ARCHITECTS 19- ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95

BLOOMBERG PROPOSES LONG- POLSHEK PARTNERSHIP 03 TERM GARBAGE PLAN FOR NYC REMAKES NY HALL OF SCIENCE CO I— EZRA STOLLER z REMEMBERED LU O 04 TRASH IN A O ARCHITECTURE'S DEBT TO 9/11

08~ TALK NEW DETAILS, DETAILS THE REMAKING The October release of Mayor Michael R. Bloomberg's Comprehensive Solid Waste OF THE MOMA Management Plan, a $500 million over• 11 The winning Fellowship ^ haul of 's trash and recycling LIGHT is Rural Studh»s meetg^r system, marked the beginning of a new REALIZING THE Santiago Caiatrava ""ifife chapter in the city's drawn-out garbage On a crisp afternoon in Queens. Pat Maguire FUN PALACE saga. Since Fresh Kills Landfill closed in watched her 9-year old son clamber into a WINNERS OF NOMA'S AWARD 2001, the city has proposed and shelved replica of the Mercury 7 capsule while con• 12 DIARY WINNERS ANNOUNCED AT NYC numerous plans to deal with its ensuing templating another space-age structure: 15 CLASSIFIEDS CONFERENCE trash overflow, which has been rerouted to Folshek Partnership Architects' 72,000- an incineration plant in Essex County, New square-foot, $64 million addition to the MINORITY Jersey, as an interim fix. Bloomberg's plan New York Hall of Science. "I think it's gor• proposes a long-term solution, beginning geous. We're dying to get in," said Maguire. ARCHITECTS HONOR with the retrofitting and reopening of Scheduled to open on November 23, eight marine garbage transfer stations construction is nearly complete on the lat• THEIR OWN located throughout the city, which were est and most extensive addition to the orig• used as regional drop-offs for Fresh Kills inal exhibition hall designed by Harrison The National Organization of Minority trash. Bloomberg wants commercial trash and Abramovitz for the 1964 World's I an . Architects (NOMA) was founded by 12 creators to use the stations, thereby shift• A long, horizontal structure dad in translu• African-American architects at the AIA ing the balance of waste transport from cent fiberglass built over a transparent base, national convention in 1971 to fight discrimi• trucks to rail and barges. Bloomberg also the Polshek addition does more than house natory practices that they felt limited or barred hopes to find a new resting place for much-needed exhibition space. With the minority architects. With about 500 mem• the 50,000 tons of trash generated by patronage of the New York Department bers. NOMA has developed chapters in the city each day, possibly by building a of Design and Construction, the Queens most major American cities. The New York new landfill in New York state. The most Borough President's office, and the center's SANTA MONICA ARCHITECT HAS chapter played host continued on page 2 ambitious part of the continued on page 2 longtime director Alan I. Friedman, the New York Hall of Science is emerging from its 5 LOCAL PROJECTS, AND COUNTING diick concrete walls into the clear light of day. "Transparency is a way to attract the NEARLY 50 ARCHITECTURE AND DESIGN PROJECTS HAVE RISEN FROM public to a building before they get to it," Gehry Takes THE ASHES OF THE WORLD TRADE CENTER. HOW DOES IT ALL ADD UP? said Todd Schliemann, design principal at Polshek Partnership who also worked on the Rose Center at the Museum of Natural WORLD TRADE WINDFALL History. "It's some of tlie best advertising you can have. People like to look into other people's windows." In the past few years, 's hat has Steepest Price-tag Transportation Hub, Wedge of Light Plaza / Like many public continued on paqe 3 floated into the ring of many a top-notch Total Budget: $2 billion Manhattan institution looking to expand Made Out Like a Bandit Beyer Blinder Belle / Discarded WTC Master Plan: $3.1 million New additio in style. The very promise of a Gehry Worked for Pennies SHoP Architects / Rector Street Bridge: $11,000 1964 l4all of inevitably stirs breathless excitement and Worked for Even Less Frederick Schwartz Architects and Rockwell Group / Page One treatment. But the East River Rising Downtown Information Center: $0 Guggenheim and Lap of Luxury Studio Libeskind / LMDC-reimbursed limo expenses: $6,788 project both fell through (while the Conde Biggest Spender LMDC / Total spent as of August 2004: $900 million Nast cafeteria and Issey Miyake boutique were just snack-sized), leaving Big Apple culture vultures still craving a big Gehry

See page 4 for a list of prominent 9/11-related projects, along with total budgets and architects' fees of their own. Now the wait is over. Last month, the media trumpeted the all but inevitable choice of Gehry to design the new per• forming arts complex at the , bringing the architect's active job count in the city up to a big five. In addition to the job, Gehry has signed on as architect for two projects with developer Forest City Ratner Companies: an arena for the Nets basket• ball team in Brooklyn and a highrise apartment house on an continued on page 5 3 o

THE ARCHITECT'S NEWSPAPER NOVEMBER 16, 2004

TRASH TALK continued from front page PUBLISHER The design boom that's taking place in as a result Diana Darling CO mayor's plan is his goal to reduce the city's of 9/11 has made us all somewhat immune to architectural sticker- waste production by 70 percent over the next eoiTons o shock. We've grown accustomed to massive numbers—$2 billion 20 years through market incentives to reduce Cathy Lang Ho I— William Menking for the Transportation Hub and Wedge of Light Plaza, $1.2 billion corporate waste creation and increased recy• M for the Freedom Tower, $750 million for the Fulton Street Transit cling programs. ART OIRCCTOR Garbage trucks are currently the standard Martin Perrin LU Center, $300 million for the WTC Memorial, and so on. These astro• nomical budgets got us wondering how architects and other design means of hauling trash out of the city, but this CONSULTANT OtSIONER was not always the case. When the closure Jeanne Verdoux professionals are making out in all this. of Fresh Kills was announced in 1996, marine SENIOR EDITOR Our "World Trade Windfall" chart (page 4) raises the longstand• transfer stations increased tipping fees from Anne Guiney ing question of whether or not architects get paid enough, and what $54 to $74 per ton of trash in order to dis• ASSOCIATE EDITOR determines their fees. In the high-profile dispute between Studio courage dumping in the overburdened land• Deborah Grossberg Libeskind and , the firm based its claim of fill. Commercial trash collectors, whose haul ADVERTISING SALES $843,750 on a percentage of total architectural fees derived from a makes up about 75 percent of the waste gen• Jonathan Chaffin percentage of total construction cost. Silverstein wanted to see erated in the city, began to seek less costly alternatives to barge transfer, and built trans• MEDIA ECOLOCIST timesheets but the Libeskinds maintained that they've never billed Keith James private chents on an hourly basis. Some have argued that the dispute fer stations where trucks bring their garbage, which is in turn trucked to incineration plants EDITORIAL INTERN was really an issue of intellectual property, whose value is more diffi• outside the city. Eddie Bautista of New York Gunnar Hand cult to quantify. Lawyers for the Public Interest explained, 'The MARKETING INTERN Architects have struggled with the question of fees since the begin• commercial dumps opened with virtually no Olga Korol ning of their professionalization in this country. The Richard Morris regulatory oversight, and became horrible MEDIA CONSULTANT Hunt lawsuit in 1861 established 5 percent of construction cost as a polluters in noise, congestion, and stench." Paul Beatty standard fee, which the AIA raised to 6 percent in 1908. In 1951 local These trash depots also tended to be built in ALA chapters published fee schedules but the national organization down-and-out neighborhoods that offered entered a Consent Decree with the U.S. Department of lustice in cheap property and accessible transportation, like the South Bronx and Red Hook, Brooklyn. 1972 and again in 1990. Ever since, the AIA has been careful to avoid "Eighty percent of garbage is processed in talking about fees, lest it be construed as price-fixing. Today, it communities with populations that are 80 appears that firms calculate their fees based on a wide range of per• percent minority," said Bautista. CONTRIBUTORS PHILIPPE BARRIERE / ARIC CHEN / centages—anywhere ft^om 1.5 to 15 percent of total project budgets, Since most commercial waste is generated MURRAY FRASER/RICHARD INGERSOLL / varying with a project's type, scale, location, and more. in Manhattan, Bloomberg's new plan makes JOE KERR/LIANE LEFAIVRE/JAMES PETO/ it a top priority to reopen the marine transfer LUIGI PRESTINENZA PUGLISl/KESTER RATTENBURY/ Public agencies, meanwhile, tend to pay out a set percentage, D.GRAHAME SHANE/PETER SLATIN / which seems to hover around 10 percent of construction costs. It's stations on the Upper East and West sides GWEN WRIGHT / ANDREW YANG/PETER ZELLNER an interesting reversal of what working for the city used to mean. along with a new recycling transfer station in Rick Bell, executive director of the AIA-NY, recounted that when he the Meatpacking District A previously pro• EDITORIAL ADVISORY BOARD posed 125"' Street transfer station was scrapped PAOLA ANTONELLI/RAUL A. BARRENECHE/ worked as chief architect for the city's public works agency nearly a due to concerns about the neighborhood's M. CHRISTINE BOYER/PETER COOK/ decade ago, the set fee was about 4.5 percent, which discouraged tal• WHITNEY COX/ODILE DECQ/TOM HANRAHAN/ already suffering environmental health. SARAH HERDA/CRAIG KONYK/JAYNE MERKEL/ ented firms from pursuing public contracts. "Fees for public and Eva Hanhardt, a planner for the Municipal LISA NAFTOLIN/SIGNE NIELSEN / private clients have come closer together, though," he said. "Public Art Society, applauded the plan's more equi• HANS ULRICH OBRIST/ JOAN OCKMAN / agencies have a better understanding that you get what you pay for, table distribution of waste management KYONG PARK/ANNE RIESELBACH/ TERENCE RILEY/KEN SAYLOR / MICHAEL SORKIN and that good design will pay off in the long run." facilities. "Any plan that diminishes the 'out Emerging firms have always been the least able to negotiate fair of sight, out of mind' mentality encourages GENERAL INFORMATION: INFO®ARCHPAPER.COM people on a local level to be more conscious fees (this in a field that's already notorious for competitive under• EDITORIAL: EDITOR®ARCHPAPER.COM about reducing, reusing, and recycling their DIARY: [email protected] bidding). With a generally higher fee standard than even a few years ADVERTISING: SALESliiARCHPAPER.COM waste, as opposed to moving it out and not SUBSCRIPTION: [email protected] ago, public works now seem to be the territory where young firms bearing any of the costs." can earn a rate comparable to what their more established counter• PLEASE NOTIFY US IF YOU ARE RECEIVING Before the mayor's plan goes into action, it DUPLICATE COPIES. parts draw. "It's an improved climate for young firms," said Bell. At must be approved by the city and state coun• least some public agencies have been able to set clear, higher stan• cils. Bautista, who is also the lead organizer for THE VIEWS OF OUR REVIEWERS AND COLUMNISTS DO HOT NECESSARILY REFLECT THOSE OF THE STAFF OR ADVISORS OF dards for architects' fees, even if the profession formally cannot. As a the Organization of Waterfront Neighborhoods THE ARCHITECTS NEWSPAPER. side note, the Royal Institute of British Architects is now preparing a (OWN), a conglomeration of roughly 20 com• munity and civic-based environmental justice VOLUME 02 ISSUE 19, NOVEMBER 16, 2004 guide to calculating and negotiating architectural fees, explaining, THE ARCHITECT'S NEWSPAPER (ISSN 1552-80611 IS PUBLISHED 20 TIMES groups that lobbied the Bloomberg adminis• A YEAR, BY THE ARCHITECTS NEWSPAPER, LLC. P.O. BOX 937. NEW YORK, "The old method of relying on recommended fee scales is not NY 10013. PHESORT-STANOABO POSTAGE PAID IN HEW YORK, NY. tration on the trash plan, said, "There's still a POSTMASTER; SEND ADDRESS CHANCES TO: THE ARCHITECT'S NEWSPAPER, appropriate for the more varied and complex world architects now CIRCULATION DEPARTMENT. P.O. BOX 937. NEW YORK, NY 10013. long way to go and a lot of entrenched money FOR SUBSCRIBER SERVICE: CALL 2I2-9M-0630. FAX 212-9ftS-0633. have to operate in." We'll report on the guide's recommendations $3.95 A COPY, S39.00 ONE YEAR, INTERNATIONAL $160.00 ONE YEAR. and power interests that are wary of the loca• INSTITUTIONAL SU9.00 ONE YEAR. ENTIRE CONTENTS COPYRIGHT 2003 BY THE ARCHITECT'S NEWSPAPER, LLC. ALL RIGHTS RESERVED. when it is released, mid-2005, CATHY LANG HO AND WILLIAM MENKING tion of transfer sites. But OWN is determined not to backdown." GUNNAR HAND

