On Wednesday, November 13, the Cooper Union is screening Diana Agrest's The Making of an Avant-Garde: the Institute for Architecture and Urban Studies 1967-1984. If you're like me the IAUS brings to mind the journal Oppositions and Peter Eisenman. He can be found in the below photo as #4, but who are the rest? Who are these "makers of an avant-garde"? Feel free to comment with your guesses.
A couple hints: The graphic below (the bottom half of the film announcement from above, which I added the numbers to) and an Architect's Newspaper piece on an IAUS book, with a captioned photo of a ca. 1974 dinner.
Film screening details:
Wednesday, November 13, 2013
7pm Film Screening
Panel Discussion and Open Reception to follow
The Great Hall: 7 East 7th Street, lower level
Free and open to the public
Thursday, October 31, 2013
SHoP DumbPhone-ography
At lunch yesterday I sauntered over to the East River Esplanade, and noticing one of SHoP's little buildings nearing completion (and without my ever-trusty but now broken camera), I took a few shots of it with my dumbphone. The glass pavilion sits underneath FDR Drive and is steps away from SHoP's Pier 15, which opened late 2011 and can be seen reflected in the glass walls of the below photo.
[North elevation. All dumbphone photos by John Hill.]
According to the NYC Department of City Planning: "These pavilions will serve community and commercial uses with their imaginative architectural expressions that will complement the public open space as well as return the vitality of the city to the water’s edge."
[Northeast corner of the pavilion]
The covered areas on two sides of the pavilion (facing north and east) indicate that the building could be used as a cafe or something that requires waiting in line. New York Harbor Parks indicates "recreational/sports facilities with equipment available for rental." We'll have to wait for a little while to see what moves in.
[North elevation, looking west]
Unlike the abundance of wood at Pier 15, this pavilion limits that material to the L-shaped deck that is propped just a few inches above the surrounding pavement. In addition to the glass, the building is predominantly galvanized metal (aluminum would be my guess), which is used for the overhangs and much of the mainly solid south and west elevations.
[West elevation and north-facing deck]
A nice detail happens at the end of each deck, where the galvanized panels are perforated to allow and views to penetrate. When seeing the pavilion from under the FDR Drive (below photo), these openings give a greater view of the esplanade and shoreline, enticing people to cross the still dark and dingy thoroughfare. When people congregate on these decks, the draw should be even more enticing.
[West elevation]
[North elevation. All dumbphone photos by John Hill.]
According to the NYC Department of City Planning: "These pavilions will serve community and commercial uses with their imaginative architectural expressions that will complement the public open space as well as return the vitality of the city to the water’s edge."
[Northeast corner of the pavilion]
The covered areas on two sides of the pavilion (facing north and east) indicate that the building could be used as a cafe or something that requires waiting in line. New York Harbor Parks indicates "recreational/sports facilities with equipment available for rental." We'll have to wait for a little while to see what moves in.
[North elevation, looking west]
Unlike the abundance of wood at Pier 15, this pavilion limits that material to the L-shaped deck that is propped just a few inches above the surrounding pavement. In addition to the glass, the building is predominantly galvanized metal (aluminum would be my guess), which is used for the overhangs and much of the mainly solid south and west elevations.
[West elevation and north-facing deck]
A nice detail happens at the end of each deck, where the galvanized panels are perforated to allow and views to penetrate. When seeing the pavilion from under the FDR Drive (below photo), these openings give a greater view of the esplanade and shoreline, enticing people to cross the still dark and dingy thoroughfare. When people congregate on these decks, the draw should be even more enticing.
[West elevation]
Wednesday, October 30, 2013
Today's archidose #713
Here are some photos of the University of Aveiro Water Tank in Aveiro, Portugal, by Alvaro Siza, photographed by José Carlos Melo Dias.
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Monday, October 28, 2013
Monday, Monday
A Weekly Dose of Architecture Updates:
This week's dose features the Clifftop House in Maui, Hawaii, by Dekleva Gregorič Arhitekti:
The featured past dose is the Centro das Artes | Casa das Mudas in Calheta, Madeira by Paulo David:
This week's book review is Discovering Architecture: How the World's Great Buildings Were Designed and Built by Philip Jodidio (L):
(R): The featured past book review is Great Buildings of the World by Time Inc.
