Glass wear. Alistair Gordon visits the entrancingly translucent Maison de Verre in Paris, Pierre Chareau's 1928 house of glass blocks, and speaks with current owner Robert M. Rubin about his ongoing restoration of the early modernist icon. Here's a preview of Gordon's feature that will appear in the next WSJ Magazine. Steely resolve. The Calatrava-designed PATH hub for the World Trade Center is now over budget to the tune of $180 million, reports DNA. The stratospheric overrun is due in large part to the decision to use extra steel to "harden" the building for security reasons. The Port Authority Board passed the revised budget on Thursday morning, promising to bankroll the extra costs with a contingency fund. Featuring...foamcore! San Francisco's Museum of Craft commandeers a space near the Moscone Center for a pop-up installation that presents architectural model-making as a form of craft. The show offers a glimpse into the process of 20 notable SF-area architecture firms, writes the San Francisco Chronicle. Awards go immaterial. Producers Bruce Cohen and Don Mischer talk to the Hollywood Reporter about the set design for this year's Oscars (airing this Sunday), revealing that they'll rely on projections to create a constantly changing, animated environment within the Kodak Theater. Architect David Rockwell, who designed the sets in 2009 and 2010 (and snagged an Emmy in the process), this year passed the torch to production designer Steve Bass.
Posts tagged with "Santiago Calatrava":
Construction continues at Santiago Calatrava's bold Margaret Hunt Hill Bridge in Dallas after it's signature arch was topped off in June. The cable-stayed bridge is one of three planned as part of the Trinity River Corridor Project, which aims to redevelop the Trinity River and its floodplains, improving traffic flow, increasing parkland, and providing flood protection for the region. Standing 400 feet tall, the Italian-made, steel catenary arch will support six lanes of traffic connecting Singleton Boulevard with with downtown Dallas. When complete in 2011, the 1,200-foot span's cables will create a fluid, sculptural pattern as they descend to the center of the roadway. A time-lapse camera has been set up offering up-to-date construction photos of the bridge.
The Chicago skyline is one of the most impressive in the country. Those who dreamed of a twisting new tower at its pinnacle, however, will have to turn to new skyscraping schemes. The Anglo Irish Bank is seizing control of the stalled Chicago Spire’s site from Shelbourne Development. This detailed feature on the rise and fall of Santiago Calatrava’s unbuilt tower in the Irish Independent calls the project’s developer, Garrett Kelleher, emblematic of the jet-setting “Irish Tiger.” In today's real estate environment, that label sounds more like slur than a compliment.
It'll be at least 4 years before Santiago Calatrava's scaled-back, over-budget World Trade Center PATH station is completed (though as our upcoming feature on Lower Manhattan showcases, everything's been a long time coming, but it seems to have finally arrived). Still, from the start of the interminable process, we've had some of the flashiest renderings around to tuck us in at night. Now comes an illustrated video courtesy the Journal's Metropolis blog that gives us our clearest view yet of just what's planned, as well as what Calatrava meant when he told the New Yorker a while back that he was striving for something akin to Grand Central—a truly great room where the interiors, not the exteriors, would be what truly matters. If this video is any indication, despite all the cutbacks, he's succeeded grandly.
According to Crain's Chicago Business, major construction unions will not be loaning funds to restart the Chicago Spire, as many had speculated. The union pension funds are feeling cautious, much like other lenders, so the Spire, which was always an ambitious project, remains a high risk bet. Who will the developers turn to next?
First reported in the Chicago Tribune, and today in the Wall Street Journal, officials at a group of union pension funds are vetting a plan to lend $170 million to restart construction on the stalled Chicago Spire. Designed by Santiago Calatrava, the 150 story residential tower would be the tallest building in the US. The Journal piece points out that with a drastic drop off in condo construction downtown predicted for 2010 and 2011, the completion of the Spire could actually come at a time when there is pent up demand for housing. Blair Kamin previously pointed out that unions have made similar loans in previous downturns, notably providing loans for the construction of Marina City. According to the Journal, Chicago's failure to win the 2016 Olympics may have been the key to giving the Spire new life. The pensions had previously been looking to lend funds for the construction of the planned Olympic Village.