vention events. "NOMA is ven/ intimate." said Self Tucker Architects and Looney Ricks Kiss references. For the project, the architects used Heather Philip O'Neal, president of the New Architects, for example, has created a sloping the form and colors of African straw huts to York Coalition of Black Architects (NYCOBA) exterior plaza that connects the museum to the create a thoroughly modern, cun/ilinear design. and NOMA New York. balcony where Martin Luther King was shot. The other outstanding unbuilt design was The jury for professional work included NOMA Other award winners in the built category were a pedestrian bridge over a lake in Fruit Cove member Curtis Moody of Moody, Nolen in the Heritage Health and Housing Headquarters Florida by KGP Design Studio for the home of Columbus, Ohio; architectural writer and editor in New York by Caples Jefferson; an office building the Stetson Kennedy Foundation, a crusader John Morris Dixon; and myself. We reviewed in Indianapolis by A2S04; and the Orchard for human rights. Its spectacular design mim• ics a bird in flight but avoids structural flamboy• WeekflpiH^ over nearly 30 submissions—most built, a Gardens School in Boston by Todd Lee of TLCR ance by being made of traditional materials in Brooklyn by Caples J^sfferson handful unbuilt. We selected four winners in Architecture and David Lee of Stull & Lee. the built category and three in unbuilt. A sepa• Though the unbuilt projects were few, they easily assembled by local workers. MINORITY ARCHITECTS HONOR THEIR OWN rately juried student award went to Illinois include some of the most interesting ideas in The last honoree was Michael Willis for Institute of Technology for a conceptual muse• continued from front page last month to the competition. While many projects attempted Thomas Berkley Square in Berkeley, a 100,000- NOMA'S 32nd annual conference. Themed um for African-American culture in Harlem. to use African forms, images, or patterns in square-foot building for the North Alameda County Building Bridges, the three-day proceedings The best of the winning projects, like NOMA their designs, the Weeksville Museum project Self-Sufficiency Center and Department of Social included nearly 30 panels, concluding with a itself, paid homage to the struggles and triumphs by Caples Jefferson, built on the site of the first Services. The architect created a warm, digni• loyous awards dinner for 250 attendees that African-Americans. The expansion of the African-American doctor's clinic in Brooklyn, fied setting for an institution that usually feels was distinctly unlike the usually dour AIA con• National Civil Rights Museum in Memphis by was the most successful with its traditional cold and uncomfortable, WILLIAM MENKING CO ro 3 o

He soon got a job working for photographer architects, including EZRA STOLLER REDEFINED Paul Strand in the Office of Emergency 1928 MAUSOLEUM DESIGN REALIZED, . The ceme• ARCHITECTURAL PHOTOGRAPHY Management (an agency set up by the gov• PART OF BUFFALO'•SS FLW REVIVAL tery saw the $1.2 million ernment during World War II), but was draft• project as an investment— ed in 1942 and served out the war working crypts start at $300,000— at the Army Signal Corps Photo Center. that would also enhance Many of his early commercial assign• the cemetery's bucolic ments came from Architectural Forum and nature. Forest Lawn paid Fortune. He gradually developed longstand• a premium to ing relationships with some of the most retire the design. important architects of his time. Working The design is unusual with him, said , "was a delight. for a mausoleum, consist• We used to spend the entire time together, ing of a series of steps that whatever it was, one day or one week." embrace the land. The steps o Meier first worked with him in the mid-1960s are the crypts themselves, ^ when he photographed his Smith House. 24 of them arranged in two 5 Stoller's eye was always critical. "I used to rows of 12. The entire con• Stoller * say, 'Ezra, how's this?' He would say, 'It struction is made of Rock of in 1961 WRIGHT B looks , but it's not a picture.' I couldn't Ages Bethel White Granite tell him what to do, but I appreciated what from Vermont. Tony MODERN he did," Meier recalled. Puttman, who trained at In 1966 Stoller founded Esto Photographies, RESURRECTED , oversaw the an architectural photo agency, now managed project. "Building the mau• ARCHITECTURE'S by his daughter. Erica. His work appears in On October 21, a design ily's final sepulcher, soleum entailed a great an extensive number of publications and by Frank was planned for the family plot amount of research," he PRIME books, and is in many museum collections, dedicated in Buffalo, in Buffalo's Forest Lawn said. "The original draw• including those of the Canadian Centre for New York, 76 years behind Cemetery, was never built. ings were sketchy. Also, we PORTRAITIST Architecture, the High Art Museum, the schedule. Wright designed The city's recent efforts to had to figure out how to Houston Museum of Fine Arts, the San the Blue Sky Mausoleum in revive FLW's local legacy adapt the design to its new DIES AT 89 Francisco , and the 1928 for his patron, Darwin D. (which includes several site and resolve details like Whitney Museum of American Art. Martin, who commissioned homes and the demolished materials and inscriptions." In the era of the image, Ezra Stoller's photo• Stoller thought of himself more as a jour• the architect to build his Larkin Building) inspired With one crypt already graphs paid homage to modern architecture, nalist than an artist; he wanted to tell a story family house, also in Buffalo, the cemetery to resurrect sold. Forest Lawn's invest• His understanding of space, geometry, and through a careful sequencing of images, not two decades earlier. (The the unbuilt mausoleum. ment might just pay off. natural light shaped the very perception of a single picture. One could argue, however, Martin House exists now Established in 1848, Forest The crypts at the top many famous buildings, and earned him a that his stunning and wholly modern sense of as a nonprofit museum.) Lawn occupies 269 acres of two steps cost $1.5 and medal for architectural photography from light and composition made each image one With the stock market hills, valleys, and groves of $1 million each. The price the American Institute of Architects in 1961, that could stand on its own. His dedication crash of 1929 and the Great trees, and features the work of remaining crypts will the first such honor given by the organiza• and brilliant eye will always be remembered. Depression, the Martin fam• of notable sculptors and rise as supply dwindles, GH tion. , I. M. Pei, Louis Kahn, Stoller passed away on October 29'" at Paul Rudolph, Gordon Bunschaft, Mies the age of 89 at home in Williamstown, van der Rohe, Richard Meier—Stoller Massachusetts. He is survived by his wife photographed them all, always with his Helen, his children Erica, Evan, and Lincoln, own gorgeous, modern sensibility. five grandchildren, and four great-grand• 606 Universal Shelving System Designed by Dieter Rams in 1960 for Vitsoe and Born in Chicago in 1915, Ezra Stoller children. An exhibition on his work is on VITSCE produced continuously ever since. Add more studied architecture at New York University, view at Williams College Museum of Art when you need. Take it with you when you move. earning a BFA in Industrial Design in 1938. through December 19. SARA MOSS www.vitsoe.com

IN A NEW LIGHT continued from front page a library, offices, and a long corridor that institutions, the center's growth has been overlooks the recendy reopened Rocket Park. gradual and somewhat haphazard, leaving Even the old subterranean exhibition hall its architectural gem—the iconic Great Hall benefits ft-om the new addition. A cool glow with its cathedral-like interior inset with of natural light is now visible from the floor, luminous blue cast-glass—a little lost in a where high school volunteers help children collage of later additions. The firm worked experiment and learn from the interactive to create a more intuitive circulation plan exhibits. for the center and, according to Schliemann, "Everything the New York Hall of Science reintegrate the Great Hall into the public does is good—good for New York and good sequence of spaces. Their solution, a central for the future," said Schliemann. "Because stair hall, serves as a hub for the Great Hall, it's in Queens, it doesn't have the cachet of the exliibition hall lodged beneath it, and the institutions in Manhattan. For years it's been new addition, which the firm calls the Hall hidden away in a vault. It needs exposure." of Light. Now it will have it. ABBY RABINOWITZ Moving from the Great Hall, with its dim, cool interior, to the new addition, one is struck by the diffuse white light and the hall's asym• metry. Although it could have been built as a simple box, Polshek Partnership chose to torque the outer walls and set the floor on a slight incline, creating a .series of canted trusses overhead. "Here the eye is in constant motion. It's a way to get people to anticipate—to move through the space," said Schliemann. The firm saw the new exhibition hall as an opportunity to teach children about the way buildings are put together. Its steel beams are 146 Greene Street Distributed exclusively in North America New York, NY 10012 exposed and all HVAC systems are mounted inos:: diia T 212.204.7105 by moss dna, a division of moss. vittioottmossdna.com www.mossdna.com externally. The bottom level houses exhibi• tions for younger children, classrooms, labs, CO >^ 3 O LJJ

THE ARCHITECT'S NEWSPAPER NOVEMBER 16, 2004

HOURLY RATES BILLED TO THE LMDC

WORLD TRADE WINDFALL Richard Meier $400 Robert A. M. Stern $325 There's no doubt that the 2001 World Trade Center attacks redefined the cultural and political landscape of the Daniel Libeskind $300 United States. But the Shockwave that rocked the country also shook the field of architecture to its core. The design George Hargreaves $300 competitions and commissions surrounding the rebuilding of the WTC site brought architecture unprecedented Charles Gwathmey $275 mainstream attention, with the spodight thrown not only on eye-catching objects (the Freedom Tower, the Peter Walker $260 Steven Davis, J. Max Bond $238 Transportation Hub) but also on the contentious processes that have driven the site's development. John Beyer, Richard Blinder, John Belle $225 It's crass to say it, but the tragic events of 9/11 have been good for business—indirectly, by raising general Marion Weiss, Michael Manfredi $200 awareness about design, and directly, through dozens of projects related to the site's rebuilding. With the help of Jesse Reiser, Nanoko Umemoto $200 a $21.3 billion congressional appropriation, massive city and state funding initiatives, and a.ssorted private Rafael Viholy $175 Frederick Schwartz $175 investments in Lower Manhattan, a tidal wave of planning, rebuilding, and new development downtown has Shigeru Ban $175 generated millions of dollars worth of contracts for architects and designers. $170 We've compiled a list of contracts awarded by the city, nonprofit agencies, and private corporations since 9/11, Ken Smith $150 to show just who is taking part in creating the future Lower Manhattan.