: : : : : : : : : : : : : : : : : : : : : : :
American-Architects Building of the Week:
Blaffer Art Museum in Houston, Texas, by WORK Architecture Company:
This week's dose features the Clifftop House in Maui, Hawaii, by Dekleva Gregorič Arhitekti:
The featured past dose is the Centro das Artes | Casa das Mudas in Calheta, Madeira by Paulo David:
This week's book review is Discovering Architecture: How the World's Great Buildings Were Designed and Built by Philip Jodidio (L):
(R): The featured past book review is Great Buildings of the World by Time Inc.
: : : : : : : : : : : : : : : : : : : : : : :
American-Architects Building of the Week:
Blaffer Art Museum in Houston, Texas, by WORK Architecture Company:
Book of the Moment: The SAGE Handbook of Architectural Theory
The SAGE Handbook of Architectural Theory is a 776-page tome that "documents and builds upon some of the most innovative developments in architectural theory over the last two decades." To mark the release of the book, Parsons SCE is hosting a panel discussion (free, no RSVP required) this evening; details are below.
Architectural Theory in an Expanded Field
Monday, October 28, 2013 at 6:00 pm to 9:00 pm
Wollman Hall (B500), Eugene Lang College
65 West 11th Street, New York, NY
Join Parsons SCE for a panel discussion with the general editors and US-based contributors of the Sage Handbook of Architectural Theory, celebrating the launch of the paperback edition convened by Brian McGrath, Dean of the School of Constructed Environments at Parsons and moderated by Joanna Merwood, associate professor of Architectural History at Parsons.
The panel discussion will explore the handbook’s agenda and consider its significance for architectural research, education and practice. A questions and answer session will follow remarks from the panelists.
General Editors:
- C. Greig Crysler, Associate Professor of Architecture; Arcus Chair, College of Environmental Design, UC Berkeley
- Hilde Heynen, Professor of Architecture, University of Leuven
- Stephen Cairns, Professor of Architecture and Urbanism, University of Edinburgh; Future Cities Lab Coordinator, ETH Singapore
Speakers:
- Stefan Al, Associate Professor of Urban Design, University of Pennsylvania
- M. Christine Boyer, William R. Kenan, Jr. Professor of Architecture and Urbanism, Princeton University
- Brian McGrath, Dean, School of Constructed Environments, Parsons The New School for Design
- Deborah Natsios, Cryptome.org
- Vyjayanthi Rao, Assistant Professor of Anthropology, The New School
- David Solomon, Assistant Professor, Architectural Studies, Ithaca College
- Gwendolyn Wright, Professor of Architecture, Columbia University
The Sage Handbook of Architectural Theory documents and builds upon the most innovative developments in architectural theory over the last two decades.
With over 40 chapters of original material from a roster of contributors from around the world, the handbook connects together issues, institutions, authors and readers in ways that mark a significant departure from other collections of its kind. Eight major sections explore issues in architectural theory today, from new formations of power, difference and embodiment, and questions around science and technology, to the changing conditions in cities and metropolitan territories in the global present.
Sunday, October 27, 2013
Nobel Center Matching Game
UPDATE 11/15: Three finalists have been announced. See my new post to find out all of the entries, or see the bottom of this post for the answer key.
Back in April the Nobel Foundation selected twelve architects to vie for the design of the Nobel Center in Stockholm. Eleven of the firms (minus Herzog & de Meuron) submitted designs at the end of September, and each of them can be viewed on the Nobel Center website. Oh, and each entry is anonymous. According to the website: "The jury will not comment on any proposal until 2-5 of them in November 2013 have been selected to proceed to the competitions [sic] second stage. The names of the architects behind each submission will at that point be revealed." Below are the proposals, followed by the list of the architects at bottom. So which architect goes with which proposal?
Design Proposals (in alphabetical order):
A. Archipelago:
B. Beyond 1210:
C. Butterfly:
D. Landing Seagulls:
E. Nobelhuset:
F. Nobel Sphere:
G. P(a)lace to Enjoy, A:
H. PRISM:
I. Room and a Half, A:
J. Space Between, The:
K. "We believe in...":
Participating Architects (in alphabetical order):
(Thanks to Fred B. for the idea!)
UPDATE 11/15: The winning combination:
A6
B8
C1
D7
E3
F9
G11
H2
I4
J10
K5
Back in April the Nobel Foundation selected twelve architects to vie for the design of the Nobel Center in Stockholm. Eleven of the firms (minus Herzog & de Meuron) submitted designs at the end of September, and each of them can be viewed on the Nobel Center website. Oh, and each entry is anonymous. According to the website: "The jury will not comment on any proposal until 2-5 of them in November 2013 have been selected to proceed to the competitions [sic] second stage. The names of the architects behind each submission will at that point be revealed." Below are the proposals, followed by the list of the architects at bottom. So which architect goes with which proposal?
