LISHED BY THE AMERICAN INSTITUTE OF ARCHITECTS NEW YORK CHAPTER VOLUME 63, NUMBER 3, NOVEMBER 2000
lEW YORK
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Volume 63, Number 3. November 2000 OCUIUS Sl»« ON THE DRAWING BOARDS Eiiilor; Javi"' Mnkcl
Maii.iKi»K Kdiloi: Kir? I., (xnilil Apollo Theatre Renovation by Caples JeHerson, Brooklyn Museum of Art and New York Hall of NrwA Fdiioi ( .mix Kellugg
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An DircilKin ;uicl I'IIKII n. (.iililrrii Mill lirll. Woodstock Performing Arts Center by HOK, and a new tower for The New York Times by Renzo Ml KIIIK'IIH Ntiii lull Design Siinliii Dcsnjii < :i>iiMillaiil. r. MaiRarn llclfaiiil. FAIA. fmuimUJfrt The Regatta Building by Audrey Matlock; theaters by Furman and Furman; two houses by \er\i Kill, AIA. \'iir lyavinu Ki niii ill Km I. I \l \ l i,, /V.M./. ^II Archronica Architects; an arena by Theo. David; Brasserie 81/2 by Hardy Holzman Pfeiffer; P«-|< | Saiiiliiii. KMA. \ irr l'rrsuU?il I'aiiirLi liK-llrlfiiaii. .\L\. Serretan Lotus by Nancy Mah Design, Helmut Lang Parfum by Gluckman Mayner. |alIlr^ l_ .S.iw\<-i. TmnuTft F\i i.iiilii A>;i>M Paul SjH-iii ri Bvaicl. FAL\. Ihrrilnr Kill- Bums (>(la\iiit>. .VVMM . AIA. \vw.i!/:(<• Ihrnl.ir C'JIIUHI Briiwii. ISibbt Dtmtar AN EYE ON AN ISSUE: Making History OCULUS CommHtee Preserving Modernism in New York -SusuiCliin, F.\L\ Maik l)iiB..is AIA Ezra Stoller records the United Nations, TWA Terminal and Seagram Building tvrraitlo .Vmisli) Jcflerson. .VIA \\riiih F.v-.uis |iM<-|ili, .\l.\ On Brasilia Paul K KriiiKHi. .M\ Salh .Sid Salh Sitldiiji. Kxrruttxr Dtmlor (ext. Will Morgan reviews books on Gensler, Fox & Fowle, and SOM Su-|)hcii (i. Su(Qp, Dtfmty Ihrrrbn (ext. 1!>) Pamela Piu haUki. .\ssnniile Ihtrilnr uf Stephen Kliment reviews Between Spaces: Smilh-Miller Hawkinson Architecture, l>nrli)/nnml Irxl. 16) Judith Turner Photogaphy M.l'liKll loriis \l iri.ii^n •/( :.":rKill,, / S, i ' awi t'ltftnmic dmimunutUiffns (ext. I "i) Jayne Merkel reviews Space Framed: Richard Gluckman Architect F. and Spmal hmgrams (ext. 141 Susana Torre reviews 5/(e Specilic: the Work of Weiss/Manlredi Architects Ciliaiitel RiKlriKiHV, Mnnlifr^hip Ihrnlor (ext. 18) l)a\r Fiatikel. Adtrrbstng HrfrmmUitiir (cKL 12) liSVI'/oT Chiipln /iTDgrams (ext. 21) American InslHule ot ArchHecli AT THE PODIUM New York Chapter 200 Lexington .\veniic SHoP Talk at Columbia Nc-u Voik, New Vi>ik 10016 Zoning Symposium at Steven I. Newman Real Estate Institute at Baruch College t^tnail: tn/o&aitin\.iiTg IH |!|l s, |>iililislied tell tiin<-s .i \eai. Se|ileiiilK i tliiDugli |iiiie. i\ a benefit of .New York AROUND THE CHAPTER ( .li.i|ilei iiieiiilM'rship Piiblii iiieinlx iship i-> $60. or a vear'5 Mibscription to IM I 11 s !•> $1" Marketing in a Greener World 19 .Send a t liet k aii (Kills Milisrriptioiis, .\L\ .Ni-w Y<>ik ( haptei. Design Awards Symposium 2000 20 200 Lexington Avenue. New York. NY 10016. Architectural Exhibitions around New York 22 Ill advei liv iii i a I 11 >. please i all an atlveitiMiig represeiii-itlve at 212-«W:*4)02S. ext. 12. Best-Selling Architecture Books 25 For inote inloi ination on prtilessioiial anil piil>li( tnetnlwiOiips. please f.dl the < liaptri at AIA New York Chapter Committee Meetings 26 2l2-68.^»02!». ext. 18. Bylaws Changes for the Chapter 26 Ihe views expieued in o<:t 11 s are not necess- aiilv lliiive ol the lioaid ol Din i ion or stall itl Career Moves 26 the .\L-\ New Yoik Chapter With the exception 111 the iiiaierial .ippearing under the title The Last Word on Context by Wendy Evans Joseph 27 ".\r»und the (.liapter." this piihliialion is piiMliiied \n- the (H I Its editi)ri;U team. ©20(X) Deadlines 27 I he .\iiieiicaii Institute of .\ri hitei ts. New York ( li.ipii i .Ml lights reserved. RepriKliiclion in Lectures, Discussions, Tours, Exhibitions and Events at the Chapter and around New York back cover whole Ol III pail withoiil WTilleii |M-I iiiissiiin is strictly piohihiteil. 2 IBLISHED BY THE AMERICAN INSTITUTE OF ARCHITECTS NEW YORK CHAPTER MAKING HISTORY This month's OCULUS describes the making of history in two senses. The first is the con• signment to history of modern buildings once considered daringly new and even futuristic. The other is the recording, in books, of what went on then and what is going on now. New York's increasing importance as a publishing center and media capital, together with its The House in the Garden of MoMA, from Rememliering Marcel Breiiei. wealth of universities, libraries, and museums, combine to provide unusual opportunities by Robert (ialje for architects here to publish their work and study that of their predecessors, colleagues, and competitors. These two ways of making history sometimes overlap and reinforce each other. Now that mid-twentieth-century buildings are coming of landmark age, books such as Robert Gatje's memoir of Marcel Breuer and the Princeton Architectural Press' "Building Blocks" series of pictorial monographs, with Ezra Stolier's period photographs, preserve a sense of that moment and a context for preservationists seeking to retain the best of the era. Stolier's prints are even the subject of an exhibition at the au