On November 17, The Architect's Newspaper and Buro Happold, along with our other event partners Dow Building Solutions, Graphisoft, American Hydrotech, and Adaptive Building Initiative, celebrated GreenBuild at the Art Institute of Chicago's Modern Wing. Renzo Piano's LEED certified building proved to be a stylish venue for the hundreds of architects, engineers, designers, and other assorted revelers. Click through for pictures of some of the evening's hundreds of party-goers. It was quite the green scene!
Posts tagged with "Renzo Piano":
Think Renzo Piano's still preliminary design for a new Whitney Museum of American Art is too timid? How about this alternative scheme floated by the self proclaimed "architectural provocateurs" at Axis Mundi? According to a statement, the proposal is meant to be "as bold in spirit as the original Breuer building." It's bold all right. The design calls for a structural exoskeleton, shaped by the sight lines and street grid of the city, imbedded with the circulation and mechanical systems. Column-free galleries would be suspended from the skeleton with distinctive projecting windows, reminiscent of Breuer's at the Madison Avenue Whitney. The Axis Mundi proposal mentions nothing of costs, which is one of the biggest hurdles facing the Whitney, given the museum's relatively modest endowment. Axis Mundi has chased the news before. They previously promoted an alternative to Jean Nouvel's proposed Tower Verre for MoMA, called the Vertical Neighborhood. Check out more images of their Whitney proposal after the jump.
If you're an architecture geek like us, you love playing Spot the Building while watching TV or at the movies. (The International, otherwise mediocre, is one of our favorites for this very reason.) That's why this Cadillac commercial caught us so off guard when we saw it the other day. At first, we knew we recognized the "museum" at the start, even though it wasn't actually one. In fact, it wasn't even one building. The big photos of the Caddy are on display in the 14th floor double-height cafeteria at Renzo Piano's Times building, a nice touch given the cool light effects the building's (very climbable) ceramic bars create. But then, their gallery-going complete, the happy yuppie couple step outside into... Huh? That's not Times Square but Cooper Square! Somehow, through the magic of advertising, we've been transported downtown, outside Morphosis' new Cooper Union building. As though the restrained rectilinear forms of Piano could be mistaken for the curvilinear craziness of Thom Mayne! Nice try, Madison Avenue fatcats. You can't pull a fast one on The Architect's Newspaper.
Chicago is known for the combination of its excellent architecture and tough, gritty urban life. Both aspects of the city's personality met briefly yesterday, when two graffiti crews tagged a long wall of the Renzo Piano-designed Modern Wing at the Art Institute. While we would never endorse vandalism, there is no denying the visual power of the bright colors and riotous script dashed across Piano's formal surfaces. The Art Institute, however, did not ponder the artistic merit of the tags. Cleaners from Graffiti Blaster were removing this tags within minutes. The tags, momentarily at least, renewed the debate about how graffiti functions, its artistic value, and its relationship to art institutions--no small feat for a few cans on spray paint. (Tip: Gapers Block via Fat Caps and Chrome.)
Chicago suffered another crushing defeat to the hands of Brazil: first its Olympic bid loss to Rio and now best new restaurant design to Sao Paulo. Wallpaper* announced the winners in its Design Awards 2010 competition yesterday afternoon. The Chicago restaurant, Terzo Piano, nestled on top of the new Renzo Piano's addition to the Art Institute, was nominated in the Best New Restaurant category along with contenders from Brazil, Argentina, South Korea, and Portugal. It ultimately lost to Sao Paulo’s Amazonian-inspired Kaa. Terzo Piano is situated on top of the Modern Wing, accessible via the museum or the long pedestrian bridge from Millennium Park. Wallpaper* gives design credit to Renzo Piano (architecture) and local architect Dirk Denison (interior design). The former is responsible for the beautifully framed views through the – albeit dangerous – curtain of glass looking out to Millennium Park and the latter for the sleek stark-white interior featuring chairs by George Nelson . The dangerous glass reference refers to a visit in early spring where I witnessed a guest of the restaurant walk face first into one of the glass panels separating the dining the room from the outdoor terrace. The following day, likely at the behest of their legal department, small, tasteful, if somewhat distracting decals had been placed on the windows. Perhaps this slightly macabre anecdotal story would have given Terzo Piano an edge over Brazil with the kooky jury, which included the Spanish filmmaker Pedro Almodovar, French fashion designer John Galliano, and British media executive James Murdoch.