Design Proposals (in alphabetical order):
A. Archipelago:
B. Beyond 1210:
C. Butterfly:
D. Landing Seagulls:
E. Nobelhuset:
F. Nobel Sphere:
G. P(a)lace to Enjoy, A:
H. PRISM:
I. Room and a Half, A:
J. Space Between, The:
K. "We believe in...":
Participating Architects (in alphabetical order):
If you care to guess, leave a comment below matching the proposals (letters) and architects (numbers), e.g. A1, B2, etc.
- 3XN
- BIG
- David Chipperfield Architects
- Johan Celsing Arkitektkontor
- Lacaton and Vassal Architectes
- Lundgaard and Tranberg Arkitekter
- Marcel Meili, Markus Peter Architekten
- OMA
- SANAA
- Snøhetta
- Wingårdhs Arkitekter
(Thanks to Fred B. for the idea!)
UPDATE 11/15: The winning combination:
A6
B8
C1
D7
E3
F9
G11
H2
I4
J10
K5
Friday, October 25, 2013
Today's archidose #712
Here are some of my photos of the PATH - West Concourse (2013) in New York City by Santiago Calatrava. The walkway, which opened on Tuesday, connects the PATH station (still under construction) with the recently completed Brookfield Place at Battery Park City; photos of the latter to follow. For orientation purposes, the marble wall lines the south side of the walkway so, for example, the top photo is looking to the west, toward Brookfield Place.
To contribute your Flickr images for consideration, just:
To contribute your Flickr images for consideration, just:
:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose
Thursday, October 24, 2013
What to Make of "What Starbucks Gets that Architects Don’t"
This week architects have been busy reading and commenting on Christine Outram's essay at Medium, "What Starbucks Gets that Architects Don't: Or why I left the architecture profession." On my first read a couple days ago I got the message (architects need to listen to the people who occupy their buildings) and agreed generally that buildings and spaces could be designed better, although I detested the way it was written and didn't find that round tables at Starbucks to be a strong argument for architects talking to and listening to people.
To make just one comment on her article in this blog post, it's worth focusing on what I think is the gist of her argument:
Is it necessary to poll hundreds of coffee drinkers to determine that round tables "protect self-esteem for those...flying solo"? Or could an architect have come to the same determination by believing their impression that round tables work better in some environments than square tables, be it by observing patrons at a local cafe or in a public park, or by choosing a round table over a square one themselves? Any architect will admit that all of their observations and experiences influence how they think about architecture, so I'm wont to believe the latter.
So then why don't architects listen to what's inside? The obvious conclusion would be to blame clients—after all, they are the entities that sit in that supposed gulf between architects and users. Yet the case of Starbucks shows (if anything) that clients are open to design solutions when they lead to benefits both for them and whom they serve; and to make a fairly safe assumption, a developer should be open to design solutions that make residents happier so they can ask for higher rents or selling prices.
But traditionally the client's bottom line has driven decision-making, therefore conditioning architects to prioritize that over human needs. Therefore I'd wager that architects don't listen to what's inside because they're afraid of ignoring what they see as the client's wishes or of even losing the job. Yet ultimately the architect exists to balance human needs (the users, as filtered through the architect's own experiences and expertise) with those of the client, as well as with the environment and other considerations that are greater than both.
So I believe that architects do listen to people, internalizing conversations and experiences so as to make better decisions about design. Often they don't follow through on those feelings and therein lies some of what Outram is getting at. I don't believe architects need to carry out online polls or data mine (what people in advertising, Outram's current gig, do) to create buildings and spaces that are in line with how people want to feel. Architects can interpret such data if it exists, but not at the expense of understanding themselves and the shared human condition.
To make just one comment on her article in this blog post, it's worth focusing on what I think is the gist of her argument:
"You [architects] don’t understand people. I correct myself. You don’t listen to people."These sentences come right at the beginning of her piece, setting up her argument about Starbucks ("Form follows feeling") and using the Internet to poll people about things like where a new shop should really be located (something usually outside an architect's scope). But what if her statements are incorrect? I correct myself. What if there is a more accurate criticism about architects?:
You [architects] are people, but you don't listen to yourselves, to what's inside.This statement may sound a bit goody-goody or mushy at first, but my point is that by focusing on users as a distinct group of people—them, not us—former-architect Outram is perpetuating the gulf between the two. Actually, I'd argue that architects are also Starbucks customers (and homeowners, and students, and the other people that use buildings), and given their education and practical experience they are in a unique position to gauge how design can make one's cup of coffee in a chain cafe a better experience, to use her example.