courant Ktenry Urbach Architecture gallery now. The speed with which these buildings seem to have turned from pioneering to pioneer The Seagram liuibUng, from Building Blocks by Hzra Stoller makes us grateful for the abundance of photographic and written records that this com• munity continues to generate. In this issue (in plenty of time for the holidays), we review six recent books on New York City firms, and there are more on the way-on Tod Williams Billie Tsien and Associates, Richard Dattner, Steven Holl (again), and others. Rarely do these books provide disinterested critical judgment, as almost ail monographs on living architects are self-published in some sense. Either the architects underwrite them, agree to buy a certain number of copies, select the author, or prepare the text themselves. But they do offer a record of the work being done and the way its creators see it—and wish it to be seen. And with time, their perspectives become almost as revealing as more objective evaluations (which we hope our reviews offer to some extent). The United Nations, Despite the electronic information revolution, the printed word remains accessible and from Biiileliiig Blocks by Ezra Stoller lasting in a way ephemeral new media have not yet proven to be (it's hard to place a web• site casually on a coffee table). Printed books written on floppy disks twenty years ago are still around, while the disks are unusable since the equipment they were made for has van• \ ished, in the '60s too many libraries disposed of periodicals in favor of hard-to-use (and now outmoded) microfiche reproductions. In many communities throughout the country, the mid-century magazines that first described the modern buildings being restored in New York today are now lost making it all the more important that we preserve some record of that amnesiac age—and of our own. "Books last longer than cities.' -John Hejduk The TWA Terminal, from Building Blocks *v Ezra Slollrr ON THE DRAWING BOARDS Culture All Around Town |)ic>posed ( haiiges are lHin^ • The Biooklyn Academy hy Cmig Kello^ reviewed by the city's .Vhi.sic's development coq^j cnov.ilion of ihr landmarks ('.onmiission. But tion has engaged Rem legendary A|M)1IC) I'olshek expects the c«-nter- Koolhaas to hel|) devc-lo]) th| ThcaiR- on 123lli pie( «- of the new living looin vacant lots surrounding du LStK'c't in I larlein is to be a .sheer glass entry pavil• (idwntowii Biooklvn bi iux-l iK'ing (U'signcd hv Caples ion, (airrt uilv. acc ess to the arts o|)era house. The idea Jefferson Architects. Iiiili.ill\. ihc museum is through a grade- to create a cultural district (anions 85-year- viiicvw |)l,iiH >-lliai ])]'>•<- • For 32 Avenue of the Michael Gericke at Peni.igi am, ni at ilie top aiid Inisile ai .•\nieii( as—formerly known as iuid computer inuiging by e iK)U<)m; not unlike pa|>- the Long Distance Building Mark Watkins will use llii' i<>l- rdelle pasta." according to of die /Vmerican Telephone &: leclion to illustrate the ".story rimes story on ilie Telegi-aph Company—Fox & of New "Vork's growth into die noiiiu cnit'iit. Renzo Piano's FowIe hiis |)lanned a mil• worlds greatest skyscrajier rly traditional tower, wiili lion renovation. The 1932 iirt nietro|>olis." passing that superficially deco structure by Ralph Nhiseuin din'c loi Carol Willis senihled the Lever House, VVidker was once the largest iind her stafT exjx'ct to move cloaked in gauzN- layers of long distance communica• into dieir new quarters in ss. Foster & Partners pro• tions hub in die world, widi Decendx^r 2001, when the tsed a right triangle uidi more than .30(K) direct circiuLs Tht- New York Times headquarlen Sk\s( niper Museum will offi• :cs [)laiited every seven sio- i-adiating to 3r>0 cides. Even scheme. Foster & Partners cially join a Ritz-Carlton hotel with HLW International •s iilong die hypotenuse, today, it's the rare Manhattan and 38 stories of apaiunents isar Pelli's ta|)t i iug, prisniat- structure that has high ceil• in Handel's mixed-use sunc- tower, atop a l>ow hase ings, floors capable of l)e;iring lure, now imder construction di atriiuns, had sloping tons of weight, industrial-level at die southern tip of Battery les that Tinws writer David |)ower infrasu ucture, proxim• Park City, across from the nlap termed "suave." ity to exi.sting telecommunica• Museumof Jewish Heritiige. tions networks, and rooftop s[),i- Currendy, about 25,000 visi• In Octoher 13. die n<'\s .space lor satellite antennsis. tors visit the niu.seum each ^r reported: 'The New York Now that AT&T has consoli• year; projections suggest the mes plans to stake a gos- dated its equipment into the new location will attract four mer claim to the mid- lowest diird of die building, times that numl)er. The site is anhattan skyline with a the remainder can be rented convenient to tourists already eted, shimmering, senii- to telco-svvitch and VVelvhost- in die area to visit Wall Street, ^nsparent headquarters by ing tenants. ,\long widi die Stock Exchange, the nzo Piano, an Italian archi- planned upgrades, the build• The Nevt' York Times headquarters Statue of Liljerty, Ellis Island, t who has enjoyed die ing's [X)lyclirome gioinid- scheme. Cjrsar PeUi