The vast majority of testimony read at the hearing was in favor of landmarking the former AT&T Building. Some in attendance spoke on the building’s noble intentions but purported failure to connect with the street level; in Richard Rogers’ statement, delivered via surrogate, it was noted that while the tower itself has always been impressive, the successive series of interventions at the ground level have only strayed further from Johnson and Burgee’s original intention. The committee received an additional 12 letters of support for landmark status, including from the National Register of Historic Places. Ultimately, the commissioners decided to punt the decision further down the line. No decision on the fate of 550 Madison was made, and no date was given for the next public hearing. The building's owners will continue to tweak their proposed scheme in the meantime. AN will continue to provide updates as they become available.
Honored to have been @nyclandmarks today to testify in favor of landmark designation for AT&T. I recalled writing about the design in @nytimes when it was just an idea, calling it “the most provocative and daring skyscraper to be proposed for New York since the Chrysler Building” https://t.co/ijyoHCfttZ— Paul Goldberger (@paulgoldberger) June 19, 2018
Posts tagged with "Postmodernism":
Unpacking Selldorf Architects’ controversial addition to Venturi Scott Brown’s Museum of Contemporary Art
A compromise does seem possible. Earlier this year, value engineering eliminated one of the best features of Selldorf’s proposal: translucent skylights above the new galleries and converted auditorium. Why not bring them back by saving money on the new atrium and entry sequence? The worrisome proposed circulation would be improved, as would Selldorf’s own galleries. The Axline Court would retain its function as the hub around which the various other parts of the museum are clustered, and the Gill house would remain at the museum’s visual and circulatory heart.
Such a renovation would recognize a key thing: that effective renovations must be a labor of love. They cannot arise from a dislike of what was there before. If the new addition struggles against the Gill and Venturi Scott Brown buildings, if it chooses not to understand or engage with them, then no one will win—not Selldorf, not the museum, and certainly not the village of La Jolla. The rare vitality achieved in the current building will not be easily recovered.A shortened version of this story appeared in AN’s June print issue. This story has been updated to reflect new information.
Landscape architect Lawrence Halprin loved cities, so it was only fitting that his cliffside Fort Worth, Texas, commission, Heritage Park Plaza (HPP), was the first-ever item on the National Register of Historic Places designated solely as landscape architecture.
Located on the northern edge of downtown Fort Worth, on a half-acre atop a bluff on the Trinity River, HPP is a series of concrete walls, a rambling collection of ceiling-less rooms on the original site of the 19th-century military fortification for which Fort Worth is named. At one time, water, funneled through concrete channels, unified the design and offered a symbolic connection to the river. If you’ve been to the FDR Memorial in Washington, D.C. (unveiled in 1997), the design here will ring familiar to you; Halprin applied the approach honed in Texas to honor the 32nd president.
Completed in 1980, Heritage Park Plaza was the first project where Halprin began to think in a postmodern way. On-site, he worked with artisans to interpret the location’s history and, by extension, the city’s heritage. In a 1971 master plan for the City of Fort Worth, Halprin originally conceived of HPP as one of a series of public spaces linking the Trinity River to Philip Johnson’s Water Gardens, fewer than five miles away.
The city-owned parklet had deteriorated badly by 2007, when it closed to the public. But why was such an important work allowed to fall apart in the first place?
Reasons abound. Unlike the Water Gardens downtown, HPP’s relative remoteness makes it harder to visit, while people who do come must cross roads and traffic to access the site. The original concrete, though, is in pretty good shape. The real problem, surprisingly, came from the trees themselves. Halprin planted a central bosque with 11 live oaks, a species that sheds its leaves gradually, and consequently a basin for the water feature’s mechanical system became clogged with debris. The new trees proposed for the site—cedar elms—drop their leaves all at once, making cleaning easier to plan.
To address these issues and others, the city hired two local firms to collaborate on a comprehensive restoration: Landscape architects at Studio Outside and architects at Bennett Benner Partners will restore the park, using Halprin’s original specifications (some unrealized in the final built form).
It will cost an estimated $3 million just to repair HPP, but plans are on hold—for a good reason. Although almost all of the construction documentation for the restoration was complete, stakeholders realized that to ensure the park’s long-term survival, a master plan was needed for attracting people to and rebuilding the landscape of the whole area.
