Let the shelves be open, and the public admitted to them, and let the open shelve strike the keynote of the whole administration. The whole library should be permeated with a cheerful and accommodating atmosphere.I would say that Holl has unknowingly fulfilled Dana’ s goal and maybe consciously paid homage to Piranesi. The cheerfulness of Holl’s library is—in spite of his knowledge of the persistence of doubt and uncertainty in our world–due to strong light coming in from the huge windows (modulated by metallic curtains) and enhanced by artificial lighting; LED and canisters lights provided by Dove and other companies. Answering Piranesi and some Cubists intents, there are theatrical views in addition to Holl’s fully tectonic field: A bold, slanting north/south white form resembling a beam (but is in actuality the underside of the egress stair clad with sheetrock) moving through a portion of the building is perpendicularly met by a curved mass and sheaved with bamboo, allowing for flickering light and shadow earth color effects, like early Cubist still lifes and landscapes. The photos above by Paul Warchol show how the library presents an ambiguous spatial field; the fragmented mass is a typical Cubist formal language. One other especially noteworthy interior view is the vaulting of the children’s area into an atrium space. The children’s area is across to the south, shielded by a curved vault of rounded steel tubes bent with metal decking spanning between, as observed by Justin den Herder of Silman, the engineering firm who helped realize the job. This structural element is also clad with bamboo panels allowing for a billowing curvature. The teen section is tucked away on the 5th level, off the atrium, and, above, on the roof deck, is the small outdoor theatre for lectures and cafe treats. Other contributors to Holl’s design were Michael Van Valkenburgh’s landscaping and Julianne Swartz’s optical devices. Van Valkenburg was hired to design a much more complicated scheme but the budget was sharply reduced, allowing only for several Honey Locust trees. Swartz’s four sculptural lenses were placed strategically along, and inside, the library to control views, echoing the playfulness of the sixties-era lens boxes designed by Mary Bauermeister. According to Swartz, “I make sculpture because it relates to the body.” This, in extension, is incredibly fitting for a design by Holl, since his work is ultimately tied to phenomenology. Alongside Holl’s sublime measures of the atrium, is his human scale and measurement throughout. Libraries around the globe have proliferated recently; they’re increasingly offering more than borrowed books. Is it too much to say, that our new community library in Queens, complete with its 50,000 books, now provides usefulness and beauty, equal to any of these others or even greater than some?
Posts tagged with "Steven Holl":
Want to own a house designed by a renowned architect? Here are seven options currently on the market
While summer may be drawing to a close, daydreaming about beautiful houses has no season. For those who are particularly discriminating about architecture, and who happen to be in the market for a multi-million-dollar listing, there are plenty of options to run through. AN has rounded up seven houses designed by nationally and internationally renowned architects that are for sale right now. Do some window shopping below:Marcel Breuer’s Gargarin House I Litchfield, CT
Between 1956 and 1957, the celebrated Bauhaus architect Marcel Breuer, whose masterpieces include New York’s Met Breuer museum (formerly the Whitney), designed a stunning home for Andrew and Jamie Gargarin in Litchfield, Connecticut. Sitting on 1.7 acres of gently sloping land, the low-slung house was constructed with steel, reinforced concrete, stone, and glass. Its styling is decidedly modern both inside and out, with materials and vistas that are sure to please any buyer with money to spare.
Perhaps the most unique feature in the Gargarin House I is the bush-hammered concrete fireplace. Its irregular form rises in the middle of the glass-walled living room, providing the home with one of its only architectural elements that is not strictly rectilinear. The fireplace and the storied house it occupies can be yours for $3.8 million.
Arthur Cogswell, Jr.’s Durham dream house Durham, NC
As the only house on this list priced under one million dollars (and still by only $50,000), Arthur Cogswell, Jr.’s midcentury modern design in Durham, North Carolina offers a comparatively affordable option for those looking to own property crafted by a notable architect. Cogswell is best known as a residential architect with modernist proclivities. Most of his projects have been completed for private clients in North Carolina.