Associates and Staten Island. Duffy and teriiauonal spodight since floor lobby will be restored. e construction of die his firm. SOM, are providing Jrntre Pompidou in Pirns 23 In Battery Park City design services f/m bono, while ars ago." He will l>e associat- or Manhattan's fbur- developer Millennium wilh Fox & Fowie Arciiitects. year-oltl Skyscra|)er Partners is donating the tide le arucle al.so said. The MiLseum, Roger DuHy, to the museum's new .5000- |ily other pai tnersliip of of Skidmore Owings & scjuare-foot ground-floor F space. But the building cam• chitects in the conijx'Ution, Merrill, has designed new per• r Gehry and Skiduioi e. manent quarters at the base paign requires an additional |wings & Merrill, withdrew of a tower by Gary Edward $5 million to supplement die t week before the final l-landei Associates. Duffy''s sig• $5 milUon already committed. dgiiig. '1 would just say our nature element for the muse• • For a site just north of the ocess was incompatible." um will be its entrance Rii/ Carlton, the recendy -. Gehry siiid yesterday." canopy—actually a small The New York Times headquarters chartered Museum of Women glass-walled room can- scheme. Frank (). (iehry with Skidmore. Jif (U sign committee was ;md Leadership Center has tilevered over the entry door Owings C!f Merrill (David Childs) ade up of Tinws officers selected seven finalists to Along with a bookstore and cliaei Golden and Janet L. de.sign proposals for the $12.5 administrative areas, Duffy''s binson, developer Bruce C. million freestanding facility. scheme will accommodate a tner and his colleague The competing teams are gixnving permanent collec• mes P. Stuckey, 42nd Su-eet Frances Halsband, Laurinda tion, as well iis hosting travel• velopment Project presi- Spear and Marilyn Jordan ling exhibitions. iit Wendy Leventer, and Taylor; Gae AulentI with HOK |ephen IHayes of the New ^'ork .'\nti( ipating the move to New York; Audrey Matlock; Pei ly Economic Development Battery Park City, the museum Cobb Freed & Partners; Smith- ^rporadon. The paper's continues to acquire artifacts, Mitler+Hawkinson; Susana Torre chiicc ture critic, Herbert unti^^e photographs and film, of the Team for Environmental uschamp, advised and iirchitectural and engineering ArciiKecture with Fox & FowIe; scribetl die process fi'om records, rental brochures, and and Weiss/Manfredi Architects. |s point of view on October real estate records. New instal• The Architectural Advisory (Secti(m 2, pp. 1, .38-39). lations designed by ;u"chitect The New York l ime-s headquarters Cxjinmittee to the trustees w" ( oinposcd ()i Ralph Appelbaum .\noth«-r lesideiK e by the A Bite of the Big Apple (wlio has l)t'<-ii liiud lo dt sign same ai( hiu cts. on a ihree- aking inspii^.ition (•xliil)il.st. J. Carter Brown, .icie par(fl biseclt-d bv a liom the gigantic Rosalie Genevro, Phyllis Lambert, stream, is plaimed for owners numlM-r nine l)v Jayne Merkel, Joan Ockman, who work at home several artist Ivan and Andrea Woodner. da\s eai h w»-«-k. lb keep ilu ir T ( Iierm.ni ffon the sidi ualkl An liin ( iiirt- aiulior and land- land liee ol cats, a new in fioni of Cioidon Bunshafj iiiai Iss ,u li\isl Barbaralee gaiage is to IH- sited ne;u" the West .")7th Sut-et tower. Kigat Cinemiis. Htillrry /VjiA Cily. Diamonstein-Spielvogel is .1 ro.id. (The couple iK'd Gluckman Mayner to ha\e l>ecome bleached the home of your dreams. Bin ••an- .1 ifi.iil |)i('sin( ( l( II maple. As in hei prexious here it's all for sale. B'liiiiil I'.ii liMM. ,1 flt ily- schemes for Ferriigamo. sight Monty Freeman and l.VTin g enu-qii is<- with only a lines have b<*en kept open llt ililn of Belmont Freeman lulfiil ol piodiKis (iiu liul- from ;is in;my angles within Architects dt sigiu'd The j "nainclc.s.s c andlt-s," whicii the store as |)os,sil)le. .Apartment for luisband-an KKMUS ry featuies I'hilippe Starck fix• tending nearlv tin- length coinpi ises a jiair of uith the oftice in fx'tween. tures and a floor of |H)ured Uie store, dividing it froiii turquoise epoxy. exquisite and beaiitiliil— Tlie new arrangment [KM iniis two separate exhibitions to ough very stern—hifiircat- ihr Afiailmrjil. ISrlniiiiil Frerman Dtmn a steel staircase with stitir. 1 III! siiuullane(mslv. one of which is usualh dcxou cl lo cast-gla-ss treads is the store's l>edroom. where clothing and Not long ago. a duplex architecture. At the opening, works of art (ponv skin op lor the British designer it held "Tntropia," a multime• iinck'i pauLs. ac tiialh. made f)y bry Qnant. designed l)\ dia installation In Kadamari a sculptor) were hung this fall ^wickiTarella.Architects and Baxi and Relnhdd Martin. from old water pipes. Neai bv. tsigners (ipciied at 520 This month. LOTVEK's (nvn the ai( hilecis instalU-d new adison .Avenue. The .store show, "Mixer," U With classic modern buildings now more than fifty years old, "historic" preservation of the modern—even of postwar modern buildings is no longer a contradiction in terms. The modern preservation movement is gaining momentum among architects, historians, preservatior ists, and planners in New York City. DOCOMOMO (Documentation and Conservation of Monuments of the Modern Movement), thi