YEAR COMPLETED PROJECT LEAD CONTRACTOR CLIENT TOTAL PROJECT BUDGET CONTRACT AMOUNT

2002 Initial WTC Master Plan Beyer Blinder Belle LMDC, Port Authority n/a $3,143,000 LMDC Office Renovation Harris Smith Design LMDC S800,000 $60,000 Rector Street Bridge SHoP Architects Battery Park City Authority, NYS DOT $3,600,000 $11,000 Viewing Wall Port Authority LMDC, Port Authority, $12,000,000 in-house New York New Visions Winter Garden Reconstruction Cesar Pelli & Associates Brookfield Properties $50,000,000 not released

2003 Downtown Information Center Frederick Schwartz Architects, Wall Street Rising $2,000,000 pro bono Rockwell Group Fulton Corridor Retail and Arts Planning Study Gensler Architecture, Design & Planning LMDC n/a $350,000 Innovative Design Study Foster and Partners LMDC n/a $145,000 THINK (Frederick Schwartz Architects) LMDC n/a $710,000 Richard Meier & Partners Architects LMDC n/a $111,000 Skidmore, Owings & Merrill LMDC n/a $49,000 Studio Daniel Libeskind LMDC n/a $432,000 United Architects (Reiser + Umemoto) LMDC n/a $124,000 Peterson/Littenberg Architecture LMDC n/a $67,000 and Urban Design Temporary PATH Station Port Authority Port Authority $323,000,000 in-house Urban Design Consultation Peterson/Littenberg Architecture LMDC n/a $531,000 and Urban Design Pedestrian Bridge EarthTech LMDC, Port Authority, NYS DOT $20,000,000 $3,000,000 WTC Memorial Competition Michael Arad and seven other finalists LMDC n/a approx. $100,000 each WTC Memorial Finalists Exhibition Design Whirlwind & Company LMDC n/a $330,000

2004 Brooklyn Bridge Anchorage Area Study Weiss/Manfredi Architects LMDC n/a $154,000' Chinatown Traffic and Transportation Parsons Brinckerhoff DCP LMDC n/a $319,000 Improvements Study Fulton Street Corridor Urban Design Study Robert A. M. Stern Architects LMDC n/a $572,000 South Traffic Study URS Corporation LMDC n/a $102,000* Greenwich Street South Urban Design Plan Hardy Holzman Pfeiffer Architects LMDC n/a $298,000* Recovery to Renewal Exhibition Design Two Twelve Associates LMDC n/a $118,000 Urban Design Consultation Smith-Miller Hawkinson LMDC n/a $602,000' Restoration William F. Collins AIA Architects Verizon $1,400,000,000 not released WTC Master Plan Studio Daniel Libeskind LMDC, Port Authority n/a $3,024,000' WTC Master Plan Update / Studio Daniel Libeskind LMDC, Port Authority n/a $776,000' Commercial Design Guidelines WTC Memorial, Cultural, Civic Program Studio Daniel Libeskind LMDC $50,000,000 $483,000'

2005 Corridor of Light Horton Lees Brogden Wall Street Rising, private clients $1,100,000 $50,000' Tower 7 Skidmore, Owings & Merrill Silverstein Properties $700,000,000 not released Tower 7 Park Ken Smith Landscape Architect Silverstein Properties $3,500,000 not released

$55,000,000 2007 Fulton Street Transit Center Arup MTA $750,000,000 South Ferry Terminal MTA MTA $400,000,000 in-house

not released 2008 Freedom Tower Skidmore, Owings & Merrill World Trade Center Properties $1,200,000,000 Studio Daniel Libeskind $370,000 Goldman Sachs Building Pei Cobb Freed & Partners, Goldman Sachs not released not released Ken Smith Landscape Architect

$4,600,000 2009 Cultural Center Museum Complex Sn0hetta LMDC $250,000,000 Cultural Center Performing Arts Complex Gehry Partners LMDC $250,000,000 $4,600,000 Transportation Hub; Wedge of Light Plaza Downtown Design Partnership Port Authority $2,000,000,000 $150,000,000 (DMJM+Harris, STV Group, Santiago Calatrava) $158,000' WTC Memorial Davis Brody Bond LMDC $300,000,000 Gary Edward Handel + Associates, $86,000' Michael Arad Peter Walker & Partners Landscape Architecture $110,000'

$34000,000 $3,400,000 Not announced Battery Park City Authority Streetscapes Rogers Marvel Architects Battery Park City Authority NYSE and Financial District Streetscapes Rogers Marvel Architects EDC, LMDC $10,000,000 not released Tower 2 and Hotel (formerly 5 WTC) Norman Foster, Fumihiko Maki, or Jean Nouvel Silverstein Properties not announced not announced not announced not announced Tower 3 Norman Faster, Fumihiko Maki, or Jean Nouvel Silverstein Properties Tower 4 Norman Foster, Fumihiko Maki, or Jean Nouvel Silverstein Properties not announced not announced

Informalion for this chart was collecled from cllonts and tnct checkori with lead contractors. Contract amounts wore taken from LMDC invoices, provided to TTie ArchilBcfs Newspaper under a Freedom of Information Act request dated August 200.1. 'Number represents tees and expenses invoiced to the LMDC through August 2004. CO in 3 o LU

GEHRY TAKES MANHATTAN continued from architect said. He did allow that if any of the form of a skating rink and running track. front paqe undisclosed East Side site. The his younger partners wanted to set up in (You know it's a real Gehry if there's skating billowing glass and concrete headquarters Manhattan with the idea of making a name involved.) Bruce Ratner said, " Great urban for Barry Diller and his lAC/lnterActiveCorp for themselves, "I'd be okay with that. But planning invites the public to participate is now under construction in Chelsea. Gehry no one has brought it up." in the space whether they work there or live is the design consultant, as well, to Hugh With so much local work, a lot of air miles there or they're drawn there to visit." Hardy for the Theatre for a New Audience are up for grabs at Gehry Partners. InterActive But it's the Joyce Theater International as part of the all-star BAM development in Corp headquarters is the farthest along with Dance Center and the Signature Theatre Brooklyn. On top of all this, the architect is the cranes already swinging down on 11"' Center, known for its one-playwright-to-a- working up a complete makeover for Saks Avenue between 18'" and 19"' Streets. Don't season program, that gets Gehry talking with Fifth Avenue. look for any titanium. The building will be real emotion. He's still feeling burned by That's five times as many projects as enveloped in glass attached at nearly maxi• a New York Times magazine interview that has in New York City; twice mum flexibility for an overall tumescent look portrayed him as more concerned about fees as many as Richard Meier; and an even girdled by a white ceramic frit pattern, than architecture when he said the $40,000 The 800,000-square-foot Brooklyn Arena will tie with Charles Gwathmey, just to cite the according to sources in the office. For a public competition fee was an insult. "People who be the focal point of Brooklyn Atlantic Yards. heavy hitters, as it were, on the home team. lobby, Gehry is presently working with Bruce know me would have known what I meant," Does that mean Gehry will be opening an Mau on such design details as interactive he said. He then told of going to the window office in Manhattan? Contacted by telephone kiosks touting the latest lAC gadgetry. Diller of the LMDC offices and choking up as he Joyce Theater," he said of the - in late October, the architect offered a said he hoped the new building would help looked at the still yawning site below, an anec• designed space in Chelsea. "We've used it resounding, "No!" his company "put down roots in a buoyant dote that also appears in the LMDC press as a baseline design. It's very efficient, very "I don't want to! Why? Because I'm 75- and exuberantly imaginative way." Gehry release announcing the commission. "You exemplary." The developed design will be years old and I can't do it," said Gehry, who added that he intended "to do somethmg can be cynical," he said, "but the families of submitted in February. In the meantime, went on to recall that he'd done the branch- really special." the victims are still very real and present." the architect is flying in every other week office routine back in the 1960s. That was in In Brooklyn, the arena for the Nets is offer• For a long time, Gehry did avoid being or so. Despite his many friends in town, the Maryland when he was working with the ing public amenities galore. In addition to associated with any of the projects up for architect prefers booking a hotel room on developer Rouse. And it didn't work. Or the housing, commercial, and retail footage grabs at Ground Zero. It was the Joyce, he the . As for nightlife, he said. rather, it worked too well. The branch "starts included in the Brooklyn Atlantic Yards where said, that changed his mind and convinced "Are you kidding! I goto meetings then I getting work on its own and I couldn't keep the arena will sit, there will be six acres of him to respond to the RFP in August, along goto bed. That's it." up with it. I'm not doing that again," the public park, some of it on the arena roof in with 34 other firms. "I've always loved the JULIE V. lOVINE

The eighth annual Business Week/Architectural Records Awards were NYC SKIES AND LANDMARKS ARE BACKDROPS FOR HOLZER'S TRUISMS CO announced in October. The only New York area project to win one of the ten O pnzes was the MoMA ONS building in Long Island City designed by Cooper, Robertson & Partners and Michael Maltzman Architecture. Other winning projects include: Humane Society/SPCA of San Antonio and Bexar County I by Alamo Architects; Limerick County Hall in Ireland by Bucholz McEvoy Architects; Israeli Foreign Ministry in by Diamond and Schmitt Architects and Kolker, Kolker Epstein Architects; Iron Studio at the Penland School of Crafts in North Carolina by Frank Harmon Architect; Finn Center at the Community School of Music and Arts in California by Mark Cavagnero Associates; Ehime Prefectural Budokan in Japan by Ishimoto Architectural & Engineering Firm; James M. Wood Community Center in Los Angeles by Lehrer Architects LA; Fisher Pavilion at the Seattle Center by The Miller/Hull Partnership; and Britomart Transport Centre in Auckland, New Zealand by JASMAX and Mario Madayag Architecture. This year's jury included Moshe Safdie and Rand Elliott and president of the Cooper- Hewitt, National Design Museum Paul Herzan.

Entablature's 2004 Architecture Web Site Award went to Hillier Architecture (www.hillier.com), designed by HUGE, a New York design firm. Four honor awards were also given: Urban Office Architecture (www.uoa-architec- ture.com), d'arch (www.d-arch.com), Thanhauser Esterson Kapell (www.tek-arch.com), and Gemot Schuiz ArchKects (www.gernotschulzar- chitektur.de). For a full listing of all the awards, see www.entablature.com.