Among the changes, the team is moving Main Street and adding a forecourt that can be used for events. The move, said Tary Arterburn, principal of Studio Outside, “will bring life to the park that it never really had.”
Today the New York City Landmarks Preservation Commission (LPC) solicited input on the future of the city's best-known—and most threatened—postmodern interior.
The commission heard testimony from its research department and members of the public on ONE UN New York Hotel's (formerly the United Nations Hotel) Lobby and Ambassador Grill & Lounge, two glittery disco-era spaces designed by Kevin Roche and John Dinkeloo Associates.
As recently as January, the spaces inside the Midtown East building were set to be demolished by property owner Millennium Hotels and Resorts.
Local luminaries like Robert A.M. Stern, Belmont Freeman, and Alexandra Lange, as well as a bi-coastal Docomomo contingent spoke in favor of landmarking. The item would be the first postmodern interior to be designated a New York City landmark, and the "youngest" after Roche and Dinkeloo's Ford Foundation (1963-68) which has interior and exterior landmark status.
The Ambassador Grill & Lounge, a small U-shaped restaurant in a windowless basement (1976), sports inset light fixtures, vaulted faux skylight clad in trellised mylar panels, and more shiny surfaces than Studio 54, all of which create the illusion of capaciousness and light. Along East 44th Street, the hotel lobby (1983) features a stepped glass dome roof accessed via a freestanding marble-columned hallway. The LPC’s research department called the connected rooms some of the "best public spaces" of New York from that period.
The researchers' conclusions were reflected in public testimony that invoked the glamour of the rooms and their role in the see-and-be-seen public life of the city. Liz Waytkus, executive director of modern architecture preservation organization Docomomo, called Roche and Dinkeloo's interiors “among the best” public spaces of the era. In contrast to the severity of modernism, the fluid spaces reflect a “humanistic” energy not often associated with the architecture of the time.
Docomomo’s Jessica Smith read a statement on behalf of Robert A.M. Stern. Stern offered “strong support” of designation, noting that Roche designed both the building itself and its interiors. He called the grill and lobby “masterworks of modernism produced by a master at his prime,” comparing them to surviving postmodern peers like Sir John Soane's Museum in London and Adolf Loos’s American Bar in Vienna. Smith also read a statement for Curbed architecture critic Alexandra Lange, who said her research on postwar American corporate design suggests the rooms represent a “key moment” in late modern design. "The interiors change scale and increase the sensuality of a pair of large skyscrapers that draw the prismatic curtain walls of the UN buildings inside, creating a total work of architecture."
To the frustration of many who testified, including Docomomo and the preservation advocacy organization Historic Districts Council (HDC), the commission did not include the lobby’s sunken seating area in the designation. The LPC said it believed the relative lack of original elements in the seating area merited exclusion, as the main lobby and hypostyle corridor under consideration offer a “processional experience” to and from the grill.
The iconic interiors have attracted attention beyond New York City. Daniel Paul, a Southern California–based architectural historian and expert in late modern glass skin architecture, flew in from L.A. to attend today’s meeting. Early this morning, he went to the hotel to check on the state of the interiors. Millennium, he said, has altered the space substantially but not irreversibly. In the grill, the faux skylight is covered in a semi-opaque “cheap-looking” plastic, while the neon acrylic wine racks were replaced by wood features. The bar’s tivoli lights are gone, and its mirrored backdrop has been replaced with wallpaper.
Despite the recent changes, Paul, a Docomomo member who with Waytkus drafted the RFE (a Request for Evaluation, the first step in the landmark process), said that Roche and Dinkeloo’s work is one of the most intact “high design” spaces of the era. “Taste goes in cycles,” he said. "When the cycle of appreciation takes a dip, that’s when these spaces are the most vulnerable." Roche has offered to work with the property owners pro bono to see how the distinctive features could be preserved while updating the space to their satisfaction. (Update: In an email to Paul during the hearing today, Roche stated that his office would be willing to do an initial consultation pro bono but then "see where it goes.")
Representatives from Millennium did not comment at today's meeting.
As the discussion concluded, LPC chair Meenakshi Srinivasan stated that the commission would do further research and vote at to-be-determined meeting.