international nonprofit organization founded in the Netherlands in 1988, now has an active chapter based here. The Municipal Art Socie has a postwar working group, and organizations such as Landmarks West, the Friends of the Upper East Side, and the Landmarl Conservancy are all advocating the preservation of modern buildings, while more funding is becoming available for this purpose from th Getty Trust, World Monuments Fund, National Trust for Historic Preservation, and National Park Service. Not only have modern buildinc come of age, making them legally able to qualify as New York City Landmarks (at 35 years old) or for listing on the National Registe of Historic Places (at 50 years, though there have been over a thousand exceptions since the rule was adopted in 1993), but in additic the fashion for mid-century modern architecture and furniture design has sparked a renewed interest in the period. Houses Modern houses, many only in dieir .second generadon of own• Fealiue articles in shelter magazines such as NesI, \V Bunshaft's own house on (ieorgica Pond in Kast Hampton for sum• Uriers Hanover Trust (now Chase and SCM)II to IK? J. P. Morgan mer weekends and is r esloiing il—though without the aichitec i s (^liase) b\ Skidmore Owings & Merrill's C>oiclou Buiivli.iil; .mil outstanding art collection, which has Ix-eii donated to nruseirms. most l ecenth. the ( BS Building l)\ Eero Saarinen. Mies van der .md his masterful eve for landscaping, it will be- difficult to recre• Rohe's Se.tjii.iiri Birilding. Saarinen"s TWA Terminal (both of ate the ex|)erience of the chaste, l einfbrccd concrete, lM).\like which arc- subjects of recent F/ra Stollei monographs). structure- wiili glass walls lac ing die waiei iluil cxisied wlu ii In- Buushiift's Fever House and his Pep.si (lola Building (with ilic- lived there-. r)(HI I'.ii k Avc-iiiK- I c-si(k-iilial I owe-r 1)\ James Stewart Polshek & Connecticut General Insurance Company, Blcx>mfield, Connecticut, SOM (Gordon Bunshah) inal, photographed TheIi he Seagramieagram BuildiitSuilding, The United Nations, photographehedd r, mlroduclion by pphotographe d by EzrEz a Stoller, by Ezra Stoller, introduction by Jane ark Lamster. Princeton iintroductioi n by Franz Schuize, C LoeHler, Princeton Architecturaturall chitectural Press Building Blocks FPrinceto n Architectural Press Press Building Blocks series, ries, 90 pages, 5X7, 80 pages Buildint g Blocks series, 90 pages, 90 pages. 5X7 80 pages of duotone black-and-white images, 55X7,8 0 pages of duotone black- duotone black-and-white images, Dth. $19.95 aand-whit e images, cloth, $1995 cloth. $1995 lilt I irtners) were designated a few years ago. But there are many granite (ostensibly Ix^cause the original material was slip|>ery), ore on the horizon. (De.signaticm does not .seem to have dimin- bolhuds have l)een placed in the pUiza, and new glass and metal led the value of the Seagram Building, which w-,is recendy sold railings iue being installed. The travertine on die plaza at r more dian $375 milion to Aby Rosen and Michael Fuchs of Bunsh:ift's 140 Broadway (where Noguchi's Red Cube stands |FR Holdings. They also own the Lever Building.) guard), which w-as originally the same as that in the lobby, was SOM's coiporaie buildings by Ciordon Bunshaft aif Ix ing replaced with a yellowish granite in 1998. These plazas physical• reatened bodi in and <»iii of the city. In Bloomficld, Connecticut, ly suiiiiuiu ize the period during which corporate honorific space e Connecticut Ceneial Insurance Compiuiy's headquarters of came to Ix* widely misperceived as public space," DOCOMOMO )54-63 (widi I-saniu Noguchi's garden courts and Florence Knoll's member Kimbro Frutiger said. The corporate tlesire to l>e ii|>to- rnituie) is now owned by the Cigna Coqxiration and endan- date and to make die spaces friendlier, instead of iiuuntaining red. The Qmnecticut Suite Historic Preservation Office has what was there, is creating a veneer architecture. However, Chase Jsemed the buildings in die complex eligible for die National is saving some of its modern interiors and has donated a classic igister, but Cigna (with a home base in Philadelphia) sees die modern room from 410 Park Avenue designed by Cordon l'er-300-acre site as a prime location for a conference center, Bunshaft to die Skyscrajjer Museum. 3tel, golf course, and residential development, and has hired On the Avenue of the Americas, the Time & Life Building kus Manfredi of Boston to develop a plan. A Champaign to Save designed by Harrison, AbramovHz & Harris in 19.59 widi lobbv onnecticut Cienenil has been launched by Hartford architects murals painted by Friu Glarner and Josef Albcrs is slated for red Edwards and Taylor Smith, w ho have developed an alternative •'improvement" by Swanke Hayden Conneli, and there is concern jncept for adaptive reuse dial places the corporate buildings at about the development of the 1963 George Washington Bridge jie center of a new development. The buildings will be included Bus Terminal by Pier Luigi Nervi. Some interiors have already an exhibition at Vale University School of /Xjxhiiecture, been altered, .such as the lobby of 660 Fifth Avenue by Isaiiiu ^ving Cx)qK)rate M ( Ciller (:oipoi aliou; Beyer Blinder Belle compleled a |)n liiiiinai \ A'li^j Hal/piifiKit. Oc i n s Tallinn Tdilor. is ii iii,-mh'i "/ llie I'S hiard iij IHX.OMOMl^ stiidv this vear I-mdmarks West spearheaded the State and and of Ihe Tn-Slate/Sni- >«i* chapter../ IHHO.WOMO- She licl/xd orgntiize ihe local NaUonal Register applit auons lor IJn rasilia at 40 Two recent conferences celebrated the fiirtieth amiiversary 'Brasilia. The first, .m evening .symposium entided "Brasilia Marcel Breuer: A Memoir by Robert Galje, New York, PXX): Tliu Muth-in ( look place lasi Ma\ in .