On October 26, the Associated Landscaper Contractors of America (ALCA) HOLZER FLYING HIGH gave KokoBo Landscapes its Environmental Improvement Award in the category of residential design/build projects between $25,000 and $100,000 Jenny Holzer's public art nonprofit Creative Time, Aires. The power of Holzer's for the Lefkowitz rooftop garden in the West Village. returned to New York for the the messages were accom• work has always been its first time in a decade last panied by another grand ability to convey subversive Chicago's Valerio Dewatt Train Associates was honored with three 2004 AIA month. Like all of Holzer's Holzer gesture: xenon pro• messages to unsuspecting Chicago Design Excellence Awards for one commercial building and two work, her latest project jections of poems scrolled audiences in unexpected residential projects. claimed the media of com• over the facades of four ways. Pity the U.S. debut mercial advertisement, but New York landmarks. The of these projects didn't take Norman Foster and Partners' Swiss Re headquarters in London, fondly departing from rolling mar• Cathedral Church of Saint place in Ohio or Florida. referred to as the Gherkin, won RIBA's on October 16. quees and jumbo screens, John the Divine, the Bethesda DEBORAH CROSSBERG she took her famous Truisms Fountain, 515 Greenwich Thanhauser Esterson Kapell Architect's Hagedorn Hall for Hofstra Universtiy to the skies. On Halloween Street, and 's For New York (below) scrolled text from Henri Cole's won an award of merit in the municipal/instructional division of the weekend—the weekend Foundation Building each poem "Necessary and before the presidential experienced temporary AIA-Long Island 2004 Archi Awards in October. Impossible" across the Church election—a fleet of biplanes nighttime light makeovers of Saint John the Divine. Richard Meier took home the Frate Sole International Prize for Sacred buzzed up and down the between October 26 and 29. Architecture for the Jubilee Church in Tor Tre Teste in Rome. Hudson River from Meant to "envelope the the Verrazano Bridge to the (structures] with beauty r'- I'H: ^008 George Washington Bridge, and power," according to •if f'JeUf.-WC'K trailing banner messages Creative Time, the projec• such as "Abuse of power tions reprise similar projects [email protected] comes as no surprise." that Holzer installed in Sponsored by the arts Paris, , and Buenos CO so 13 O LU

THE ARCHITECT'S NEWSPAPER NOVEMBER 16. 2004

motivated by another factor: Kostelanetz did ONE ARCHITECT'S STRUGGLE TO BUILI not want his library to have sprinklers, fearing SINGLE-FAMILY HOUSE IN FAR ROCKAWAY ^T, for the safety of his collection of art and books. "The best way to achieve a Class 1 fireproof building without sprinklers is to build in con• crete," said Bruton. FAR AND A The library is the house's centerpiece. The 80-foot-long gallery stretches from the front of the house to the end of its long, narrow lot, projecting beyond the volume of the house itself. Kostelanetz bought two adjacent lots that extend through the block, with the inten• tion of building a second building at the far end of the site. The building would containstwo single-family imits that the artist planned to sell to finance the project,as well as a guest apartment that links to his library. The city permitted the guest apartment to have its own kitchen because the artist, an observant Jew (verified by a note from his rabbi), is allowed to have a kosher and non-kosher kitchen in the same unit. sub-£flr/// Room digs were perfect. But the The foundation for tlie second building has artist also likes to swim and wanted a home already been poured but is currently held up near the ocean. with permitting problems. "The city doesn't New Yorkers go to enormous lengths for "Ocean Views, 45 Minutes from Manhattan," According to Bruton, the artist asked for a know how to deal with single freestanding great housing. But will they go as far as Far AN 11_6.22.2004) and tlie 2001 exhibition quiet place to work and a "bimker for liis prized buildings,"Bruton complained. Rockaway? "The waterfront neighborhood in sponsored by the Architectural League, book collection." From the street, the house The most recent of many blows is also the Queens is a strange place. A mile-long sand Arverne: Housing on the Edge—it was perhaps is bunkerlike indeed, with small windows and most dramatic: The city initially agreed to bar separating the Atlantic Ocean from just a matter of time before interesting archi• a rugged facade of corrugated metal panels the architect's plans which included curbside Jamaica Bay, it is a collection of physically and tecture arrived. attached to a concrete-block construction. parking but recently decided there is not ethnically isolated communities spread out Manhattan architect Alan Bruton has built "The artist works all night and wanted to feel enough room on the street to accommodate along the peninsula, some of them connected a house and studio in the shadow of the 67"" safe and sealed inside," said Bruton. Between this requirement. Though Kostelanetz planned by the elevated A train. Blocks of highrise Street subway station. The house was com• the metal cladding and concrete block is a layer to move in to his house this fall, the city has public housing front beaches as spectacular as missioned by artist Richard Kostelanetz, who of rigid polystyrene, which minimizes the not granted a certificate of occupancy. those in the Hamptons. With renewed interest currently lives in a loft under Walter De building's heat loss during the winter (the house The project is now in a strange limbo, with in the area—the construction of Arverne by Maria's Earth Room in So Ho. For someone is heated with water pipes in the concrete floor). Bruton and Kostelanetz petitioning the city the Sea, a New Urbanist village of 2,300 apart• who sleeps during the day, works all night, The pervasive use of concrete, which to change its decision. Interesting architecture ments, condos, and single-family houses (see and likes quiet and warm surroundings, his appears exposed as interior walls as well, was is apparently still far off in Far Rockaway. WM

NONPROFIT FOUNDED BY JAMES ROUSE number of vacant lots and COMMITS $1 BILLION TO AFFORDABLE HOUSING abandoned buildings— often the sites for new affordable housing— HOUSING AID decreases in the city, the organization's mandate has expanded since its founding, explained Vicky Hernandez ON THE WAY of Enterprise New York. "A new challenge is to pull New York City's affordable 2002, when he pledged $3 together different kinds of housing initiative got a bil• billion (in both public and resources and help organi• lion-dollar boost in October. private funds) to create zations assemble lots for The Enterprise Foundation and preserve 65,000 units development," she said. announced it would com• of housing. The 15,000 mit $1 billion toward the cre• Enterprise units are a part And why concentrate so ation and preservation of of the overall target number, much capital in the city? 15,000 units of affordable but the funds give an According to Hernandez, it is housing in New York City. added boost toward the a combination of the dearth Seven hundred million dol• Mayor's goal. of truly affordable housing nspired lars will come in the form of The Enterprise Founda• here and the groundwork equity, another $295 mil• tion, which is based in already in place. "There lion in loans, and the final $5 Maryland but has offices in is an unbelievable need— million is a grant. The foun• 14 cities around the country, so many people here spend dation will be working was founded in 1982 by real more than 50 percent of cooperatively with the estate developer James their income on rent," said Department of Housing Rouse, best known for his Hernandez. "We have also Preservation and Develop• festival marketplaces like been established for 18 years ment, allocating the funds Faneuil Hall in Boston. The in New York, and have a over the next five years. foundation typically works track record—good relation• The Enterprise Founda• with private nonprofit ships with CDCs and housing tion's investment in the developers and community developers and support from development corporations financial institutions. The city EcoVBil: the first "Cradle to Cradle" shadeeloth. city's stock of affordable (CDCs), assisting with set forth a challenge, and it Introducing EcoVeH'" InspircO by William McDonough ana Michael Braungarf! housing is integrally tied to The revolutionary aco-effoctivc solar shndecloth book. "CradlB to Cradle" and optimUad by MBDC. the initiative Mayor Michael everything from program was a major impetus to pull EcoVell II Mte (or people and sate for ttie •nvironmenl. • thnr cnn be reclnini«fl nno rncyclert Bloomberg announced in planning to finances. As the this together." ANNEGUINEY • Ihdl fi more Ihaii PVC-tiuu For more information on EcoVoll. visit • thai can be kect m a Dorpetual loop of continuous uta www,mecho»hade,com/ecoveil

=0= McchoShade MBDC WWW.ARCHPAPER.COM CO N. 3 O LU

LU DIFFERENT U i»i « • . • - — . .. -:«T;v-.: .^; > i Z M THAN DANIEL _l On October 29, London architect David Adjaye released prelimi• < nary designs for the $15 million, LU 25,000-square-foot first home of the Museum of Con• temporary Art (DMCA). One A Gem Of An Idea design priority was to differenti• ate the DMCA from the Denver Art Museum, which is undergoing an expansion by Daniel Libeskind (set to open in Fall 2006). Adjaye focused on dramatic interior spaces rather than exterior forms, which emphasize a dynam• ic interplay of light. - • EXCLUSIVELY FROM CLAYTON BLOCK

ATLANTIC NIGHTS The environmental benefits of recy• On November 5, Brool

< LU

THE ARCHITECT'S NEWSPAPER NOVEMBER 16. 2004

When Voshio Taniguchi won the commission to expand and renovate the Museum of Modern Art, he had every intention of moving his • PERSPECTIVE OF tion from Tokyo to New York for the duration of the project. Aware of the difficulty of navigating the straits of New York City construction, the ATRIUM EAST WALL museum proposed he partner with a firm with experience building locally. His response? "If you insist on a collaboration, I want to work with a design firm, not just a firm that stamps drawings." paraphrased architect Stephen Rustow of Kohn Pedersen Fox IKPF), which the MoMA Steel-framed ultimately hired as executive architect of the S425 million project. structurally The architect"Of-record arrangement was also a new experience for independent KPF "But the prestige of the project was hard to resist," said Rustow who, curtain wall with Tom Holzmann, led the project. "Also, it gave us a chance to engage seriously with a cultural institution." The firm had wanted to break from its stereotype as a tall building specialist. Rustow, who had worked at I. M. Pel's office and supervised the construction of the Louvre expansion, was hired by KPF expressly to manage the MoMA job. For five years, an architect from Taniguchi's atelier worked In KPF's Existing museum New York office while eight of KPF's employees relocated to Japan. The tower structure collaboration proved to be a necessity because of the continual shifts and refinements of the building's programming, which required the design to undergo constant fine-tuning. "There were strong preliminary notions about where the primary collections would be located, but things were changing up until two months ago." said Rustow. {KPF was also called upon to oversee the renovation of the original 1939 building by Philip Goodwin and Edward Durell Stone and the Philip 7th Floor Johnson addition of 1964. The job entailed the complete replacement of the 53"'Street facade and the renovation of several interior spaces.) The more important issue, however, was how to translate Taniguchi's design intent within American engineering and construction standards. While plenty of articles will no doubt assess the architects' overall accomplishment, we felt the nitty-gritty problem-solving was worth highlighting, too. CATHY LANG HO AND ANNE GUINEY

ONE BIG IDEA-AND THOUSANDS OF SMALL DECISIONS-ARE BEHIND ANY ARCHITECTURAL PROJECT. FOR THE MUSEUM OF MODERN ART, REOPENING THIS WEEK, KOHN PEDERSEN FOX WAS RESPONSIBLE FOR TRANSLATING YOSHIO TANIGUCHI'S 5th Floor MINIMALIST CONCEPT INTO A BUILDABLE CONSTRUCTION. HERE'S A SAMPLING OF TECHNICAL SOLUTIONS THAT ARE INTEGRAL TO THE NEW IMAGE AND EXPERIENCE OF THE MOMA.

