Amale Andraos, principal of New York–based architecture firm WORKac, has been named dean of Columbia's Graduate School of Architecture Planning and Preservation (GSAPP), succeeding Mark Wigley. Currently on faculty at GSAPP, she has also taught at Princeton, Harvard, the University of Pennsylvania, and the American University in Beirut. "Columbia is just an incredibly exciting place that's always been on the forefront of the profession," Andraos told AN. "It's an incredibly diverse and experimental place. I want to maintain and expand its role as a think tank for global practice." “An inspiring teacher, a respected colleague, and a pioneering practitioner whose innovative commissions in cities around the world have earned widespread admiration, Amale is a new leader among a rising generation of creative architects and designers of our physical environment,” said Columbia president Lee Bollinger in a statement. “She is just the kind of person who can further expand the role of the School as a center of interdisciplinary thinking across Columbia about how to develop a more just and sustainable society.” While Wigley was best known as a theorist, Andraos has balanced both teaching and practice. "We think of ourselves as a design research firm. For us teaching and practice inform one another," she said. WORKac has completed numerous projects including the Blaffer Museum in Houston, the Children's Museum of Arts in Manhattan, and the Edible School Yard project at P.S. 216 in Brooklyn. They won the MoMA P.S. 1 Young Architects Program in 2008. The firm is currently working on a conference center in Libreville, Gabon and they recently completed a master plan for seven new university campuses in China. In a profession that is still plagued by diversity issues and gender disparities, Andraos is one of an increasing number of women deans and directors. Running a school as prominent as Columbia, though, she will arguably be one of the most influential women in American architecture.
Posts tagged with "WORKac":
For over 120 years, the Municipal Art Society has been an important organization in New York City's efforts to promote a more livable environment and preserve the best of its past. It's successful preservation campaigns and advocacy for better architecture—such as its advocacy to rebuild a better Penn Station—are well known. Now the organization has announced its annual MASterworks Awards, and of the nine buildings selected this year as honorees, many are in Brooklyn, confirming that borough's continuing upgrading evolution. The Weeksville Heritage Center (Caples Jefferson Architects) has won the top honor, “Best New Building,” while “Best Restoration” goes to the Englehardt Addition, Eberhard Faber Pencil Factory (Scott Henson Architect). The “Best Neighborhood Catalyst” award will be given to the BRIC Arts Media House & Urban Glass (LEESER Architecture), and “Best New Urban Amenity” will go to LeFrak Center at Lakeside (Tod Williams and Billie Tsien Architects). Brooklyn Bridge Park (Michael Van Valkenburgh Associates) will be recognized as “Best Urban Landscape.” Additionally, this year’s MASterworks also recognized two new design categories. “Best Adaptive Reuse” will be awarded to The Queens Museum (Grimshaw Architects) and the NYC DDC Zerega Avenue Emergency Medical Services Building (Smith-Miller Hawkinson Architects) will take home the award for “Best New Infrastructure.” Finally, “Best Green Design Initiative” honors will be given to Edible Schoolyard at P.S. 216 (WORKac) and P.S. 261 School and Community Playground (SiteWorks Landscape Architecture). The MASterworks Awards, recognize projects completed in the preceding year that exemplify excellence in architecture and urban design and make a significant contribution to New York’s built environment.