\(\\-\'oi t, Monacelli Press, 360 pages. ncentrated on the history of the planned Brazilian capital 7 V4X 9/d, 100 illustrations, ty. The second, in Sc-ptenilx-r, was held in Brasilia it.selfbut iiisidered problems in the |)icsei vaiion of various modem Ixm enclaves. in< hiding the United Nations. Lincoln Center, haufligarh, and Amenhabad. which are threatened by eco omic, political and aesthetic forces. That international conler- ice. The Modern Cit>' Facing the Future," w-as the catalyst for le New York event, which was co-s|x>nsored by by the Tri- On a Modernist ate/New York Chapter of DOCOMOMO and the Americas xriety, and supported by the Solomon R. Ciuggenheim Legend: luseuni and die C^insulate General of Biazil in New York. It x>k [ilace at the Americas Society's McKim, Mead and VVliite MARCEL BREUER To celebrate tlu' publication of his recent Ixiok, Mani l )wii house on Park .\vcnue. Bmin: A Memoir. Robert Gatje gave an informal talk about his Four speakers discussed various as|}ecLs of Brasilia's liistorv mentor at the Ui baii Center on September 19. He u aced Breuei "s work fi oiii the Bauhaus to New ^brk, |nd considered how the city has fared over the past four while describing his own exjierience in Breuer's oflic <•, filling e( acU s. Fernando Moreira, a professor at the Federal the evening with aiuecdoies and images. Gatje's 2.'Vvear-long niversity of Pernambuco in Brazil and a doctoral Candida relationship with Breuer began when a tube of drawings rchitecmre at die University of Pennsylvania, traced the liisio- addressed to Breuer was accidentally delivered to Perciv"al (ioodman's office, where the young architect was working at of Brasilia from Lucio Cx)sta's early planning sketches to the the time, l li.ii u.is IIK IIIM in- knew that his lu-io had moved lo )mpletion of the original plans. Focu.sing on the city's orien \r\\ ^"ork. " li was like st-eing sonielhing addressed lo (.od. " in and plan, he cited its ccmtinued growdi as proof of its su Gajte said. ss. Brasilia is now four times larger diaii jilanners expected it To convey the friendly atmosphere of the office Gatje talked about Breuer's insistence on the use of nicknames, ilu- be by 2000. working lunches, and the humor, but pointed out that Bieuer Sunil Baki, a la( ull> nu inlxr in iuchitectuie ai die "would never joke alxxit architecture. It was, lor him, soiiie- niversity of Michigan, dis< u.ssed 'The Nai ratives of Nation- ihing of a sacred ( ailing." In describing Breuer's working methods. Ciatje showed aking," focu-sing on the spiritual mythologies vvliii h planner sketches with rough edg«'s and drawings and letters covered all ucio Cx)sta diew^ upon in its de.sign. Bald described how over with liandwrillen nou-s. lde;is were always in progre.ss. rasilia "became the enilxMliment of a nation." Gaije highlighted projects such as those at CUNYs Lehman Tlie chairman of the ileparuneiit of architecture at City College and the NVI' ( anipus in the Bronx, where two build• ings ended up as "contrasting examples of two of Breuer's liege in Nmv York. Lance Jay Brown, discussed what it is like inherited infiuences—Corb and Mies. "He later refered to his B<'iiig There." He showed h(»w you enter and exjierience the work as 'the adaptation' of what he had learned from an older ly, noting that the scale is actually more human than it generation to more human needs. He never considered liini- self a purist. In fact, he often seaiched for the quirky accident ipcai s in photographs. He talked about changes made in wi that be admired so much in indigenous architecture." ow treaunents, building delei ioralion, the heat (itiseum's exhibition (upcoming in 2001), Brazil: Body and VNIiile he descrilx'd Breuer's successes, such the Whitney .Museum, Ciatje also noted the difficulties surrounding the pio- mil. He gave an arc hilec tural history of Brasilia, emphasizing posed tower over (irand Central Station and his relir<'meni in he origins of Oscar Nieniey er's building designs in indigenous 1976. But in closing. In- em|»hasi/ed that noi onlv was Breuei a Bni/iliaii architecture.—N.li. great architect, but "he was also one great guy."