FOUND IN 4th Floor TRANSLATI

WALL, UNINTERRUPTED the existing columns, which are 26 feet apart on center. While the way the curtain wall ties With tlie walls in the museum's atrium into the existing structure varies slightly space four stories high at certain from point to point as specific conditions points, the question of its surface require, here's the basic pattern: The 2nd Floor material became a major issue. At one wall is comprised of 14-gauge steel with point, Taniguchi considered metal pan• lateral cross-bracing. Six-by-six-inch els, but this raised the problem of a steel angles tie the frame to the muse• pattern across its surface that would be um's concrete slabs for lateral support. distracting as a backdrop for freestand• (One benefit of 14-gauge steel studs is ing or hanging art. Plaster made obvi• they can be put up by plaster workers; ous sense because, in theory, it is limit• heavier gauge studs require steel work• less. However, industry standards in ers, which would have complicated an the U.S. require an expansion joint already tight schedule.) Over this steel every 30 feet to prevent cracking. The framework is a layer of 3/4" plywood, resulting grid would be just as bad. not which acts as a membrane and makes it to mention contrary to Taniguchi's gen• easier to hang art since screws have eral minimalist aesthetic. So KPF used something to bite into. One or two lay• curtain wall construction to make the ers of sheetrock (depending on fire-rat• wall structurally independent of the ing) is attached to the plywood, then fin• intermediate floor slabs, then tying it to ished with a plaster skim coat. UJ Qs

liiiiiiiiiiiii "MISSING"COLUMNS tem was put in the basement, servicing the lower floors of the building, while the other half is on the eighth floor, The second-floor gallery in the addi• servicing the floors immediately above tion—the David and Peggy Rockefeller and below it. The tower had to be Building, which extends MoMA through rigidified to support the upper-floor the block, from 53'" to 54'" Street—is the mechanical system. While walking Illl!!!!»ll!l!''>llll>!ai|i largest and tallest display space in the through the construction site one day, expanded institution. The 15,000-square- consultant structural engineer Guy lSSSasaigSSSIIIIiSi!! foot, 21-foot-high space is programmed Nordenson remarked to Rustow, Bl!!!!!>tl!!!!!llll!!aUI to tell the continually unfolding story of "With all the steel in the trusses on the modern art, and thus required the utmost eighth floor, we could probably suspend flexibility. Unfortunately, the grand all the floors below it." At this point, space was interrupted by two chunky the steel columns on the 2"" floor columns—beefed up in order to support were already in place. the new office tower sited above the When the architects brought the gallery. (One of the mandates of the lUi-sUii idea to museum director Glenn Lowry, redesign was to bring all of the MoMA's he asked, "Are you serious? What staff, which had been scattered in five would it entail?" Just a little bit more locations, under one roof.) steel on the eighth floor for added To improve the efficiency of distrib• strength. Once in place, the construc• tion crew torched away the steel Museum Tower uting electricity and water within the columns they had put there months Cesar Pelli's building—the first five floors of galleries before, clearing the way, to the NORTH ELEVATION 1984 residential and seven floors of offices above—the curators' delight, for an impressively hiqhrise designers had already decided to split expansive, uninterrupted gallery. iiiimii the mechanical system. Half of the sys-

iiiHiiii liiiininnflRi fiimS Lewis B. and Ronald S. and am Dorothy Cullman Jo Carole Laude S Education and Buildfnq ifjWH Research Original MoMA, Abby Aldrich Building restored and iiiiHiii Rockefeller Museum Edst winq, set rededicated ||||M»l«||M»>lil Sculpture Garden Office Tower to open in 2006 iiissssiessiii

j|j»£SIS|jSSIj|j iiliii^iiiiiiiii ¥!•"!!?•!':•!!?!•'!« Ill •••••••IIBS!!*llll

David and Peqqy Rockefeller Building West winq, with new qalleries and three-story atrium court

Gypsum board 3/4" plywood Movement joint

Surface as specified

Hardwood Extruded channel Extruded Z-channel Stud channel flqor

Acoustical ceilinq plaster Wall

SECTIONS OF FLOOR

AND CEILING DETAILS

SHARP REVEALS The Z-channel is a good example sharp point. To accomplish this, KPF seem pretty reasonable to specify a walls. The floor and ceiling reveals are of a solution born from the conflict designed an extruded aluminum chan• custom piece and absorb the cost of more than just aesthetic, however. between Japanese and American con• nel that could hold two layers of 3/4" making the die. Pittcon Architectural They are an integral part of the muse• All of the new gallery walls have a 1- struction materials and standards. It is material—here, wallboard and plywood. Metals, the company that manufactured um's ventilation system. The internal inch reveal where the wall meets the fairly common in Japan for contractors Resembling the letter Z, the channel the channel, was so pleased with the gallery walls are a bit thicker than nor• floor, but on close inspection, the line to create a reveal by cutting the edge of has a tiny round hole inside its point. results that it is now carrying the item mal, and that is because they have a is a particularly sharp one. Rather than a piece of wallboard (different from our The hole accepts a small alignment pin as a product in its catalogue. plenum inside. Air is drawn up into the use the typical J-bead along the bottom drywall) at 90 degrees, then edging it to ensure that each piece of channel is Ceilings received a similar reveal system through the reveal at the base of the gypsum board, KPF designed a with a thin metal sheet. Taniguchi want• correctly in place. After calculating that treatment—and solution. To float the of the floor, conditioned, and ultimately custom Z-profile channel made out of ed to refine the standard reveal by slic• they would need a staggering amount ceilings, another extrusion was made, released through a series of thin slits extruded aluminum. ing the edge at 45 degrees, creating a of channel—several miles—it began to allowing ceilings to float away from at the ceiling. LU O

I- < LU

THE ARCHITECT'S NEWSPAPER NOVEMBER 16, 2004

Gross square footage: 630,000 sf (total renovated and new) SECTION OF WEST GALLERY WING

Total construction cost: $315,000,000

Architect: Taniguchi Associates—Yoshio Taniguchi, principal; Brian Aamoth, proiect architect; Peter Hahn, project manager; Keiji Ogawa, Taichi Tomuro, 7th Floor Junko Imamura, team.

Executive architect: Kohn Pedersen Fox & Associates—Gregory Clement, managing principal; Thomas Holzmann, senior associate principal, project direction; Stephen Rustow, senior associate principal, project direction; George Hauner, associate principal, job captain; Brian Girard, associate principal, public spaces; Greg Weithman, associate principal, galleries, Cantiiovfc;r:p.; garden; Robert Hartwig, senior associate principal, office interiors; canopy Claudia Cusumano, Betty Fisher, Erin Flynn, Stephen Frankel, Ethan Kushner, Scott Loikits, Hui-Min Low, Daniel Treinen, team.

Associate architects: Cooper, Robertson and Partners, programming; Alspector Anderson Architects, conservation laboratories. OPEN

Engineers: Sevrud Associates, structure; Guy Nordenson and Associates, 5th Floor structure; Altieri Sebor Wieber, mechanical.

Consultants: Zion Breen and Richardson and Associates, landscape; George Sexton Associates, lighting; R. H. Heintges Architects, facades.

General contractor AMEC

Horizontal mullion

4th Floor

HORIZONTAL SECTION Horiziintal mullion OF CURTAIN WALL DETAIL

3rd Floor

Horizontal mullion

Horizontal mullion

Sculptune garden

• ,-, 1 l A.nV^ n r^n nv. r\i,-^ .-.r^.j,^

stability to the curtain wall. As for the THIN IS BEAUTIFUL way to keep the floor slabs thin," Riley explained, appreciative of how curtain wall, KPF continued Taniguchi's the gesture improves the view of the overriding formal aesthetic—minimum While leading a group of journalists building from the garden. It was also joints, minimum support, maximum through a hard-hat tour of the MoMA a practical way to align the floors of spans of materials and distances—with a year ago, chief curator of the the new building with those of the a structure of extremely thin mullions Department of Architecture and Design old. "Ceiling heights were lower in old (see detail, above right) made of milled Terence Riley was keen to point out the buildings," said Rustow. "Keeping the steel. The result is a slender and stiff little details that made such big differ• floor plates thin in the addition allowed steel lattice that is both structure and ence in the realization of the project. us to maximize the ceiling heights." support for the glazing, which architects One example was the way the HVAC The tip of the canopy is tapered, too, were able to specify as large as they ducts and other systems were threaded continuing efforts to keep the eleva• could get it (14 feet tall, 7 feet wide). through holes cut through horizontal tion's appearance minimal. The depth of the horizontal mullions was determined in order to give added eyebeams in the glazed west wing The third floor slab stops just short strength to the wall, enabling it to bear that reorients the museum's entrance of the edge of the building, with a thin maximum wind load. toward the sculpture garden. "It was a steel rod that reaches out to offer added 3 LU > LU

Local officials want to demolish the Volkspalast in Berlin, (below, left). Architectural activists propose reconditioning STATE it as a Fun Palace a la Cedric Price (below). Making ly demolished by the communists in the 1950s. Slumping Berlin doesn't have the money to rebuild the old Schloss (670 million Euros), but it is prepared to leave the site Preservation OF vacant—just as their GDR predecessors did for 20 years. The conference planned to challenge this, opened with Wigley's terrific rendering of the elusive, unbuilt Mainstream Fun Palace, taking in theater impresario and Price collab• CHANGE orator Joan Littlewood's proposal for a truly flexible pub• lic amenity and countless evocations of Price's building National Preservation Conference that changed at the will of its users. Restore America: Communities at a Crossroads The conference group split—half discussing architec• Louisville, , September 28 to October 3 tural indeterminacy in the freezing Volkspalast and half on a nice warm riverboat discussing programming—and Fun Palace Berlin 200X regrouped, toured the building, then re-formed to discuss Some organizations exist for Farnsworth House; a lucrative Organized by Hans Ulricli Obrist, Stefan Rethfeld, a massive array of suggestions (taking the fagade off, the sake of self-perpetuation. and highly visible sponsorship Philipp Misselwitz, Philipp Oswalt enlarging it, making it a museum, a library, cross-pro• Others, like the National Trust by Home and Garden Volkspalast, Palast der Republik, Unter den Linden, Berlin gramming it). Then the conference went public, recount• for Historic Preservation which October 16-17 Television; and the identifica• ing the private debates to a wider audience the same recently held its annual con• tion and preservation of dozens evening and the next day. ference in Louisville, Kentucky, of rural schools for African- All the architects' projects shown were unusually are flexible and engaged, Americans throughout the apposite—for example, Jean Philippe Vassal's Plus adapting institutional identity South, known as the project, a moratorium on demolition (you get more and to fit contemporary realities. Rosenwald schools. better for your money by addition/ reconstruction), and Farmer, poet, and essayist Conference sessions were Juan Herreros' non-building program-free building. Wendell Berry urged the 2,000 topical and diverse, with sub• Even Koolhaas, arriving apologetic on day two and show• attendees of the conference to jects ranging from cultural ing his brilliant AMO re-hang of the Hermitage Museum, move beyond perpetual crisis, landscapes to tax credits to was right on message, joining Lambert and Wigley to beyond words like "Stop," preservation as sustainable exhort the audience to decide what they wanted to do "Save," and "No." Such words practice. Architect Jean with the building—and get on with making it happen. are negative, fragmentary, and Carroon of Goody Clancy & Some parts of the great Fun Pa/ace question—can you "not all that much fun," he Associates described historic have an anti-institution without becoming institutional• said. Berry urged a more com• buildings as "the stored ener• ized?—were being tested here. The boat heatedly debated prehensive vision of sustain- gy of civilization," after point• whether the Volkspalast project could survive political ability, local self-sufficiency, ing out that energy savings The chilly shell of the Volkspalast in Berlin looks oddly acceptance. Issues of climate control in permanently respect for history and for the are often cited as a reason for similar to the famous interior perspective of Cedric Price's unfinished buildings were much to the fore for chilled land. For him mountain-top demolishing or substantially Fun Palace, a concept for an indeterminate, socially guests, and are clearly essential practicalities the building removal, "architectural ugli• altering older structures. The interactive structure that he developed from 1960 on. could be used to test. It could be the ultimate experimen• ness," and the loss of farms conference's Honor and This was a paradox that speakers at the Fun Palace tal site. But the mother of all paradoxes was that the indeter• and independent businesses Preservation Awards reflected Berlin 200Xconference were keen to point out. minate Fun Palace was being used to predetermine the are a part of the same system. the gathering's mix of interests. Despite visual echoes of the Fun Palace, there was conference agenda—albeit in favor of indeterminacy. Preservationists and others in Winners ranged from the Mill absolutely nothing indeterminate about the formidable Even though both Wigley and Koolhaas argued it was "the movement" cannot go City Museum in Minneapolis, Volkpalast/Fun Palace weekend. This was, despite a mistake to underrate the surreal idea of rebuilding the on shopping in malls, driving which inserted a new muse• appearances (improvised heating, architects huddled Schloss (our love for 1960s utopianism is only "compet• their cars, and supporting um within the ruined malls of under blankets in a raw building site), a super elite event. ing nostalgia," said Wigley), the conference was pretty multinational corporations a 19"' century industrial plant, Organized by intellectual entrepreneur Hans Ulrich Obrist much unanimously for taking advantage of the current "only slightly less thought• to a hillside stabilization proj• and others now running the building as a temporary arts German economic slump and retaining, re-using, and lessly than everyone else." ect in Natchez, Mississippi. venue, this was a political lever against plans to demolish reprogramming the building as some form of alternative And while the rest of the Louisville proved to be a good the former Palace of the Republic, built in the 1970s to public facility. Or at the very least, as Lambert suggested, conference did not necessarily lab for the conference, with house the communist legislature of East Berlin. keeping it going as it is now, as an arts venue, until the comply with the vision of the many preservation successes The shrewdly chosen guests included architecture's library can get here—a powerful consensus in the age of poet/punk, the trust proved (a lovingly restored system of most influential figures: Rem Koolhaas, Phyllis Lambert, ubiquitous icons. itself to be a creative and Fredrick Law Olmsted parks, and three dozen other architects, theorists, Like and unlike Price (more lust for compromise/accel• engaged organization that is for example) and just as many and artists. As Koolhaas established (straw poll), only a eration here), the event was a brilliant piece of political working to make preservation urban problems (sprawl, seg• tiny percentage of the audience were from former East maneuvering. It was more intellectual agit-prop than part of the mainstream, to regation, smog). Berlin. Wigley observed, the event was about interna• indeterminate; very undemocratic; very unlike Price's move beyond its stereotype as With an emphasis on fight• tional critics "arriving on a spaceship," discussing in own events. (Indeed many of Price's far more mixed key perpetual naysayers. Before ing sprawl and social disinte• private and pronouncing to the public. Certainly not very collaborators and friends weren't asked.) Wigley argued Berry's keynote remarks, con• gration, and growing interest democratic. "We begin this conference with a crime, that since the Fun Pa/ace wasn't built, we should learn ference attendees were briefed in mid-century buildings, a terrible mistake" said Wigley of the exclusivity of the from its mistakes. This ruthlessly impressive production on some highlights of the farmland preservation, and affair. Lots, actually, the most grave of which was using of a consensus of the great and good as a political lever trust's activities, including the Price, famous for arguing demolition for unwanted sustainability, the National might have done just that, incidentally reminding us much heralded purchase of buildings, to validate preserving this one. Trust for Historic Preservation of the extraordinary range of Price's work and ideas. Mies van der Robe's seemed determined to shake In this case, though, the planned demolition of the KESTER RATTENBURY IS AN AUTHOR AND CRITIC IN LONDON, the reputation for feel-good Volkspalast building is just as expensive, symbolic, and AND COORDINATES THE CENTRE FOR EXPERIMENTAL PRACTICE pastiche that sometimes put troublesome as the lust to build "permanently" which AT THE UNIVERSITY OF WESTMINSTER. preservationists at odds with Price challenged. The building, one of the last remnants architects (especially mod• of communism in a city being ruthlessly rebuilt to look ernists). And with its explicitly like the middle of the 20'" century never happened, was mainstream ambitions, the once used for political functions, weddings, bowling, and discotheques. One of its two great auditoria could organization is a good ally for switch hydraulically from auditorium to dance-floor in architects—and all those con• minutes. Now stripped of its asbestos and decor, it looks cerned about the quality of the like a fashionable building site. But the government has built environment. voted, cross party, to demolish it (at the cost of 20-60 ALAN G. BRAKE IS A DESIGN CRITIC million Euros)—and rebuild the Stadtschloss, the BASED IN LOUISVILLE, KENTUCKY. baroque palace of the Prussians that stood in its place for The Mills Museum is an 300 years before being damaged in WWII and symbolical- adaptive reuse of General Mills' old factory >- <