At the opening of the exhibition on his World Trade Center Transportation Hub, on view now at the Queen Sofia Spanish Institute though August 31, Santiago Calatrava’s presentation was impeccably well mannered. He juggled questions with ease, balancing the answers on the tip of his nose, before finally pulling the “child releasing a dove” formal metaphor out of his sleeve. Like his work or not, he is a magician, charming the public with form, feats of engineering, impossibly white compositions, and notions of public service. The Great White Spiny station marks a watershed moment for New York City. Even without the site's recent history, the project's overriding formalism and object-like nature represents an important point for architecture in the city. Given Manhattan's density there is an overriding need to fit in snuggly with one's neighbors. But this time we are getting an object in a field. Before you smugly think Calatrava and his team have created a sculptural memorial to themselves, he freely admits the building will outlast its designer. Perhaps, this is his media savvy working in overdrive, but even with my overly jaded feelings about the profession of architecture, I found his take refreshing. Without being bombastic or self-serving he noted although he loves Grand Central Terminal he has no idea who designed the soaring space. Should Reed & Stem and Warren & Wetmore feel insulted by their forgotten contributions? No, according to Calatrava. He understands when White Spiny opens for use, his role, his name, and his fame will eventually be lost, but the building will remain. With true graciousness he understands the public will see the building and not recall the designers. When asked if he thought the recent whirling drop in the economy had changed architecture and/or the architect's roll Calatrava took the chance to clarify the meaning of economy. The etymology, he pointed out, means “the order of the house” and by reseting the definition was able to speak to the shift away from glamor projects towards more public work and the lowering role of the starchitect and rise of newer, younger designers. Of course much of Calatrava's career has been built on large scale public projects (even as his office has designed its share of ultra towers in Chicago and Copenhagen) and his discussion of the new glory of public work could be thought of as a celebrating his own work. No matter. The Transportation Hub will require a Metrocard to ride the rails, but otherwise is open to public at no charge. This a real public project. The hub represents the return of “A”rchitecture to the public project in New York. For far too long the United States has selected its public projects based on merits of low cost and speed of construction. But design is now seen to carry value, even in the public realm. Many factors have led to this moment, including Ed Feiner's reinvigoration of the General Services Administration and New York City's emulation of these efforts, the slip/trip/ fall of the idea as market as king, and a new administration recommitting the country to the concept of engaged citizenship. These things are stirring and bring hope. In the end, however, hope can fade and results count most. Whether you like the building or the man or not, is not the issue. What is important is that something of great design and real effort is being built, and that we as a nation again care about the public realm and we as architects are able to play a roll in this process. Santiago Calatrava: World Trade Center Transportation Hub is on view Queen Sofia Spanish Institute at 684 Park Avenue, New York City, through August, 31.
Yesterday afternoon in Denver, Colorado, President Obama signed the stimulus bill into law. The process of doling out the spoils begins, as we wait, and hope, for the desired economic recovery. One piece of good news for urbanites and green transportation advocates, the bill includes $8 billion for high-speed rail, according to Politico. Additional funding is expected at $1 billion annually for the next five years, through the normal budgetary stream. This represents a major increase in high speed rail funding. Last year, President Bush authorized $1.5 billion in high speed rail funding through 2013. Reportedly, Transportation Secretary Lahood has 60 days to plan how and where the funds will be spent. The rail funding is a special priority for President Obama, according to Chief of Staff Rahm Emanuel. “I put it in there for the president,” Emanuel told Politico. “The president wanted to have a signature issue in the bill, his commitment for the future.” The rail-heavy Northeast and the planned California high-speed corridor seem like obvious recipients. Doubtless some in Chicago, and the down state Illinois district Lahood previously represented, will push for a Midwest hub and spoke-shaped system centered in Chicago. While architects do not typically design rail corridors, they do design stations, like this Calatrava-designed TGV station in Lyon, and transit oriented developments. Wouldn't it be nice to buy your Acela tickets in surroundings like this? UPDATE: The Huffington Post has a link to a 2002 Federal Railroad Administration map showing possible high-speed corridors. Which lines will make the cut?
This week, the Port Authority of New York and New Jersey (PA) and Santiago Calatrava released renderings of the scaled back World Trade Center Transportation Hub. Gone is the sweeping column-free span, originally envisioned by the Spanish architect known for his expressionistic structures. Tapered columns have been added, which the Port Authority and the architect argue will speed along construction and reduce the amount of steel needed to complete the project. The skylights, which were to bring natural light into the mezzanine, have also been eliminated. This is only the latest compromise at the WTC site. As Alec Appelbaum wrote on October 2, a new report from the PA laid out plans for a revised timeline and simplified construction, including at the hub. When the report was released, the PA pledged to open the memorial in time for the tenth anniversary of the attacks. By Tuesday, Christopher Ward, executive director of the PA, speaking at a City Council hearing, pushed back the schedule for the public opening of the memorial to 2012. Calatrava has often said the new hub would rival Grand Central Terminal as one of New York's grandest public spaces. As his vision has steadily been eroded, it's time to ask if the space will be closer to the underground interior of Pennsylvania Station.