—A'./^ I 1 Function Fox Structure & Fowle evolutions Gensler Architecture: Form + Fox & Fowle: Function Structure SOM Evolutions: Recent Work Of National Commercial Bank olJeddJl Strategy, edited by Anthony lannacci, Beauty, introduction by Susan Skidmore, Owings & Merrill, by Abby Skidmore, Owings & Merrill with an introduction by Peter Doubilet. Milan, lArca Edizioni, Bussel. Basel, Birkhauser, 192 pages. Lawrence. New York, Edizioni Press, 100 pages, 91/2 X131/4.74 color 91/2 X12,115 color and 191 black- 48 pages, 91/2 X12 3/4.5 black- illustrations, 43 black-and-white and-white illustrations, cloth, $70, and-white plans, 68 color illustrations, drawings, paper, $25. paper, $25. GRAY FLANNEL ARCHITECTURE CHRONICLED Reviewed by William Morgan It is hard to imagine that these slick monographs on three that l)eai s critical analysis and deserves a less sii|)erfi( ial book. cot jjorate (inns will be high (ui any ai( hite( ture maven's Fox ii: F(nvle. ;ifter all, has done much to sha|)e Times .S(niari Christmas wish list. Nonetheless, these poi tfoli(Ksi/.e(l volumes fea• with the design of several large buildings. l'edia])s. as Fowle turing of fice parks, banks, and aiiports by C'»ensler, Fox &• Fowle. claims in the preface, diese are "urban buildings that at e health) and S( )M are not without interest. Taken as a graup. ilu- iliree economit and minimi/e their iinpa( I ii|M)n the planet Eiudi." Ixmks ,111 insii III ii\i' about the stale of 11 H iii niponii \ gia\ flannel lo\v«ts such as 1(»75 Broachvay and Fmbas.s-y .Suites (tributes to dj .IK hilei lure. RCA .iiid I'SFS buildings. iespe( liveK). and CoiuU' Nast (uiili its Despite having sixteen offices and 1,800 employees, Ciensler is *.\;»llo wave " lobbv) have (ontrilnited to a reritali/ed .Midunvn hardly a household name. So, Cieml^ Archil/'cliite: I'nnn + Sfrale^ iii bans( ape. Like diem, the pioposed Reuters building is KM) M is as a general introduction to this hugelv |)i(Khictive firm. fussy, too busy, and laden with too many historical references. Bu Gcnsler's 'Vorkplaces" for companies like Mdl. FedEx, and Epson it is also a lot of fun: gliuy is appropriate heie. Biographer Susan tend to be enormou.s—die smallest is 2H5,0()() s(|iiai<' feet, many Doubilet refers lo Fox &: Fowle's woik as "clever and quietly sensi are five times that. Some, like die San Bruno, ('.alifoinia, offices for ous." The .American Bible Society and I lei man Miller Sh(n\i(>oii Ci.M', sup|)oi I tfie firm's claim lo green (redentials ((i.XF wvis done support her claim. in collalxnaiion with William McDonongh). Abbv Bu.s.sel's SOM Ex^ohilinny a long, handsomely pnxhiced Ceusler is proud of its reiunalions (Ix-aux-arts commenial volume from Birkliauser. is closer to a serious architectural inon(| buildings and the HKIH Ciearv-Theatre in Sim Francisco, for exam• gra|)h. This S70 reriew of the recent work of Skidmore, Ovrings ple) and 'new urban infiasu uctuie." by which ihe\ iiu an iiiiporis .Men ill has al)nndant iuid intellim iii le\i. [)lus hundreds of pho and ( oiiM iiiion (ciiiers. Seen ilinnigh the ai i IIIK-C lor's ymsm. togi aphsol ne%v SOM office buildings. air])oi is. and hou K In mi uiauyol these buildings mighi b( c alled pieseiiiable. buinoiu ai( Richinond lo Shanghai. Anislerdam to iel .\\iv. In addition, ilu hcarl-sloppingly be.iutifiil. The boldest works aie ilic air])<>ris, lK>ok is inuiguingh lated wiih pictures ol a dozen classic S( )\l iliDiigli these may (jwe their hueresi to language l)oirow{^d—and buildings from the past—^Banqiie Lambert. Bciiiec ke l.ibniry, tht (liiinsiK iraiislaled—from IA' Corbusiei .ind I cm Siarineii. .\ir FoKc A( ademv. and Chase Manhattan Bank. F(rnn + Sirfili'g) is only 48 piiges long and was |)iesiimablv .As Bussel warns us from the oiit.set, "living with a legacy as underwritten In the architects to l)e given away as a sort of gituit |X)lent as that of SOM is no easy feat, liring up to it is even Imx hure. It is s;iddled by an embarras.singlv inane lext. Ciensler tougliei." SOM is safe ;uid reliable rather than avant-garde, .uid biiildiiigs are siiid to "remain mindful of tluir neighlK)rhoods as /.)'(///;//(/»,v demonstrates a constaiUT of (fesign that does the firm well as their occupants. Tlie firm's ;u"( hite( ts examine mas.sing. (ledit. Of the two dozen buildings .shown, all are attracuve, iuid pro|K)rtions. character, materials..." while (ieiisler (im "organiza- al)out a (|uarter of those ;ire notal)le. uoii ti iilv (onmiiiied to people") is cicdited with using "site and lroui( ally. it is the black-and-white images of the IKSI SOM of <(>iiie\i. ill (onjuiu lion with the progiam < lialleiigc. to generate ve.ns p.isi ill.II lealK shine. Kin I'c.ik N.iiiiiii.il < )list r\aioi\. IV psi excitemeiu." Cola head(|uarters. Manufa( liiu is llano\ei liiisi. and the VVeighiiei, but e(|iially sell-serving, is ihe iii,ii.;a/iiic-like took N.ilional Commercial Bank of jeddah appear as venci-able niasted On Fox Fowle, a linn Umes sniallei ill.in (.eiisli i. I nx (picienliously subliiled Fuiirfidii Stuidiiif is .ilso i iii sed widi oi-s. When it comes to cor]K)rale .»