THE ARCHITECT'S NEWSPAPER NOVEMBER 16. 2004

Thom Mayne, George Hargreaves Odile Decq's installation at Artists Space refers NYC2012: Olympic Village to her architectural practice, building on one 6:30 p.m. Rockefeller University, 0^ project m particular—a 1993 project called LU Hyper-Tension, which dealt with themes of Caspary Hall CO 66th St. and York Ave. dynamic equilibrium and unfolding perspectives. www.archleague.org 21 An angular, cockeyed structure of black-and- LU DECEMBER 11 O white painted wood, drywall, and mirrored Randy Sabedra LU Plexiglass, the piece is a fun-house mirror-maze The Winners Circle: Projects of sorts, disorienting visitors who enter via a from the Lumen Awards 2004 ramped floor. Called Sensual Hyper Tension^ the 12:00 p.m. installation is "a vexing space... perturbing the Center for Architecture LU 536 LaGuardia PI. QQ limits of space," according to Decq. Projections www.aiany.org r of previous projects grace the surrounding walls, LU lending the work context. DECEMBER 14 > Phillipe de Montebello, O Odile Decq Kathy Halbreich, Glenn i Sensual Hyper Tension Lowry Museums Artists Space, 38 Greene Street, 3rd Floor, Through January 8 92nd Street Y 35 West 67th St. www.92Y.org

DECEMBER 14, 16 Santiago Calatrava Ralph Lerner Jean-Louis Cohen NOVEMBER 30, LECTURES Richard Turnbull Complete Works 12:00 p.m. Infinitely Fresh, Infinitely DECEMBER 2 The Total Square: 6:30 p.m. Pratt School of Architecture New: Echoes of Richard Steven Zucker NOVEMBER 16,18 Design and De StijI Fashion Institute of 302 Higgins Hall North Neutra and L.A. Architecture Yoshio Taniguchi and Richard Turnbull 12:30 p.m. Technology 200 Willoughby Ave., 6:30 p.m. MoMA's Architectural Legacy Seen Through New Eyes: Arts Constortium Haft Auditorium, Building C Brooklyn Columbia GSAPP 12:30 p.m. Photography and the Russian 1 East 53rd St. West 27th St. and 7th Ave. www.pran.edu Wood Auditorium Arts Constortium Avant-Garde in the Twenties www.moma.org www.urbancenterbooks.org 113 Avery Hall I East 53rd St. 12:30 p.m. Christo and Jeanne-Claude www.arch.columbia.edu/buell www.moma.org Arts Constortium DECEMBER 16 Peter Cook Two Works in Progress 1 East 53rd St. Elizabeth Diller, James Corner Blue or Green? 6:00 p.m. Thom Penn, Kate Bojza, DECEMBER 1 www.moma.org The High Line 6:30 p.m. National Academy Museum Barbara Mishara, et al. Hani Rashid 6:30 p.m. Columbia GSAPP 1083 5th e Ave. Internship and IDP Asymptote Form Finding NOVEMBER 17 Cooper Union Wood Auditorium www.nationalacademy.org 6:30 p.m. 6:30 p.m. Ann Reo Great Hall 113 Avery Hall Center for Architecture Columbia GSAPP LED Technology and the 7 East 7th St. www.arch.columbia.edu John Patkau 536 LaGuardia PI. Wood Auditorium Luminaires That House Them www.archleague.org Town and Country www.aiany.org 9:30 a.m. 113 Avery Hall Raphael Lozano-Hemmer 6:30 p.m. www.arch.columbia.edu The Metropolitan Pavilion Sue Chin, John Quinn Anti-monuments: Cooper Union NOVEMBER 23 125 West 18th St. The Wildlife Conservation Performative Self-Repair Great Hall Gary P Haney, Eugene Kohn, DECEMBER 2 www.enternyc.com Society for Public Spaces 7 East 7th St. William Pederson Renzo Piano 6:30 p.m. 7:00 p.m. www.archleague.org Civic Spirit Preservation: Between Gregg Pasquarelli Center for Architecture 6:00 p.m. Discipline and Freedom Versioning 536 LaGuardia PI. 3 Spruce St. Ralph Caplan Center for Architecture 6:30 p.m. 6:00 p.m. www.aiany.org www.mexiconowfestival.org By Design 536 LaGuardia PI. Fashion Institute of Princeton School of 6:30 p.m. www.aiany.org/civicspirit Technology Architecture Betts Auditorium NOVEMBER 17, 20 Cooper-Hewitt, 7th Ave. and 28th St. SYMPOSIA Henry Hope Reed www.princeton.edu/~soa Enrique Norten, National Design Museum 212-228-7446x34 Jose Luis Cortes, et al. 2 East 91st St. The U.S. Capitol: NOVEMBER 16 Mexico City Dialogues: ndm.si.edu Its Lessons for Today Brigitte Shim, McGraw-Hill Architectural Matthew Postal New Architectural Practices 6:30 p.m. Charles Waldheim Record Innovation Sweet Sixteenth: 6:00 p.m., 1:00 p.m. NOVEMBER 22 Urban Center Building Sites Conference Paris and the Modern Style Center for Architecture Lily Kane 457 Madison Ave. 6:30 p.m. Helmut Jahn, Renzo Piano, 6:00 p.m. 536 LaGuardia PI. Gae Aulenti: www.mas.org Urban Center Bruce Fowie, New York School Of www.mexiconowfestival.org The Importance of Interaction 457 Madison Ave. 7:00 a.m.-4:15 p.m. Interior Design 6:00 p.m. NOVEMBER 29 www.archleague.org Millennium Hotel Arthur King Satz Hall NOVEMBER 18 New York Design Center Dominique Perrault 145 West 44th St. 170 East 70th St. Joel Siegel 200 Lexington Ave. 6:00 p.m. DECEMBER 6 www.construction.com www.nysid.edu Integration of Daylighting www.bgc.bard.edu Pratt School of Architecture Marianne Lamonaca 115 Higgins Hall South Gio Ponti: NOVEMBER 19-20 Bruce Mau, George Yabu, and Electric Lighting Paul Kaiser 200 Willoughby Ave., Transforming the Everyday SOM Building Science & Glenn Pushelberg 8:30 a.m. Dance and Dismbodiment Brooklyn 6:00 p.m. Design Research Symposium Designing the Future Metropolitan Pavilion 125 West 18th St. 6:15 p.m. www.pratt.edu New York Design Center Ian Ritchie, Carl Galioto, 6:30 p.m. www.enternyc.com Parsons School of Design 200 Lexington Ave. Andrew Hall, et al. Kimmel Center, NYU Glass Corner Xaveer De Geyter www.bgc.bard.edu Center for Architecture 60 Washington Square South, 25 East 13th St., 2nd Fl. New Work 536 LaGuardia PI. Room 914 www.parsons.edu 6:00 p.m. Bill Baker www.aiany.org uppernorthside@ Princeton School of : international.gc.ca Architecture The Vertical Dimension Writing About the Arts: Betts Auditorium 6:30 p.m. The Critics, Craft & Education www.princeton.edu/~soa Center for Architecture Andras Szanto, Dana Giola. 536 LaGuardia PI. Mark Linder, et al. Syracuse University POLSHEK PARTNERSHIP ARCHITECTS: NOVEMBER 30 www.skyscraper.org Setnor Auditorium 1988-2004 Elizabeth Simpson, University Ave., Syracuse JAMES STEWART POLSHEK. ET. AL. Alice Boccia Paterakis, et al. DECEMBER 9 artsjournalism.syredu 12 X 9. 240 PAGES. 445 COLOR Building on the Past: Glenn Lowry SeS.OO HARDCOVER, $40.00 PAPERBACK Development and MoMA Perspectives: Preservation of Ancient Srtes Reimagining the Modern The New York Times called their work a "triumph of EXHIBITIONS 6:00 p.m. 6:00 p.m. POLSHE substance over flash." Published as the firm celebrates Bard Graduate Center Its fortieth anniversary, this handsome volume exam• MoMA NOVEMBER 16- 38 West 86th St. ines sixteen key works from Initial conception through II West 53rd St. JANUARY 8 www.bgc.bard.edu design, construction, and completion. Recent projects, www.moma.org Giinther Domenig: Structures including the Clinton Library and Carnegie Hall's new That Fit My Nature Zankel Hall, are presented in detail for the first time. Austrian Cultural Forum 11 East 52nd St. www.acfny.org •S TO ORDER. 1 800.722.6657 NEW FROM PRINCETON ARCHITECTURAL PRESS OR WWW,PAPRESS.COM >- <