This particular home is 3,259 square feet with four bedrooms and three full bathrooms. Because it has only had one owner since its initial construction, the house is remarkably well preserved. Images show that many of the rooms have maintained their original wood cabinetry, while the back deck is still covered by a geometric pergola. The room that has changed most significantly is the kitchen, which underwent a complete renovation to meet twenty-first-century standards of living. Built in 1966, the home sits on 2.33 acres and is listed for $950,000.
Steven Holl-designed Catskills getaway Middleburgh, NY
Nestled in a heavily wooded area in New York’s Catskills region, Steven Holl’s bright red “Y House” has hit the market for $1.6 million. The two main sections of the house (there is also a detached garage and a boathouse) branch off from one another to form the shape of the letter “Y”. They both terminate in outdoor spaces—balconies on the second floor and small patios on the ground floor. The roofline of the structure slopes upward toward this point, creating a volume that appears to open up to the mountain views.
Constructed in 1999, the house takes full advantage of its surroundings. From the interior, irregularly shaped windows frame the landscape in unexpected ways, while communal spaces benefit from larger, floor-to-ceiling glass. The 33-acre site also has a minimalist, glass-walled boathouse perched at the edge of a serene pond.Richard Neutra’s midcentury masterpiece Weston, CT
In the quiet town of Weston, Connecticut, Betty Corwin is selling a house designed for her and her husband by Richard Neutra in 1955. Situated on a 4.3-acre lot above the Saugatuck River, the five-bedroom Corwin House is surrounded by mature trees and lush landscaping. With many of its original finishes still intact, including the yellow kitchen cabinetry and plenty of built-ins, the home is a particularly well-preserved example of midcentury modern residential architecture. Corwin, now in her 90’s, has made only a few changes to the kitchen appliances and bathrooms.
Perhaps best known for his extensive portfolio of house projects in California, Neutra built a number of modern residential structures throughout the mid-twentieth century. Listed at $2.7 million, the Corwin House is one of the architect’s two remaining homes in the state of Connecticut, presenting East Coast buyers with a rare chance to purchase a piece of his legacy.Wine country stunner by Michael Palladino of Richard Meier Partners Santa Ynez, CA
Designed by Michael Palladino of Richard Meier Partners, this six-bedroom, eight-bathroom house sits in the Santa Ynez Valley northwest of Santa Barbara, California. Buyers of Son Sereno will have no shortage of space, inside or out. The home itself boasts 8,000 square feet of living space, while the 116-acre lot includes an olive grove and several riding trails. The scenery surrounding the contemporary structure is characteristic of this region of California—mature oak and sycamore trees dot a landscape of rolling green hills and vineyards.
Built in 2005, the building uses a combination of stucco and stone walls to support a high, curvilinear ceiling over the main living space. There is a wealth of amenities, including an attached three-car garage, two fireplaces, and panoramic views of the valley. The asking price is currently set at $7,900,000.Paul Rudolph’s Milam Residence Ponte Vedra Beach, FL
As AN reported earlier this summer, Paul Rudolph’s beachside Milam Residence outside Jacksonville, Florida hit the market for $4,445,000. With a distinctive geometric facade that lends visual depth to the building, the Milam Residence presents potential buyers with the opportunity to own something that stands out in the coastal neighborhood, where most residential architecture prescribes to a more Mediterranean aesthetic. With 6,800 square feet of living space spread between the main building and a separate guest house, there is no shortage of space, either.
While Rudolph is better known for his institutional projects, including the Yale School of Architecture’s Paul Rudolph Hall, the Milam House is still a piece of history. Built in 1961 for the attorney Arthur Milam, the residence is being sold by the family of the original owners.Rafael Viñoly-designed head-turner Ridgefield, CT
Rafael Viñoly’s most famous residential project may be his gleaming tower at 432 Park Avenue in New York City, but for those who prefer a more tranquil setting, a house he designed in Ridgefield, Connecticut is now on the market. Built in 1990 for Alice Lawrence, whose late husband Sylvan Lawrence was a real estate mogul in Manhattan, the house is a dramatic contemporary design composed primarily of concrete and glass. Designed for Mrs. Lawrence’s extensive art collection, the house comprises one part of a listing that includes a farmhouse next door and a total of 16 acres of land.
