Posts tagged with "Speculative Architecture":

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Queens Museum show brings unrealized architecture to life

This Sunday, September 17, the Queens Museum opens Never Built New York, organized by the co-curators of Never Built Los Angeles (2013)—AN's Contributing Editor Sam Lubell alongside contributor, critic, and writer Greg Goldin. The exhibit, designed by Christian Wassmann, highlights unrealized architectural gems and urban design as its predecessors did, with a focus on New York. Spanning 150 years, the show presents works that would have "dramatically changed the landscape of New York for better or worse," according to Lubell. In Goldin's words, it's meant to examine "the capacity of draftsmen and model makers to seduce you, when the real world effects [of those designs] could have been disastrous." Divided into three discrete spaces, the show features the speculative work of recognized architects like Harvey Wiley Corbett, Frank Lloyd Wright, I.M. Pei, Steven Holl, Buckminster Fuller, and others. Each of the three spaces—the Rubin Gallery, the Panorama of the City of New York, and the Skylight Room—approaches the plans and drawings at a decidedly different scale. The Queens Museum itself is the only remaining in-use building from New York's 1939 World's Fair—its open, light-filled lobby was revamped by Grimshaw Architects in 2013. In the show, Eliot Noyes' proposal for the Westinghouse Pavilion at the 1964 New York World's Fair is represented as a 1:6 scale silver bouncy castle, gleaming under a skylight. It's by far the splashiest piece of the show – the original would have been much less fun, a series of concentric spheres clustered around a rotating platform showcasing Westinghouse's utilities business, resembling a giant fidget spinner to the contemporary eye. On the walls surrounding the plush pneumatic project are models and drawings for projects related to the Museum and its home, Flushing Meadows. One highlight is a massive star-viewing platform called Galaxon by Paul Rudolph that was designed for the space where the Unisphere now stands, but was rejected from the 1964 New York World's Fair. Tilted at 23 degrees (supposedly the best angle for star-observing), this massive saucer epitomizes the rush of scientific and popular excitement in the 1950s and '60s leading up to the lunar landing, while the Unisphere, in contrast, centers Earth and earthly endeavors as monumental (its size is still astonishing at 140 feet tall). In the Rubin Gallery, a dim, tapered room roughly resembling the shape of Manhattan, models, renderings, and drawings are arranged salon-style on the black walls. Organized geographically rather than temporally, this is the meat of the show, though much of it is contextualized only by a fold-out newspaper guide. At the entrance, viewers find work located in Staten Island and Lower Manhattan; at the exit, work located in Upper Manhattan and Queens. The first item on view is Thomas Hastings's National American Indian Memorial. In 1913, project leaders held a groundbreaking ceremony on Staten Island attended by 32 Native chiefs, only to discover later that fundraising for the project had been a sham. Many monoliths and megaprojects lie within the elongated space: a plan for Ellis Island sketched by Frank Lloyd Wright on a napkin (translated into beautiful renderings by Taliesen Associated Architects), Robert Moses' infamous Lower and Midtown Manhattan Expressways, Steven Holl's aqueous urbanist experiments the Bridge of Houses (1981) and Parallax Towers (1990), and Buckminster Fuller's 1960 solution to house a quarter of a million people—fifteen 100-foot conical towers in Harlem — and so many more architectural relics. The projects in the room represent only about a fifth of the material that the curators combed through in the almost two years it took to put together the exhibition and its companion book. The third area, the Panorama of the City of New York, is already familiar to many urbanists and architects, and reason enough to make the trek out to Flushing Meadows. In the familiar model landscape of the city, the curators have placed 26 luminous models of the unbuilt projects, fabricated over a summer by students from Columbia University's GSAPP program. Gazing down from a platform surrounding its perimeter, the massive structures from the previous room suddenly appear small – or rather, at scale with the city's existing fabric, scattered throughout the boroughs, emitting a ghostly light. In the words of the curators, this lighting choice was meant to evoke the perspective of astronauts gazing down at a lonely planet, evoking a sense of fragility. On the opposite side of the model, a virtual reality station is set up with several headsets containing graphics generated by Shimihara Illustration of five keystone projects in the exhibit. Making use of spherical photography, the headsets allow viewers to toggle from a bird's eye view of New York City to a ground-level perspective of each project as it would have appeared in real life, in some cases with terrifying grandeur, as is the case for Fuller's spiky-crowned, towering Harlem housing units. When asked about the inspiration for the exhibit, Lubell referred to Rebecca Shanor's The City That Never Was (1991) as a particularly influential text, Robert A.M. Stern's famous New York book series, and Hugh Ferriss' examinations of the art of rendering, from practical urban interventions to lurid, futuristic daydreams. The curators were wary of remarking positively on most of the projects, suggesting that many were perhaps best suited for the realm of imagination alone. "Thank God that never came to pass" was a frequent aside. Due to the colossal scale of the majority of works featured (a hint at why they might not have received adequate funding), many would have resulted in the destruction of existing architectural treasures, such as a 55-story Park Avenue skyscraper by Marcel Breuer that would have cut its foundation directly through Grand Central Terminal. The show does spotlight a few modest, jewel box pieces, including Joseph Urban's design for the 1926 Metropolitan Opera, which was squelched by the institution's board. Architects will find in Never Built New York a parallel New York full of architectural wonders, whether better off unbuilt or not. The show is on view through February 2018.
Location:
Queens Museum
New York City Building
Flushing Meadows Corona Park
On view:
September 17, 2017 – February 18, 2018
The Architect's Newspaper is a media sponsor of the exhibition.
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What happened to speculation in architecture?