In the wake of Hurricane Sandy, architects have been called to arms to both engage in the immediate recovery efforts and to come up with design solutions that will make New York City's buildings more resilient and sustainable in the long-term. The latest in a flood of new Sandy-inspired design initiatives was launched yesterday by New York Restoration Project (NYRP), dubbed "EDGE/ucation Pavillion Design Competition," asking a group of hand-picked, up-and-coming architecture firms to create a storm-resistant pavilion in Sherman Creek Park right on the Harlem River. The structure, located on a former illegal garbage dumping site, would serve as a boating facility and outdoor classroom for a number of activities such as wetland exploration and oyster gardening. The NYRP undertook a major clean-up of the polluted 5-acre area in 1996 and has since transformed it into a healthy and verdant public space for recreation and boating. The project is expected to cost $900,000. With the help of Susanna Sirefman of Dovetail Design Strategists, the NYRP selected eight Manhattan and Brooklyn-based firms, that include: Bade Stageberg Cox, Desai/Chia Architecture, HOLLER Architecture, KNE Studio, Lang Architecture, Taylor and Miller Architecture + Design, Urban Data & Design, and WORKac. The firms will submit their proposals on September 16th, and the following month, a Technical Advisory Group made up of leaders in the field—such as Adrian Benepe, Director of City Park Development for Trust of a Public Land and Thomas Christoffersen of BIG—will select the five finalists. A new jury—including NYRP founder Bette Midler, James Polshek of Ennead Architects, and Christopher Sharples of SHoP Architects—will then look over the submissions. A winning proposal will be announced in late November 2013.
Three design-build teams have been shortlisted to design the $30 million Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis. They are: WORKac and Westlake Reed Leskosky with Kitchell; Henning Larsen Architects and Gould Evans with Oliver and Co; and SO–IL and Bohlin Cywinski Jackson with Whiting-Turner. Each team had four months to prepare a bid for the museum. The museum will be named after Jan Shrem, operator of Clos Pegase winery in the Napa Valley, and his wife Maria Manetti Shrem.
Architecture in Uniform: Designing and Building for the Second World War Canadian Centre for Architecture 1920, rue Baile Montréal, Québec, Canada Through September 18 How did World War II impact the built environment? This new exhibit curated by Jean-Louis Cohen explores how 20th century architects contributed to the war efforts and how their work ultimately led to the modern structural and technological innovations that make some of today’s complex designs possible. WWII was an accelerator of technological innovation, and from 1937 to 1945 architects were frequently pressed to pursue the most modern solutions, which often meant the most cutting edge. Designed by New York-based WORKac, the exhibit is comprised of drawings, photographs, posters, books, publications, models, historical documents, and films that reveal how contemporary architecture left its mark on the landscapes of both the Axis and the Allied powers. Organized thematically, the exhibition focuses on wartime activity as well as architects and their projects in Canada, France, Germany, Italy, Japan, the Netherlands, Spain, the United States, and the USSR. Architecture in Uniform is part of a larger project at the CCA that examines the various roles of architecture from the Second World War to today called On the Natural History of Destruction.
Glimpses of New York and Amsterdam in 2040 at the Center for Architecture (through September 10) is a clarion call for designers to redefine sustainability in architecture. Though it didn’t start with this intention, the visions of 10 young architecture firms imagining future landscapes of New York and Amsterdam raise questions about what changes are imminent for urban development and what part architects can play. The projects suggest both practical and fantastical interventions to improve the prospect of urban growth in the face of ecological, geographic, and demographic shifts. The program comes hot on the heels of the announcements of Vision 2020: New York City Comprehensive Waterfront Plan and the similar strategy-based Structural Vision: Amsterdam 2040. Curators Luc Vrolijks, Rosamond Fletcher, and Marlies Buurman’s collective ambition has been to use design and debate to link the two cities in the context of these new directives. This month, the Center for Architecture hosted a series of talks and presentations of the work by the architects and the exhibit is also at the ARCAM site in Amsterdam until August 13, which will raise new questions about potential futures. The projects responded to one of five headings: Breathing, Eating, Making, Moving, Dwelling. Breathing: Both Delva with Dingeman Deijs and W Architecture and Landscape Architecture take water as their starting point. While Delva takes the IJ estuary as a generator for energy, W Architecture’s Hudson archepelagos, made using dredge from the port, provide habitats as well as landing banks. Eating: Here, WORKac focuses on the ‘food desert’ in the Bed-Stuy and Bushwick neighborhoods of Brooklyn and maps the potentially resourceful ways of re-appropriating the streets to harvest food, from future transportation (gondola-type links) to a hybrid fish farm and greenhouse-grown plants (Aquaponics). Van Bergen Kolpa Architects imagines a Landscape Supermarket, where varieties of food can be grown and sourced in park-like environments run by city dwellers. Making: In The Refinery, Solid Objectives-Idenburg Liu (SO-IL) imagined a floating market place where robotic arms compartmentalise waste materials to mend a broken landscape. Barcode Architects on the other hand has developed a contained mega science park from which to export knowledge - “the most valuable commodity of The Netherlands in 2040” said Caro van der Venne of Barcode. Moving: Dlandstudio responds to the future need for water transportation and how this can be an opportunity to also positively affect public wellbeing as well as environmental health. Fabric’s interpretation considers a new urban fabric based on mixing uses to produce “a more complete urban program, so that our daily needs are always near.” Dwelling: The Newark Visionary Museum by Interboro Partners and Space & Matter’s We is the New I both approached the idea of sustainability as social concerns. Interboro’s projection showed a colourful scene of failed plans and possible future solutions to Broad Street’s transportation, entertainment, sports and communication demands. Similarly practical was Space & Matter’s solution to increasing diversity and social cohesion by harnessing and building around common interests.