With three bedrooms, four bathrooms, and both indoor and outdoor pool options, the Lawrence House offers a taste of luxury to anyone who can afford its $9.8 million price tag.
It was 1980 and New York City was experiencing its highest crime rate and worst recession since the 1930s. In spite of the doom and gloom that had set in, some were optimistic about the city’s future. One was a young architect who recently arrived to New York from San Francisco. That year, he entered a competition for young architects by proposing a fantastic village of houses atop an abandoned elevated rail line. The competition was the inaugural Young Architects Forum, and the visionary dreamer who saw potential in the rusted viaduct for a thriving community was architect Steven Holl.
Holl’s now legendary Bridge of Houses, the first suggested revitalization of what is now the High Line, was one of 12 winners that year. It was profoundly poetic, hugely influential, and it made the case for both an ideas-based architecture and for having a prize for young architects. The Architectural League of New York couldn’t have wished for a better start for its new program.
Now in its 35th year, the Architectural League Prize (formerly the Young Architects Forum) is a prize with gravitas for young architects that rewards winners with a plum lecture opportunity and a part in an exhibition in New York. It is highly sought after by promising young guns and for good reason. Of the prize’s 200-plus winners, only a small percentage have drifted into obscurity. Most are heading up significant practices and running design schools. Some, like Holl, Billie Tsien, Rick Joy, and Neil Denari are truly famous, bringing to fruition buildings of extraordinary quality that are making their marks on history and influencing generations of architects to come. The prize is not a perfect predictor of future prominence, as it casts its net widely and is open to all architects in North America out of undergraduate or graduate school fewer than 10 years. However, it’s been a pretty good indicator of the people and the ideas likely to matter next.
When it began in 1981, the League Prize was an oasis in a desert of opportunity for young architects. “There was really nothing like it,” said Anne Rieselbach, who as program director for the Architectural League of New York, has shepherded the League Prize program for the past 29 years. There was the P/A Awards sponsored by Progressive Architecture magazine, but that was a different opportunity. And some, like architect Claire Weisz, who won the prize in 1991, considered the P/A Awards to be “out of reach and unattainable.” Weisz credits the League Prize as being hugely influential and an important forum where architects just starting out could get validation amongst their peers. Her winning project, “Beg Borrow and Steal,” which was conceived from borrowed and bartered materials sourced from a closing fashion store and cleverly exhibited on clothes hangers, was her first public collaboration with Mark Yoes, now her partner in WXY.
Architect James Sanders got the program up and running. Prompted by the dearth of opportunities for young architects in a city that was coming out of a recession, Sanders and others established the inaugural competition, which had many of the hallmarks of the current one. There was a poster to get the word out, a competition theme around which contestants organized their work, and a jury. The poster the first year was designed by a young Michael Bierut. And the theme was “Dwelling in the Cracks: Responses to the City.” Like all of the competition themes to follow, it was topical, reflecting current concerns and issues confronting architectural practice, this one being the state of the city. In addition to Sanders, who teamed up with Roy Strickland, the winners that year were Dodie Acklie, David Cagle, Steven Forman, Robert Grzywacz, Alexander Gorlin, Ralph Lerner, Michael McDonough, Mark Schimmenti, David Spiker, Donna Robertson, and Holl. Holl and Gorlin went on to have distinguished careers as designers and Robertson and Lerner (now deceased) made their marks in education as deans: The former at the Illinois Institute of Technology, and the latter at Princeton.
When Rieselbach took the reins in 1987, five years into the program, she ushered in some changes: She limited past winners from entering the competition again (Denari was one of two people who won it twice), introduced a publication of the winners’ work in 1999, and secured a new venue for the program in 2010. Prior to 2010, the projects were exhibited at the Villard Houses in the Urban Center’s galleries on 30-by-30-inch boards. Since 2010, Parsons has hosted the show at the Sheila C. Johnson Design Center.