This is a preview of our September issue, out tomorrow. What happened to speculation in architecture? At a recent symposium at the Yale School of Architecture titled “Aesthetic Activism,” Dean of the Syracuse School of Architecture Michael Speaks noted that curiously, architecture has lost its penchant for speculation in recent years. He cited the two most recent Venice Biennales as evidence of this trend, as the curators chose to look at the elements of building (Rem Koolhaas’s Elements, 2014) and reporting on reality in regions beyond what the Biennale had traditionally addressed (Alejandro Aravena’s Reporting from the Front, 2016). He also discussed the Chicago Biennial in 2015, which arguably focused on practice, rather than architecture. What happened to architecture’s ability to speculate on the world around us, as was the ordinary in the 20th century, from Le Corbusier and the modernists to Archigram and the radical architects of the 1960s and 1970s? In the latest issue of The Architect's Newspaper (AN), we set out to survey the state of architectural speculation today. AN Contributing Editor Sam Lubell will be opening the exhibition Never Built New York, which features proposals that were never realized. You could say that looking at the history of unbuilt architecture is speculation. So we set out to find what might be in the Never Built exhibition of 2050. What is speculation today? We found that in architecture, most speculation is more like plausible futures. It is being developed by private industry in some cases, well within the realm of possibility. Many think that self-driving cars are a revolutionary technology, and are a matter of “when,” not “if.” But why have so few architects gotten out in front of this technology looking for opportunities to change the city? Solar technologies, like those being developed at Tesla, would also have the potential to radically change how we build. Our research confirms that in many ways Speaks is correct in his thinking about a lack of speculation. Architects are not really thinking much about new ways of living and relating to the world outside of our own history and discourse. I would argue that the upcoming Chicago Biennial appears to confirm this idea. We did manage to find an interesting mélange of projects that project toward that future. From automation and smart cities, to floating islands (front page), there are some plausible futures that might be very real someday. So it is not necessarily speculation, but just futurist realism, which we found to be a fruitful endeavor. In an interview with Amelie Klein of the Vitra Design Museum about her exhibition as part of the Vienna Biennale, she reported that many of the most speculative work in architecture that she has come across is actually happening in the realm of construction, such as the algorithms used by Achim Menges at the University of Stuttgart, Institute for Computational Design, to minimize material use and create new ways of making. While the discipline might be struggling to imagine new ways of living, it is not a boring time for architecture. The world around us is changing quickly, and we can see several new futures simultaneously developing before our eyes. It may not be about predicting or producing new futures, but about reflecting on the present and what plausible near futures could be on the horizon and how they will affect our cities.
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Chicago Architectural Club calls for speculative proposals on Obama Library

As several Chicago sites—as well as institutions in New York City and Hawaii—vie to host Barack Obama's Presidential Library, the Chicago Architectural Club is “calling for speculative proposals” to consider the design impacts of the nation's 14th presidential library. Submissions are due January 10, one month after official contenders for the library have to submit their proposals to The Barack Obama Foundation. Winners will be announced February 3 at the Chicago Architecture Foundation, 224 South Michigan Avenue. First prize nets $1,500, while second takes $1,000 and third gets $750. The Architectural Club and CAF will exhibit the winning projects on their websites. Jurors for the award include Andy Metter (Epstein), Brian Lee (SOM), Dan Wheeler (Wheeler Kearns Architects), Elva Rubio (Gensler), Geoffrey Goldberg, (G. Goldberg + Associates) and John Ronan (John Ronan Architects). More information on submission protocol is available on the Chicago Architectural Club's website AN's editorial page has called for the library to catalyze the development of public space wherever it ends up, and the speculative designs offered by the Club's annual Chicago Prize are sure to spur good conversation on that topic. The competition literature identifies the site as the rail yard at the southwest corner of the Chicago River confluence—a site already devoted to Goettsch Partners' River Point development, currently under construction. In library news more likely to materialize as built work, the University of Chicago is mulling Jackson Park as a potential site. The Hyde Park university where Obama taught law is also reportedly considering an empty lot at Garfield Boulevard and Martin Luther King Drive, the South Shore Cultural Center, and an area of Jackson Park across from Hyde Park Academy High School at Cornell Avenue and Hayes Drive, according to DNAinfo Chicago.
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On View> Unseen City: Designs for a Future Chicago

There were about as many ideas for development on Chicago’s high-profile real estate at Wolf Point as there are Chicagoans. One you didn’t hear about during Alderman Brendan Reilly’s initial public meeting was The Clean Tower—a supertall that would return filtered wastewater to the Chicago River beneath its slanted profile. The Clean Tower wasn’t actually on the table for Wolf Point, but it does occupy real estate on the Chicago Architecture Foundation’s model of downtown. That’s because it’s part of Unseen City: Designs for a Future Chicago, an exhibition of imaginative projects from Illinois Institute of Technology's “Hi-Rise, Lo-Carb” studio. Hi-Rise, Lo-Carb—led by Antony Wood of the Council on Tall Buildings and Urban Habitat (CTBUH), and Adrian Smith + Gordon Gill Architecture—begat six projects, including a vertical neighborhood in the Loop complete with “streets in the sky,” and a "Post [Waste] Office" that envisions the vacant Old Chicago Main Post Office as a sustainable waste management center with a rooftop arboretum. This is the first time the Chicago Architecture Foundation has opened up its model of downtown for use as an exhibit space, and Unseen City is an excellent start. The model’s urban context legitimizes the ambitions of these inventive projects — placed alongside existing institutions in the Loop, they inspire progressive thoughts. Glimpse the unseen city in the lobby of the Santa Fe building, 224 S. Michigan Ave., through November 4.