and Oakland, revisiting the work of influential architects the likes of Harrison & Abramovitz, Mitchell & Ritchey, Simonds & Simonds, and Skidmore, Owings & Merrill (SOM). The exhibition also examines unrealized proposals such as those by Frank Lloyd Wright for the Point, located at the tip of Pittsburgh’s “Golden Triangle.” Imagining the Modern is the first in a new series of HAC Labs overseen by Raymund Ryan, curator at the Heinz Architectural Center. Each Lab sees a team of design radicals investigate architecture and planning in Pittsburgh from a historical and contemporary perspective to reflect our changing understanding of architecture and urbanism. In conjunction with the Labs, architecture students at Carnegie Mellon University will investigate the stalled urban revitalization project at Allegheny Center in Fall 2014, examining the sociological, economic and political motivations for urban renewal.
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Pittsburgh Penguins hire Bjarke Ingels for new residential housing development

The Pittsburgh Penguins, via their residential developer are set for, in the words of Bjarke Ingels, a "promiscuous hybrid" form of residential housing aimed at bridging the Uptown and Downtown areas of Hill District. The development will occupy a 28-acre plot of land around the former home of the Penguins the Civic Arena. Pittsburgh and the residents of Hill District must be ready for an iconic and maybe even bizarre piece of development, as the Danish firm specializes in the outlandish and obscure. Copenhagen, where the firm started, has become accustomed to Ingels' eccentric works, with some 26 projects having been built there already, but this is Ingels' first foray into a mid-size American city. BIG's Pittsburgh reception remains to be seen as no renderings have yet been released, though it's hard to see it not having a positive impact in the vicinity. The area to be developed, called the Hill District, is in need of rejuvenation and has been for sometime. According to the Post-Gazette, in 2010, over 40 percent of the local population was living below the poverty line but there is positive news as well, development projects in the area are on the rise—a supermarket opened in 2013, ending a more-than-30-year food desert. Quite what BIG will dream up, no one knows. Travis Williams, COO of the Penguins, claims hiring Mr. Ingels is a coup. "It will be something new and unique for Pittsburgh and I think the results are going to be phenomenal," he told the Post-Gazette. Quite what Hill District will make of it however, remains to be seen.