NOVEMBER 19-MARCH 20 THROUGH NOVEMBER 15 Peter Wegner THROUGH FEBRUARY 27 Suspending Beauty: The Voting Booth Project Color 8t Other Contingencies Josef and Anni Albers: The Verrazano-Narrows Parsons School of Design Henry Urbach Architecture Designs For Living Bridge Turns Forty 2 West 13th St. 526 West 26th St., 10th Fl. Design x Art: Functional Brooklyn Historical Society www.parsons.edu/votingbooth www.huagallery.com Objects from Donald Judd 128 Pierrepont St.. Brooklyn to Rachel Whiteread vmw.brooklynhistory.org THROUGH NOVEMBER 19 THROUGH DECEMBER 18 Cooper-Hewitt, Variable City: Fox Square Terry Winters: Recent National Design Museum NOVEMBER 20- Van Alen Institute Drawings and Lithographs 2 East 91st St. JANUARY 31 30 West 22nd St. Pratt Manhattan Gallery ndm.si.edu Nine Museums by www.vanalen.org 144 West 14th St. Yoshio Taniguchi www.pratt.edu MoMA Palaces of Prayer: FILM & THEATER 11 West 53rd St. A Photographic Tribute to THROUGH DECEMBER 20 NOVEMBER 19 www.moma.org Jewish Synagogue Architecture Projection Primer: Edward Dimendberg Angel Orensanz Foundation Drawings by Michael Webb Sunshine, Noir, and FROM NOVEMBER 20 172 Norfolk Street Columbia GSAPP Architecture Reinstallation of the www.orensanz.org Buell Hall, Arthur Ross 7:00 p.m. Collection Gallery, 100 Avery Gallery Center for Architecture Michael Wesely: THROUGH NOVEMBER 24 www.arch.columbia.edu 536 LaGuardia PI. Open Shutter at MoMA One Can: 12th Annual NYC www.arch.columbia.edu/buell MoMA Canstruction Competition THROUGH DECEMBER 22 11 West 53rd St. New York Design Center A Certain Tendency NOVEMBER 20 www.moma.org 200 Lexington Ave. (In Curating) Architectural Millinery www.canstruction.com apexart (Sidney Peterson, 1952), 7 min. DECEMBER 2 - MAY 1 291 Church St. Shadows (John Cassavetes, Noguchi and Graham: THROUGH NOVEMBER 28 www.apexart.org 1961), 81 min. Selected Works for Dance Eric Bunge, Mimi Hoang 5:00 p.m. Isamu Noguchi Parsons School of Design THROUGH JANUARY 2 MoMA Garden Museum Glass Corner Christo and Jeanne-Claude: 11 West 53rd St. 36-01 43rd Ave., Queens 25 East 13th St., 2nd Fl. The Wiirth Museum www.moma.org www.noguchi.org www.parsons.edu Collection National Academy of NOVEMBER 26, 28 DECEMBER 8- Ant Farm REINSTALLATION OF THE COLLECTION Design Museum Tall: The American MICHAEL WESELY: OPEN SHUTTER AT MOMA JANUARY 20 Media Burn. 1083 5th Ave. Skyscraper and Louis Glass House The Eternal Flame www.nationalacademy.org NINE MUSEUMS BY YOSHIO TANIGUCHI Sullivan (Manfred Urban Center Gallery Museum of Modern Art, 11 West 53rd St. International Center of Kirchheimer. 2004), 80 min. Through assorted dates 457 Madison Ave. Photography THROUGH JANUARY 8 5:00 p.m., 2:30 p.m. www.mas.org 1133 6th Ave. Odile Decq MoMA www.icp.org Sensual Hyper Tension On November 20, the Museum of Modern Art will swing open its 11 West 53rd St. DECEMBER 10- Artists Space brand new doors, inviting visitors to check out its new digs as www.moma.org JANUARY 22 THROUGH NOVEMBER 29 38 Greene St., 3rd Fl. well as new exhibitions and installations of the museum's col• The Furniture of Rita McBride www.artistsspace.org lection. Highlights include an impressive architecture and design Poul Kjaerholm and SculptureCenter gallery suite on the third floor where large-scale works overlook Selected Art Work 44-19 Purves St., Queens THROUGH JANUARY 9 the museum's sculpture garden. Drawings and models of proj ects from Mies van der Rohe's Friedrichstrasse Skyscraper (1921) Sean Kelly www.sculpture-center.org Frank Lloyd Wright: NOVEMBER 17 Mexico City Dialogues to Preston Scott Cohen's Torus House (1999) will be on display 528 West 29th Street The Vertical Dimension 7:00 p.m. in a gallery across the bridge. Also on permanent view will be www.skny.com THROUGH NOVEMBER 30 Michael Wesely's Open Shutter, a group of photographs (one is R 20th Century Mexico Now 39 Battery PI. Center for Architecture 536 LaGuardia PI. pictured above), documenting the renovation and construction 82 Franklin St. Various venues. www. sky sc raper.org of the new MoMA in ghostly long-exposure shots. www.r20thcentury.com See website for details. www.aiany.org www.mexiconowfestival.org THROUGH JANUARY 11 The museum's first short-term architecture show in its new CONTINUING Tlmeship: The Architecture space is, fittingly, a retrospective of Yoshio Taniguchi's designs WITH THE KIDS EXHIBITIONS Vibrant Communities: of Immortality for nine museums from 1978 to 2004, including the MoMA ren• ovation, the Tokyo Municipal Museum of Art (top), and the THROUGH NOVEMBER 5 Green Maps of New York Urban Center Gallery NOVEMBER 21 Gallery of Horyuji Treasures (above). The designs, represented PSFS: Nothing More Modern and the World 457 Madison Ave. Create a City! Building in drawings, models, and photographs, will help viewers Yale School of Architecture Urban Center Gallery www.mas.org Marathon understand Taniguchi's understated, modern work, along with 180 York St., New Haven 457 Madison Ave. 10:00 a.m. the experience of the new MoMA itself. www.architecture.yale.edu www.mas.org THROUGH JANUARY 16 Center for Architecture Isamu Noguchi: 536 LaGuardia PI. THROUGH NOVEMBER 7 THROUGH DECEMBER 3 Master Sculptor www.mexiconowfestival.org City Lights: Works from Theoharis David Whitney Museum of the City Lights Design Drawing Architecture American Art BEYOND Competition Pratt Higgins Hall Gallery 945 Madison Ave. 200 Willoughby Ave., www.whitney.org Museum of the City NOVEMBER 16-18 Brooklyn of New York Build Boston www.pratt.edu THROUGH JANUARY 17 1220 5th Ave. Seaport World Trade Center Subway Centennial www.mcny.org 200 Seaport Blvd., Boston THROUGH DECEMBER 4 Museum of the City of www.buildboston.com Around Town Underground Karim Rashid New York One-Off Prototypes: 1988-1998 1220 5th Ave. New-York Historical Society DECEMBER 2-5 Sandra Gering Gallery www.mcnv.org 2 West 77th St. Art Basel Miami Beach 534 West 22nd St. IS www.nyhistory.org www.nrtbaselmiamibeach.com www.geringgallery.com THROUGH FEBRUARY 4 THROUGH NOVEMBER 13 Light Structures: Wijnanda Deroo Joseph Kosuth The Work of Jorg Schlaich Robert Mann Gallery Sean Kelly and Rudolph Bergermann 210 11th Ave., 10th Fl, 528 West 29th Street Yale School of Architecture www.robertmann.com www.skny.com 180 York St., New Haven Thursday. December 2 www.architecture.yale.edu Tuesday, Deceinber 14 Freedom of Expression THROUGH DECEMBER 8 S M P S Leadershiptor Marketer s Happy Holidays from 5MPS-NY Civic Spirit: Changing the National Monument THROUGH FEBRUARY 13 NGW York ''ro'eision*!DevHopmentCirwr-BuildingProgram Course of Federal Design Foley Square Wild: Fashion Untamed It's the networking event of the year! Come share Center for Architecture www.creativetime.org Metropolitan Museum of Art Area A> a marketer, ytiu arc naturally a leader in your lirni a little holiday cheer with your fellow marketers at 536 LaGuardia PI. 1000 5th Ave. C h a r ^ carrying the brand mcuage into the marketplace, the 2004 ,SMPS-NY Holiday Party. Take a breather www.aiany.org/civicspirit www.metmuseum.org Vito Acconci, Krzysztof directing efforts to bring in new work, and helping and toast to a prosperous 2005. Enjoy the hottest to set the firm's strategic direction. But how many of Bednarski, Barbara Bloom, ncighborhiKHl in NY( !l And get ready ro win some THROUGH DECEMBER 11 THROUGH FEBRUARY 20 Upcoming II.V really think of cnirselves as Iradrrsi' What dn we do etal. cool latllc prizes to licnelli a student of design. Plea.vc Architecture and Revolution Place for the Self Klee: His Years at the % Events ^''''''^ '"""' l"i:•l"l/.lMclll^ bring an unwrapped toy for Toys for Tots, a .SMPS- in Cuba, 1959-1969 apexart Bauhaus (1921-1931) and what do we do that might undermine our roles as NY tradition. 291 Church St. Storefront for Art and Metropolitan Museum of Art I leaders? In this seminar, we'll talk about the challenges www.apexart.org Architecture 1000 5th Ave. of being a leader in a marketing role, and learn some Hvent Sponsor: Viira. Inc. 97 Kenmare St, www.metmuseum.org valuable practices fur iKing lietier leaders. www.storefrontnews.org Details/Registration: www.smpsny.org I- o o