The foreclosure crisis has up-ended old assumptions about the relative prosperity of cities versus suburbs. In many regions waves of foreclosures have hit the suburbs hardest. In the second iteration of their "Issues in Contemporary Architecture" residency and exhibition series, MoMA and P.S. 1 will ask five teams to design interventions for five "megaregions" facing high levels of foreclosures. Like the earlier iteration, Rising Currents, the new project, Foreclosed: Rehousing the American Dream will include a residency and public workshops at P.S. 1, followed by an exhibition and public programs at MoMA. Organized by Barry Bergdoll, chief curator for architecture and design, and Reinhold Martin, director of the Buell Center at Columbia, Foreclosed "will enlist five interdisciplinary teams of architects to envision a rethinking of housing and related infrastructures that could catalyze urban transformation, particularly in the country’s suburbs," according to a statement from the museum. The five multi-disciplinary teams will be led by Dan Wood and Amale Andros of WORKac, who will work on the Portland, Oregon region; New York's Michael Bell will examine Temple Terrace, Florida; Jeanne Gang of Studio Gang will focus on Cicero, Illinois; Hilary Sample and Michael Meredith have been assigned The Oranges in New Jersey, while Andrew Zago of Zago Architecture will work on Rialto, California. The teams will use a recent housing studies by the Buell Center as the grounding research for their work. "The museum will act as a kind of handmaiden for taking a body of research into form," Bergdoll told AN. "Images can inform the nascent national conversation." Bergdoll notes that the foreclosure crisis is still unfolding, and that many plans that could be leveraged to improve the situation, such as the national High-Speed Rail network, are being scaled back. The teams will likely propose housing, infrastructure, and landscape interventions. In a move tailor-made to generate conversation, during the launch of the workshop phase on May 7, "team leaders will present their approaches and a round table will offer a debate between various models of thinking about replanning suburbia, including that represented by the Congress of New Urbanism," according to a release from the museum. While Rising Currents attempted to address local conditions resulting from global problems, Foreclosed will address a national problem through an examination of five distinct sites across the country. "We expect the project to parallel the best intentions of the current administration," Bergdoll said. Foreclosed: Rehousing the American Dream will open at MoMA on January 31, 2012.
The New York-firm WORK Architecture Company is retooling the Blaffer Art Museum at the University of Houston. The intervention, which includes a new entrance and circulation plan, should dramatically boost the visibility of the museum. It shares a large 1970s concrete building with the university's art school, and it is currently accessed off an interior courtyard. The architects are moving the entrance to the north side of the building, with a new cantilevered interior staircase serving as a portico. Though facade appears to be completely transparent in the renderings, the architects tell us it will include bands of clear and textured channel glass. The new staircase will simplify circulation in the galleries (the current staircase rises up into the middle of one of the second floor galleries). All the spaces will receive new lighting, furniture, and finishes, though the architects expect to keep things quite simple. Working with Gensler as the architects of record, and SCAPE landscape architecture, the renovation will also include the courtyard, which will be redesigned to include cafe and event space. The renovation will only add about 500 square feet to the 11,000 square foot museum. "It's small, but we expect it will have a big impact," said project architect Anne Menke of WORKac. The museum will break ground this summer with the completion date set for January 2012.