Is it necessary to poll hundreds of coffee drinkers to determine that round tables "protect self-esteem for those...flying solo"? Or could an architect have come to the same determination by believing their impression that round tables work better in some environments than square tables, be it by observing patrons at a local cafe or in a public park, or by choosing a round table over a square one themselves? Any architect will admit that all of their observations and experiences influence how they think about architecture, so I'm wont to believe the latter.
So then why don't architects listen to what's inside? The obvious conclusion would be to blame clients—after all, they are the entities that sit in that supposed gulf between architects and users. Yet the case of Starbucks shows (if anything) that clients are open to design solutions when they lead to benefits both for them and whom they serve; and to make a fairly safe assumption, a developer should be open to design solutions that make residents happier so they can ask for higher rents or selling prices.
But traditionally the client's bottom line has driven decision-making, therefore conditioning architects to prioritize that over human needs. Therefore I'd wager that architects don't listen to what's inside because they're afraid of ignoring what they see as the client's wishes or of even losing the job. Yet ultimately the architect exists to balance human needs (the users, as filtered through the architect's own experiences and expertise) with those of the client, as well as with the environment and other considerations that are greater than both.
So I believe that architects do listen to people, internalizing conversations and experiences so as to make better decisions about design. Often they don't follow through on those feelings and therein lies some of what Outram is getting at. I don't believe architects need to carry out online polls or data mine (what people in advertising, Outram's current gig, do) to create buildings and spaces that are in line with how people want to feel. Architects can interpret such data if it exists, but not at the expense of understanding themselves and the shared human condition.
Wednesday, October 23, 2013
Today's archidose #711
Here are some photos of the WMS Boathouse at Clark Park (2013) in Chicago, Illinois, by Studio Gang Architects, photographed by John Zacherle.
To contribute your Flickr images for consideration, just:
To contribute your Flickr images for consideration, just:
:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose
Tuesday, October 22, 2013
Book Review: Oslo Architecture Triennale 2013
Oslo Architecture Triennale 2013: Behind the Green Door edited by Helle Benedicte Berg
OAT, 2013
Paperback, 144 pages
The 5th Oslo Architecture Triennale—Behind the Green Door: Architecture and the Desire for Sustainability—is currently underway, running until December 1 at various venues in Oslo. Behind the Green Door is the main exhibition and also the name of the catalog for OAT 2013. It is a slim volume that includes a program for OAT (green pages, as seen below) but also a number of essays, interviews, and projects responding to the theme developed by curators Lionel Devlieger and Maarten Gielen of ROTOR (with Criticat). In their foreword to the book (spread below) and introduction to the main exhibition, the curators ask: "Has the widespread use of the 'green' adjective resulted in an almost complete erosion of the meaning?"
It's a good question that responds to the rampant use of the word "sustainability" and the placement of the adjective "sustainable" in front of just about anything. Reading any architect's description of their project these days is believing that every new building is sustainable. But as LEED Platinum buildings are being critically examined as not-so-green, assertions of a building's sustainable principles should really be treated skeptically, arising from the fact the word "sustainability" is used without a shared, professional definition.
The curators again ask: "Is it possible to disagree? To be opposed to 'sustainability' while still acknowledging the reality of climate change?" Tapping into the childishness that can arise from using words without really knowing their meaning, the curators pose OAT as a "'time out': A moment to suspend current affairs and practices in order to ponder fundamental, underlying questions."
An intriguing proposition comes in the form of Gielen's "Pockets of Sustainability," which asks architects and others to narrow their focus toward determining what is sustainable. An example illustrated in the essay is teak wood, which was specified as reclaimed for the High Line elevated park in New York City. One's first impression may be that using reclaimed teak is good because then the trees needed to supply the same amount would not have to be cut down. But given the desirability of teak for residential decks and other uses, reclaimed teak is often taken from houses in Asia purchased solely for the material. In the process of lining the walls of a bedroom in Bridgehampton, housing and heritage are destroyed halfway around the world. This narrow "pocket" allows people to see just how accurate assertions of sustainability really are. More accurately, it dismantles assertions of sustainability by revealing that nothing is truly sustainable; there is only a gradient of impacts that are both positive and negative.