THE ARCHITECT'S NEWSPAPER NOVEMBER 16, 2004

language of architecture Gottardi, located just outside that could not maintain the quickly became a political Havana, is a three-dimen• halcyon ambitions of its tool. The now state-employed sional Miro painting dancing makers. CUBA'S MODERN architects were charged with across the landscape. This The vacuum within which creating an architecture that school, along with the other these images are presented would symbolize the new Schools of the Arts, was cen• feels misleading, but at the MOVEMENT and improved way of life that tral to Castro's Utopian vision same time, each project Castro and his revolutionaries of creating a center of culture demonstrates a clarity about Architecture and Revolution in Cuba, 1959-1969 promised. and art that would serve as a a particular and unique Storefront for Art and Architecture, 97 Kenmare St. This exhibition examines model for Latin America. The moment in time. The freedom Through December 11 the post-revolutionary spirit Coppellia Ice Cream Parlor in from bourgeois expectations that captured this generation. Havana by Mario Girona, the gave the nation's young In the years immediately fol• most famous post-revolution• architects incredible autono• lowing the revolution, Castro ary symbol of egalitarianism, my, resulting in powerful made good on his promise reaches its long tentacles out work that was not driven by to dismantle bourgeois trap• into the city to pull all who capitalist demands but by pings and give back to the pass by inside for a treat The social equality. At least for working people. New schools, architecture is bold, sensual, a moment, the revolution housing complexes, health enigmatic, and progressive. brought about a spirit of facilities, and cultural centers As the exhibition's intro• idealism and rejuvenation sprang up, each with the ductory text suggests, how• that is worth remembering. goal of opening its doors to a ever, the decade comes to a MATT BERMAN IS A PRINCIPAL public that had never before close as more banal, budget OF THE MANHATTAN-BASED had access to such diverse driven, gray architecture FIRM AR+D. and extensive services. The takes its place. The Schools young government wanted of the Arts began with opti• The built environment under however, was different. This brought about significant to encourage new forms that mistic ardor but before the Above left: Cabanas at Playa Santa Lucfa, designed by Juan communism conjures images progressive and creative change in every aspect of were unlike those of the past decade ended, construction Campos (Camaguey, 1960) life, and architecture was no and the architecture that stopped and the buildings of lifeless gray fiousing period is documented in Below: Coppella Ice Cream emerged pushed the free- were never finished. Over blocks, vast treeless cement a collection of photographs, exception. When Fidel Castro Parlor by Mario Girona (Havana, plazas, and manufactured videos and text on view at came into power, many of form modernism prevalent the past half-century, with 1965-1966) government buildings, an the Storefront for Art and the country's architects (along in Cuba in the 1950s to new the fall of the Soviet Union austere monumentalism that Architecture in an exhibition with other professionals) extremes. Circles and curves and the collapse of the never seemed to live up to entitled Architecture and fled, fearing a loss of inde• seem to flow sinuously from Cuban economy, most of the the Utopian vision the leaders Revolution in Cuba, 1959-1969, pendence, but those who one project to the next in both buildings have fallen into set out to create. The ten-year curated by Eduardo Luis remained were immediately plan and section, seemingly disrepair and no longer rep• period of architecture that Rodriguez, an architect and put to work to set a new representing the form of the resent symbols of hope and immediately followed the Cuba's best-known historian. visual course for the country. new proletariat. The National change. Instead, they are a Cuban Revolution in 1959, The Cuban Revolution Under the new regime, the School of Ballet by Roberto reminder of a failed system

THE ARCHITECTSNEWSPAPER NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM SUBSCRIBEcaARCHPAPER.COM Most of you have been receiving The Architect's Newspaper as part of our promotional launch. If you would like to continue receiving New York's only architecture and design tabloid SUBSCRIBE today! Registered architects in NY tri-state area FREE! You must fill out the following information. The Architect's Newspaper is published twenty times per year, • Tri-state R.A. • U.S. • U.S. Students INDUSTRY • Architecture FREE!' $39 $25** • Constuction Design Insurance Agency Inc • Institutional • / Mexico • International • Engineering • Interior Designer 1 n $149 $75 $160 • Landscape Architect •Must provide RA number "Must provide proof of valid student I.D. • Planning / Urban Design Mail this form with a check payable to: The Architect's Newspaper, LLC • Academic Dedicated to The Architect's Newspaper. P.O. Box 937, New York, NY 10013 • Government rel.1204 • Real Estate / Developer satisfying the needs of • Other SIGNATURE REQUIRED today's design professional Name JOB FUNCTION • Firm Owner Coiiip.iny • Managing Partner • Architect • Designer • Draftsperson 116 John Street Suite 1600 City/State/Zip Code • Technical Staff • Government New York, New York 10038 Email • Project Manager Phone: (212) 233-6890 Fax: (212) 233-7852 • Academic Phone • Intern E-mail: [email protected] RA License Number • Other

Credit Card Number EMPLOYEES Credit Card Expiration • 1-4 Thomas G. Coghlan • 5-9 FIRM INCOME • 10-19 • Under $500,000 • 20-49 SAVE 51% • $500,000 to I million • 50-99 • $1 million to 5 million • 100-249 CHARTER MEMBER A/E Choice OFF THE COVER PRICE • +$5 million • 250-499 FOUNDER & MEMBER OF a/e ProINet Subscribe faster by faxing 212.966.0633 or visiting wvvw.archpaper.com o in LU ^

CO CO 3

MARKETPLACE BUSINESS SERVICES

The Architect's Newspaper Marketplace TAX PROBLEMS? showcases products and services. Formatted 1/16 page, 1/8 page, Walter J. Lee - APA, NOMA IRS Liens, Wage Levy. Non-Filer, or 1/4 page, black and white ads are available as at right. All NY/NJ/CT Taxes Architectural Photographer - 718/441.689.? Installment Agreements, Offer-in-Compromise CONTACT WJ LeePhotography(s''aol.coni Failure to pay IRS w/h taxes, Jonathan Chaffin www. W] I.eePhutography.com NY State w/h tax audits Advertising Sales Interiors / Exteriors / Portfolio Package Deals Bruce D. Kowal, CPA/MS Taxation P. 0. Box 937 New York NY 10013 325 West 33rd Street #100, New York City TEL 212-966-0630 201-232-2538 [email protected] FAX 212-966-0633 jchaffin^archpaper.com REAL ESTATE

PENTHOUSE FLOOR Digital Reprographics Document Management 30th & Park Avenue South Facilities Management Interior Design Firm renting fully installed Workstations to Architects / Engineers / Designers. Conference Room, Copy Machines and Plotter. Service Point Fax 212-725 3227

• Large Format • IAS: Intelligent Bond Printing Archiving Services 1 or 2 person windowed workstation cluster in midtown (38th & 6tti) interior design office. • CAD Plotting • On-Site Services Access to conference, library, pantry and fax/copy. - Equipment, project • Copying Sen/ices Phone, Internet available. tracking and expense • Electronic Document recovery for A/E/C firms Please call Sherma @ (212) 768-7788 ext.100. Monthly lease $750.00 each. Management Services

EMPLOYMENT 11 E. 26th St., 10th Fi. New York. NY (212)213-5105 www.servicepointusa.com Boston I Providence I New Haven I New York I Philadelphia I Washington DC Ruth Hirsch Associates Inc. PLACE A CLASSIFIED AD We have many diverse positions available for REACH OVER 20,000 Senior level Project Architects, Project ARCHITECTS AND DESIGNERS IN THE TRI- Managers and Designers. These positions are HIGH-RISE BALCONY DOORS BY DOIUEl #1 CHOICE OF STATE AREA FOR ONLY $50 PER COLUMN INCH. with a broad cross-section of Architectural BUILDERS & INSTALLERS • Meets & Exceeds HC40 and Design firms. CONTACT JONATHAN CHAFFIN Please call, or fax or E-Mail your resume: Performance Requirements AT 212-966-0630 OR 212-396-0200 Fax: 212-396-0679 • Weather - Tight in Extreme E-Mail: [email protected] JCHAFFINaARCHPAPER.COM Weather Conditions

• Maximum Glass Area HANDEL ARCHITECTS SUPERSTRUCTURES • 5 Point Vault Latch Engineers + Architects Join our award winning design-oriented, 50- • Structural Thermal Break If your specialty is exterior restoration - person firm located in West SoHo. We are masonry facades, high performance curtain • Interior & Exterior Colors seeking responsible, self-motivated junior walls, historic terra cotta, green roofing sys• designers to work in an energetic but informal Can Be Different tems - our office is the place to be. We offer studio environment on ground-up, institution• challenging projects for prominent clients, al and mixed-use projects across the United Dome'l Inc. excellent salary, benefits and work environ• States. Min. 2 yrs experience, BArch or ment, advancement potential, and the oppor• 800-603-6635 MArch and strong physical and digital model• tunity to help preserve the greatest city in the 973-ei4-1800 Fax 973-614-8011 ing skills required. See handelarchitects.com. world. Please fax or email your resume: Send resume, samples of work, and refer• 3 GmnwaM Street, cmon, New Jersey 07013 212 505 1726 ences to Handel Architects, LLP, 150 Varick [email protected]. www.domelinc.com Street, 8th Floor, NYC 10013.

ARIZONA STATE UNIVERSITY - DIRECTOR and PROFESSOR The School of Architecture and Landscape Architecture (SALA) in the College of Architecture and Environmental Design (CAED) is seeking a Director to lead the School, with accredited programs in archi• tecture and landscape architecture, in an era of change and immense possibility. The SALA Director position is a full-time position (at full professor rank) with tenure. The Director will collaborate with faculty, staff and stakeholders to develop and implement curriculum; assist faculty in developing their teaching, research and service; be effective in administration; share in cultivating College vision and missions; teach at least one course per year in a studio, lecture, or seminar format; engage in research or creative scholarship; and be an active presence in the School and design community. The required qualifications include: a professional degree in either architecture and/or landscape architecture and/or a doctorate in a field of design, and a record of achievement in the field of architecture and/or landscape architecture appropriate to rank of professor Desired qualifications include: demonstrated excellence in teaching; administrative experience in a university setting; professional registra• tion; engagement and scholarship with one or more of a wide array of topics, including historyAheory, building tectonics, sustainable technologies, practice and the architecture/landscape architecture relationship.

SALA continues to be one of the most highly-rated programs of its kind and features a strong faculty and student body. It is enhanced by programs in Planning, Industrial Design, Interior Design and Graphic Design, which comprise the disciplines of the College. The context surrounding the school is extremely rich as the Phoenix metro region is the fifth largest in the nation and expanding rapidly, thus offering a laboratory for new modes of construction, urbanism, infrastructure, community engagement, and environmental responsiveness. Appropriately, ASU is home to an extensive array of research projects focused on the built environment, sustainability, and immersive visualization technologies. Importantly, the university is in the midst of a massive planning and building campaign in which it has engaged architects and designers of the highest order to build first-rate facilities and new campuses for the New American Metropolitan University model as outlined by the President.

Applicants should submit a letter of interest, addressing areas of teaching and administration, creative activity, research and/or scholarship; a curriculum vitae, transcripts of academic record, examples of course syllabi; evidence of scholarship and where applicable, other creative activity. Please include the names, postal addresses, phone/fax numbers, and e-mail addresses of four referees. Questions may be directed to [email protected].

Application deadline is January 31, 2005 and every two weeks thereafter until the search is closed. Please send applications to: SALA Director Search Committee, Office of the Dean, College of Architecture and Environmental Design. Arizona State University, PO Box 871905, SW Corner University & Forest, Tempe, AZ 85287-1905. www.asu.edu/caed AA/EOE. THE ARCHITECT'S NEWSPAPER NOVEMBER 16, 2004

utodesk Revit

Other • Building Information Modelers

Only Autodesk delivers true building information modeling

Want to get a jump on the competition? Get Autodesk Revit —the only design software purpose-built for building information modeling. Autodesk Revit cuts production time by 40% and eliminates coordination errors. So you can deliver your most inspired work more efficiently than you ever imagined. Autodesk Revit incorporates the compact, fast, secure DWF'" file format for viewing and publishing complex design data. Add the power of the Autodesk " Buzzsaw" service and bring new autodesk levels of collaboration and productivity to every phase of every project.Test drive the Autodesk' AutoCAD' Revit' Series at www.autodesk.com/revitdemo

2004 Autodesk. Inc All tiqtili tpwrvpd. Autodesk. AutoCAD, Revit. BiiMSrtw,.ind DWF and ate either tegisieted ttademaiks o< liMhmaiki of Autodesk. Inc.. in the USA amVof otiw countries All utiiet brand names, pnidiict names, or Ir.idemarks belong to Iheir respective holders. Reduced production time of 40% is a preliminary Indicator based on automation testing ower a controlled network. Your ti'siilts may differ.