Architect and friend of AN Jeremiah Joseph writes in with this report of the March 27 WORKac lecture, "Shovel Ready," at Parsons. Amale Andraos and Dan Wood, of the 2008 PS1 Warm-Up pavilion fame, tag team presented their work to a standing room only crowd. With a range of projects, from buildings to urban proposals, the duo showed the office's penchant for both intelligence and wit. Like many young offices most of WORKac's work is still in the realm of unbuilt projects, but with five competitions already completed in 2009 this office has no intention of waiting around casually for the work to knock on their door. Of the work presented, two New York buildings showed off the office's intelligent concepts executed through reduced forms. They push the ideas, but are careful to not allow overly exuberant design blur the intent of their work. The Headquarters' for Diane von Furstenberg in the Meatpacking district showed their aptitude for laying out simple concepts that are translated, quite directly, into built reality. The project uses the stair, one of the most commonplace and yet ceaselessly studied elements in architecture, to turn what could be a mundane office building into an object of both clarity and poetry. Starting at the ground floor entry the stair slips up through the old warehouse building to reveal in single moment the sky above. A relatively simple move, but deftly handled, it flips the reading of the building's dark brick exterior by lighting the interior and yet at the same moment pulls visitors sense of the space up, through, and out the roof. In their proposal for the Kew Gardens Library in Queens (a project soon to start construction) WORK ac inverts the interior methods of the Diane von Furstenberg HQ by wrapping an existing building with a new facade and roof. Expanding the building's footprint towards the street they apply a new double-bent gull wing roof covered with flora. The new form, boosting the height of the building and allowing clerestory lighting into the interior, is clad at the upper portion of the facade with pre-cast concrete panels and new, open curtain wall down to the street. It is important to credit New York City's Design and Construction Excellence program for allowing WORK ac produce a project like this. It may be a bit self-serving to suggest this project gives hope to the architecture community that it will be able to continue producing good/smart/important work during a time of economic turbulence. But with the likely (and potentially healthy) collapse of the opulent condo market, the program sends a positive message to the community-at-large that quality design benefits everyone, not just the wealthy few. Of the work shown it was interesting to see that to date WORK ac is strongest in their urban proposals. The Green Belt City competition for Las Vegas started off with clear-minded analysis of the site issues. By the middle of the presentation they revealed their OMA pedigree, a tendency to tackle problems as the witty prankster who actually does know best. Yet at the end they zoom past overly reduced forms and slight of hand design moves to produce something both smart and beautiful. With their final project, a preview of a competition yet to be made public, they showed an amusing foray into the world of paper architecture. The project, a tower in lower Manhattan, was commissioned as a real world study of an urban condition, but the architects believe they, the client, and the architecture community are best served by going for broke. With an appropriate suspension of disbelief they stack and pin-wheel a series of slabs composed of archetypal sections of the city's urban fabric onto a hyper-eco-energy-friendly core. Although little of this piece itself is feasible, WORK ac likeably reveals untapped potentials in tower design and brings to light the potential for subtler, real-world solutions that would be just as relevant and powerful. With the amount of work produced so far it is a good bet WORKac will continue to generate engaging architecture. A risk the office faces is becoming typecast as new eco-architects. Although this may help bring attention, and put work on their boards, it would be too narrow of a category for their talent. An exhibition on WORKac is on view at Parsons The New School for Design, 25 East 13 Street, Second Floor, through April 18. A second exhibition, called 49 Cities, will be on view at the Storefront for Art and Architecture, 97 Kenmare Street, starting on April 14.