Elsewhere in the catalog is a "Who's Who in Green Building" (not the obvious names, that's for sure); "A Scrapbook of Experimentation," from the 1960s and 70s; an interview with Alfredo Brillembourg (spread below), founder of Urban Think-Tank and a keynote speaker at OAT; and some Nordic/Scandinavian-specific essays and projects (by Snohetta), among other essays. If you're interested in a "time out" be sure to visit OAT's website for information on ordering the catalog.
OAT, 2013
Paperback, 144 pages
The 5th Oslo Architecture Triennale—Behind the Green Door: Architecture and the Desire for Sustainability—is currently underway, running until December 1 at various venues in Oslo. Behind the Green Door is the main exhibition and also the name of the catalog for OAT 2013. It is a slim volume that includes a program for OAT (green pages, as seen below) but also a number of essays, interviews, and projects responding to the theme developed by curators Lionel Devlieger and Maarten Gielen of ROTOR (with Criticat). In their foreword to the book (spread below) and introduction to the main exhibition, the curators ask: "Has the widespread use of the 'green' adjective resulted in an almost complete erosion of the meaning?"
It's a good question that responds to the rampant use of the word "sustainability" and the placement of the adjective "sustainable" in front of just about anything. Reading any architect's description of their project these days is believing that every new building is sustainable. But as LEED Platinum buildings are being critically examined as not-so-green, assertions of a building's sustainable principles should really be treated skeptically, arising from the fact the word "sustainability" is used without a shared, professional definition.
The curators again ask: "Is it possible to disagree? To be opposed to 'sustainability' while still acknowledging the reality of climate change?" Tapping into the childishness that can arise from using words without really knowing their meaning, the curators pose OAT as a "'time out': A moment to suspend current affairs and practices in order to ponder fundamental, underlying questions."
An intriguing proposition comes in the form of Gielen's "Pockets of Sustainability," which asks architects and others to narrow their focus toward determining what is sustainable. An example illustrated in the essay is teak wood, which was specified as reclaimed for the High Line elevated park in New York City. One's first impression may be that using reclaimed teak is good because then the trees needed to supply the same amount would not have to be cut down. But given the desirability of teak for residential decks and other uses, reclaimed teak is often taken from houses in Asia purchased solely for the material. In the process of lining the walls of a bedroom in Bridgehampton, housing and heritage are destroyed halfway around the world. This narrow "pocket" allows people to see just how accurate assertions of sustainability really are. More accurately, it dismantles assertions of sustainability by revealing that nothing is truly sustainable; there is only a gradient of impacts that are both positive and negative.
Elsewhere in the catalog is a "Who's Who in Green Building" (not the obvious names, that's for sure); "A Scrapbook of Experimentation," from the 1960s and 70s; an interview with Alfredo Brillembourg (spread below), founder of Urban Think-Tank and a keynote speaker at OAT; and some Nordic/Scandinavian-specific essays and projects (by Snohetta), among other essays. If you're interested in a "time out" be sure to visit OAT's website for information on ordering the catalog.
Monday, October 21, 2013
Monday, Monday
A Weekly Dose of Architecture Updates:
This week's dose features the Jean-Claude Carrière Theatre in Montpellier, France, by A+ Architecture:
The featured past dose is the Family Creche in Drulingen, France by Fluor Architects:
This week's book review is 10 Stories of Collective Housing: Graphical Analysis of Inspiring Masterpieces by a+t research group (L):
(R): The featured past book review is Density Is Home: Housing by a+t Research Group by Aurora Fernández Per, Javier Mozas, Javier Arpa.
: : : : : : : : : : : : : : : : : : : : : : :
American-Architects Building of the Week:
Holston River House in Mascot, Tennessee, by Sanders Pace Architecture:
This week's dose features the Jean-Claude Carrière Theatre in Montpellier, France, by A+ Architecture:
The featured past dose is the Family Creche in Drulingen, France by Fluor Architects:
This week's book review is 10 Stories of Collective Housing: Graphical Analysis of Inspiring Masterpieces by a+t research group (L):
(R): The featured past book review is Density Is Home: Housing by a+t Research Group by Aurora Fernández Per, Javier Mozas, Javier Arpa.
: : : : : : : : : : : : : : : : : : : : : : :
American-Architects Building of the Week:
Holston River House in Mascot, Tennessee, by Sanders Pace Architecture:
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