Last month's court victory for opponents of Columbia University's new campus in Manhattanville was not necessarily a defeat for the school's planned 17-acre expansion, and not only because appeals remain. With roughly 94 percent of the area under its control, Columbia has said it plans to continue work on the campus, despite its insistence that it cannot be completed as planned without full control of all buildings therein. Last night, Columbia officials outlined their current approach to Manhattanville for the first time since the ruling at a hearing in Harlem on the future of eminent domain in the state (more on that in Issue 1!). After an hour-and-a-half of grilling the ESDC—the state agency responsible for pursuing eminent domain on Columbia's behalf— State Senator Bill Perkins, in whose district the project lies, set his sights on Marcello Valez, the head of construction for the Manhattanville project at Columbia, and Maxine Griffith, a former planner who is now in-charge of government affairs at the school. The pair were evasive on many issues surrounding eminent domain and the court case—technically, they are responsible for neither—but they outlined their utility, demolition, and construction work that has been ongoing for a few months now. Most notably, 3229 Broadway continues to come down. It was the former building of Ann Whitman, one of the last remaining hold outs who eventually sold to the school in 2008 because she said she could no longer afford to fight. Her plot and an adjacent gas station will soon become home to the Jerome L. Greene Science Center, a major neuroscience project that, at the corner of 129th Street and Broadway, is supposed to be one of the new campus' centerpieces. Work will also soon commence on an art building also on the block and, perhaps most importantly, the entry to the subterranean "bathtub," that, World Trade Center-style, will house most of the campus' infrastructure. The bathtub remains a crucial piece of the Manhattanville puzzle because it is part of the justification for seizing the remaining properties. "If the basement can't connect, it would be difficult to see how the project could move forward," Griffith said, arguing the campus would be much less pedestrian friendly and community accessible with trucks idling on the street and HVAC spewing into the air. (A member of the Coalition to Preserve Community, a local opposition group, argued it was all a planning ruse, with the school fully able to build around the holdouts.) As for timing, Valez said that, despite the court case, everything remains on time, which is part of the reason construction work must continue on those properties controlled by Columbia. (That and the donors are old and would like to see something built while they're still alive, Griffith admitted somewhat cheekily.) As for architecture, Renzo Piano is nearing completion on final designs for these two buildings according to Victoria Benitez, a university spokesperson in attendance last night, though no renderings are yet available. She declined to say whether the Genoan architect would be designing the rest of the buildings on campus or whether some might go to other firms.
We've come to hate snow in the city, as it readily turns to gross, sock-soaking brown muck. But today, when we stumbled upon a scene straight out of Aspen, we were reminded just how beautiful and transformative the white stuff can be. Ducking into Muji for some last-minute holiday shopping on our way back from the Gehry theater press conference on 10th Avenue, we were delighted to find a mountain clearing where the courtyard of the Renzo Piano-designed Times building once was. From the birch trees to the unbesmirched snow, its the sort of sight you would struggle to find even in Central Park, let alone Midtown. Excuse us for getting sentimental—it must be the eggnog—but these are the sort of moments that remind us of the power and import of good architecture.
The announcement that Rem Koolhaas would be the keynote speaker for the “Ecological Urbanism” conference at the Harvard Graduate School of Design (GSD), which took place over three days last weekend, raised eyebrows, especially among sustainability-minded architects, landscape architects, and planners. Koolhaas had never shown any particular interest in the subject, and the fire at his TVCC Tower in Beijing was interpreted by many as a symbol of an era that had come to an end, ushering in more sustainable and responsible practices. Those of us who admire and respect his projects, but also believe that our profession needs to go green to adapt to the 21st century, were hoping his speech would redeem his formerly blasé attitude toward sustainability and provide some clarification of why this seemingly odd choice for a keynote was made. No such luck. Despite the disappointing keynote speech, charged with needless attacks against talented colleagues, including Renzo Piano and Norman Foster, and no definitive resolution as to what Ecological Urbanism is or should be, the conference added provocative ideas to the discourse on sustainable architecture and planning. Along with the usual urban farms, solar panels, wind farms, and bioswales, there were innovative proposals that advocated for changes in technological and programmatic aspects of the profession, from Mitchell Joachim’s radical houses made of meat and compact electric transportation systems presented by MIT’s William Mitchell to proposals for highrise cemeteries and prisons in the middle of Manhattan by Spanish architect Inaki Abalos. Probably one of the most enlightening talks, stripped from the glamour of sci-fi technologies or sexy images, was the breakout session on informal cities in Latin America led by Christian Werthmann, Associate Professor and Program Director at the Department of Landscape Architecture at the GSD. He conducts what he calls “dirty work,” a research initiative on upgrading informal cities. Despite the region’s slowing growth rate, lessons can be learned from the formation of favelas, barrios, or shantytowns. “The world has entered the urban millennium. Half the world's people now live in cities and towns. That in itself marks a historic transition,” said then UN Secretary-General Kofi Annan, according to a 2005 UN-Habitat report. “But what will happen over the next 30 years is just as significant. According to United Nations projections, virtually all of the world's population growth will occur in the urban areas of low- and middle-income countries. How we manage that growth will go a long way toward influencing the world's future peace and prosperity.” Werthmann told AN: “There are two fields of operation regarding informal settlements. One is to retrofit existing informal cities, and the other is how do you control or guide the future of informal cities.” In Latin America, there are examples like Brazil, where the government provides informal cities with communal infrastructure: water, electricity, health, sewage, and roads. But there are no comprehensive strategies. Other approaches involve community endeavors and grassroots movements. But how can cities prepare for this to create healthier communities? “That is a harder task. Nobody wants to give away their own land so people can build on it,” he said. Favelas and slums have received a lot of attention in movies like City of God and Slumdog Millionaire, in which they are depicted as unsanitary and dangerous places. But there is more to them than violence and disease. Interestingly enough slums have many of the qualities that make thriving cities frequently promoted by urban planners: They are pedestrian-friendly, high-density, mixed-use, and made of recycled materials, usually debris from adjacent formal cities. “American and European cities could learn from these informal settlements as an example for low-rise, high-density development. They have an intensive street life, the public space is not much but well used, as opposed to the suburban model, which is completely inefficient,” Werthmann said. “There is a need for an in-between model, that is not the highrise of Manhattan or Sao Paulo.” The overall sentiment of the conference was that urban living is the most sustainable way to live, so it was interesting that the counterpart of retrofitting shantytowns—fixing suburbia—didn’t come up. It would have been nice to see more ideas like that and less of distant, zero-carbon cities for a privileged few, like Foster’s Masdar project in Abu Dhabi.