Rieselbach recalled some interesting moments. “2006 was a watershed year where everyone did CNC milling. It was really quite amazing.” In terms of where people are from, “A lot of people teaching at Michigan, a lot of interesting young architects from Canada, and plenty of women,” she continued. Most recently, Rieselbach observed a return of the hand in the work, a hybridization of digital and manual techniques. She went on to say that recent winners like Jenny Sabin (2014), Skylar Tibbits (2013), Sean Lally (2012) and, Michael Loverich (2010), in particular, are doing work that tests the boundaries of architecture.
The prize has nurtured many hook ups both personal and professional: Dan and Marie Adams of Landing Studio (2015), Lisa Iwamoto and Craig Scott of Iwamoto Scott (2002), Eric Bunge and Mimi Hoang of nARCHITECTS (2001), Shih-Fu Peng and Roisin Heneghan of Heneghan Peng (1999), David and Paul Lewis (1997) and Marc Tsurumaki (1992) of LTL Architects; Stephen Cassell and Adam Yarinsky, of ARO, (1996); Weisz and Mark Yoes of WXY Studio (1993); and Mónica Ponce de León and Nader Tehrani,(1997), formerly of Office dA. Especially interesting are the three deans of Princeton’s School of Architecture: Ralph Lerner (1981), Stan Allen (1988) and Monica Ponce de Leon (2016).
Many of the winners are now dominating the headlines. nARCHITECTS’s Carmel Place, WXYs’ Salt Shed (with Dattner Architects), and City View Garage in the Miami Design District designed by Dominic Leong (2007) of Leong Leong, and Iwamoto Scott (2012) have been in the pages of many national and international publications, including AN. Without a doubt, the League Prize winners are a fascinating group of mavericks most likely to shape architecture’s future.
Like many universities situated in the heart of their communities, Princeton is grappling with the enormous challenge of growing its campus to accommodate new and expanded programs. Some of the strategies to expand include selective densification of the core and the renewal and repurposing of existing facilities. But longer range, the university will have few options but to expand at the periphery. While densification risks upsetting the delicate balance between buildings and open space that defines Princeton’s campus and grants it a majestic beauty, the ability to craft large swaths of land in the image of itself is also a welcome opportunity.
Recent examples include the new sciences neighborhood at the campus’s southern border, where new buildings by Hopkins Architects and Rafael Moneo join a genomics facility by Rafael Viñoly, and an expanded engineering precinct at the campus’s eastern side, which just welcomed the new Andlinger Center for Energy and the Environment by Tod Williams Billie Tsien.
Located on a 23-acre site at the campus’s western edge, the arts and transit neighborhood is an exercise in forging a more engaged relationship between the university and town with new arts facilities, a transit hall and rail station, and various eateries, including a Wawa. Planning the precinct was tasked to Beyer Blinder Belle Architects and Michael Van Valkenburgh, who were working with the university at the time on a ten-year plan to guide campus growth through 2016. Scheduled to be complete in 2017, the $300 million project is the largest expansion project in the university’s 265 year history.
The new facilities inscribe themselves into the fabric of the campus by integrating the language of the neighborhood and surrounding courtyards in their form, scale, and materials. Steven Holl’s Lewis Center for the Arts anchors the precinct and creates a new campus gateway. It provides performance and teaching spaces for the theater and dance program, the department of music, and the arts in three buildings organized around a three-sided courtyard that opens to the community.
In the center of the courtyard a shallow pool defines a main public space. The buildings’ Italian limestone exteriors reference the early stones and bluestone paving used elsewhere on campus. The arts tower is scaled to Blair Arch. Rick Joy’s transit hub creates a chapel-like space that is washed in natural light. One of Joy’s big place-making gestures was putting the transit hall and the Wawa in two separate buildings to shape a new public space. “We had a program for it and the Wawa but we never conceived of splitting it apart,” said university architect Ron McCoy.
In addition to new facilities, the university is bringing in new infrastructure—reworking roads, creating plazas and circulation routes for pedestrians and cyclists, and providing for parking.