( hite( line. IIOIMKIV does it bet puflei \: Tlie ( hallenge iKnv is to develop a new an liilectural lan- ter than Si )M. giuige of this age that will lend a new sense of (•niidiinent. dignilv and humanism to (nir changing society, mm and in the future." William Morgan leacties at Roger Williams University and is the (ormer architecture critic o( Bruce lunvle and Rolx-rt Fox have piodiued some iinj)ortant work the Lousiville Courier-JoumaL 11' iRAFTSMANSHIP IN GLASS: S M I T H - M I L L E R + H A W K I N S O N viewed by Stephen A. Kliment Qtiennell Rodiscliild and Associates and arust Bar bara Kruger Class only st"ems tran.sparent, as this reviewer discovered The design steps away from a delicate gl;iss and steel language SI sirmmei on sulTering a ouc--iuc li gash over his eyebrow and towards a lean arrangement of open air steel-roofed struc• tcM walking duoiigh a secMuingly invisible flcK)i-tcMeiIing par- tures, finely detailed and tied to a landscape of huge letters lion, to the gieat eml)arias.snieiit of his ho.st, an Adanta arclii- spe lling out the woi d "PICTL'RE" widi gignauc letler s made of cl. And iridec-d, in the- hands ol arc hitec ts Hemy Smith-Miller Vcuious fiinctioiud forms and materials such as sjind, roofing, ul laurie I lawkiiison, glass is a in;igic material. .Smilli- and boulders, are to Ix' viewed from die air. iller+Hawkin.son, their progres.sive New York-bas<'d linn luis The architects' alter ego in this publishing collatxiradon is >e I great elTect in a still mcxlesl-si/ed architectural CHMIM c-. black-and-w hite mode. Fike Smith-Miller and Hawkinson, .Smitli-Miller+Hawkinson. like- marivof todav's stretc li-ilrc-- Turner is supremely detail-happy, widi die camera she is able to ivelope fir ins, focuses on materials as much as on the .spaces .squeeze as much drama out of a meedng of glass :md steel, f our ley create (how else to undeistaud the book's title?), on planes of glas.s, or a juncture of handrail and .stairs, as out of a Jalisiiiaiiship i ,iihe-i ihan on die lollv par li. orr the- w.i\ mate- monumental sjiace. From craz)' angles and using availatile light, ils .lud sui fac es are linked to the piogiam tcj create- spacc-s. she captures exac tly the message the architects intended. Turner )r these- aic hitects, deuiils arc- the nies,sengers, rising iH-yoiid wriie-s: "1 j)hc)togiaph fragments—isolaied par ts, cletac bed meic- "re-soliiliori of rriatc-ri.ils" towards a higher Ic-vel of pieces, small sections—of builchngs. When a fragment is record• eaning. For exiunple. in iheii arrangement ol the exieiior ed, it is tjikeii out of context—and inevitably becomes something all at Cx)rning (ilassCenter 2000. the entry facade- is else, assuming a new meaning." Yes, indeed! The publi.shers leathc-d in a cur tain wall that makes u.se of a miillionless. have wi.sely printed her photos in duotoiie, a process diat adds lint-fitting system along with a series of very thin, light st.iiii- great lichness to black and while by printing what is e.sseiiually a ss slec-l ve-i tic al trusses. Some of these trusses are on the- oiri- two-color halftone from a one-color photograph. de, otiic-rs on the inside, producing what Hawkinson c alls It's a good thing the aichitecnire and the photography art- n ose ill.uing /one" that makes the- jK-rimeter apjx-ar thicker of such high caliber, because if the book had to ride on the an it is. What is more, visitors enter the building |)aiallel to strength of its text, it would sink in a jiff)'. Wlien, oh when, will |itlrc-r rli.ru |)c-rperidiculai to the- c iir iaiii wall, sor t of "'sli|)ping editors finally crack clowii on the unintelligible, cryptoserious Ix'twc-c-n two paiallel walls." designer babble that passes fi)r intelligent writing alxiut Dc-s|)ite having completed only a handhil of prcijects. architecture? nith-Miller+Hawkinson is very muc h in the same U-a^^rre- .is A happy excepticm is the late, great John Hejduk, who has orman Foster and Jean Nouv«-l in the way thev deal with tlu- written a warm, friendly foreword rec alling his expeiiences with Tmite- |>ossihilities of glass as a creator of IUOCMI. At tlie Hawkinson and Turner. OfTirrner, Hejduk says that she "under• orniiig CxMiler, the firm provides what .Smith-Miller nicKlesi- stands dial it is im|x)s.sible to see architectme in its full complexi- c alls a "suture" to stitch together Wallace Hariison's oiigi- tv at onc e-. Ar c liite-ctui e is made of details, fragments, fabrica• al I'.I.">1 (dass Center and a 1072 muse um by (•rrimar tions. And die very idea Ix-liind it can be captured in a fi~ag- rkerls. It is more than a suture-, liowc-ver—it is a |)owc-r lul nient, in a detail." esign that imposes its own character cm an entire- se-i of This handsomely designed b etween Spaces: SmHb-Miller+ 'awkinson. Architecture, Judith Iumer, Photography, introduction by >hn Hejduk. Princeton, Princeton irchrtectural Press, 176 pages, X10,175 duoione pholograhs, 5 drawings, paper, $40. Pier 11, Wall Street Ferry Terminal Museum ol Modern Art installation Coming Glass Center, k>bby ANOTHER KIND OF NEW YORK ARCHITECT: RICHARD GLUCKMAN Reviewed by Jayne Merkel " rhis tension—iM-tween the- inalerialiiv of struc lured s|)aces .Sandwiched lx>tween covers embhi/oned with pictures of two and the deniateiiali/ation of disemliodied images—has be e uiiic| influential New 'I'ork art galleiies. this book poi trav^and descril>es exacerbated in our time, and along with other |)romineiit archij the wc»i k of one of this citv's most original—and iiicreasiiiglv u c Is of his generation like Rem Koolhaas. Bernard Fschiimi, prominent—architects. .Steven Holl, ]acc|ues Hei/og, and Pie i ie de Meuron. (iliickinaij P'or once the Ulle, Sfmcf Friiiiml. tells die sior\. though it hel])s il hiis had to address il in his arc hilectuic-," Foster observes. vou iilrcady know the story or die work of die iu usts who had a for- Foster explains that the sinu tural Iranspaiency that had lie inauve influence on Ricluird Clue kiiian. But if vou ckui t, vou will b\ admired bv the eai h modernists weiil out of style in arcliitec ini die time you have Finished looking at iuid reading this lx)ok. ;Uier an enormoush inllueiilial e-ssav In Colin Rowe and Rolx-i .Afjpropriately for an iirchitect whose .sources are priin;irily .Slutskv (written in 10').") and published in 1963). Flie essiiv visuid (he calls his approach intuitive, and it may fx* diat too), the argued for "phenomenal ir.m.spaiency" and structural aiiibiguit first 175 pages are ccjnipleteh filled with photographs of the work, laying die groundwork for a "scenographic surface of s\iiil>ols mosdy full-page and double-page spreads, Lach of the .'W projc e is in p.rstiche postmode rnism Iroiii Robe ii \'eiiiuii on), and, later is identified only by name and date of completion. architecture as an autonomous transformation of forms (as in File pictorial introduction is followed by a verb;il one from the deconstructive postmodernism from Peter Eisennian on)." iu chilect. Characteristically, it is brief, direct, imd unassuming. While die New York architects as-sociated with the- Institute Then comes ;ui inielhgenl and informed essay by the critic I lal .Vchitectuie and lU ban Studies were discussiiiig ideas like this Foster, who is a |)rofes,sor of modern art at Princeton and, like with one another and \-aiious Furopean iiilc llee tuals, (lliickmarl Cilucknian (al le;ist until recently), better knovNH in tlie art world was absorbing \isual and intellectual influences from some of d diaii in aichitectui-al circles. Then, for each featured building best minds and eves in the- Ne w ^'oi k ai l world. diere is a blue-gi".iy on light gi-ay page with a short description .-\iid although, like inanv deconstructivists, (ilue kiiian was accompanied by tinv illustrations, plans, and sections. The final inspired bv Russian Constructirisin, he came to it through coiit;j pages aie devoted to the usual lists of awaixLs, biographical data, with artists such as Flavin, Carl .\ndie, and Richard Sena, who bibliogi"aphy, acknowledgments, names of einplovees, and an Foster notes, "stressed the transparencT of construction in con• extensh e list of projects ordered by dale of commission. structivism." so its efTect on him was verv different than it was o^ Gluckniaii explains that the essential iiinuences on his work ihe- aichitects who took from it die "disturbanc e- of s]).te e .' were ihe artists, curatois. directors and Ibimders of the Dia Aw By die time he designed die Dia Foundation in West Chelsea Foundation (Heiner Friedrich and Philippa de Menil) for whom 1987. (iliic kmaii was making original contributions. As Foster writ he began working in 1977. when he c ame to New ^brk ;dler giad- he "o|x-iied up the warehouse in such a way as to alkiw its structur uatiiig from Syracuse University' and working brieflv in liostoii. tocliuify die c!xliibition spaces, fhe strategvol addition thiough "Triedrich's specific directive was Do not design." Paraplii~asing sublt^action afiowed the exhibition spaces in to turn to frame die Ixiuis Kahii, he asked me to "open my eyes' and "let the spaces Ix- ill list projects. Hie spaces work lM)th w;i\ s: the\ c an frame die ai't what they waiil lo be.' Dan Havin's fluorescent lighl insiallatioiis where rec|uirc-d (as in die Ix-autiful Rolx-i t Rxiiian exhibition of were particularly significant to me. In one, his understanding of 19SHMS9). or lie framed bv the an when il projc-c is a s|)ace ol its ow the existing architecture and the wav in whic h he placed his lights (as in the luminous Rolx-rt Irwin installation of 199S)." to echo originid architcctur.il detjuls l)odi respected the earlier Few people other dian artists understand that one of the maij vernacuhu and animated the space widi a new technology." roles art plaved in du- iwe ulie lh e e-nturv w^as lo be a kind ol \isua Foster places Gluckman's work in history, noting the im|)oi- reseaixh, and a means of conmiiinicaiiiig ideas in \isual terms. tance of die industrial iucliileclure of Buffalo (where the architect Richard Cluckinaii did, and once- he did he was able to return th grew up) tc) early Furopean modernists w ho valued the favors of fiis arti.st friends h\ designint^ some ol the most rc-s|K-c dij •'tension berwccn the obvicjus mass of the building and die and inspiring spac es of Our time for c-xperieni ing art. Fhe- eaih apparent transparency of ihe su ucturc ." .VncI he ncnc\s the exis• iusiallalions led to gallery cotiimi,s,sions which led lo nutsc-uins an^ tence of imotlier kind of U'anspai encT resulting from the fact dial jewel-like Ixiuticiues. Now, as he gains recognition among arclii- the Euiopeans experienced this aicbiu-c lure in "•deinaleiiali/ed tec ts, he is spreading the word, tlnough his work, lo our professioiij photographs." cover image: Gagosian Gallery, Chelsea; interior photographs: Dia Center for the Arts, Chelsea; The AniJy Warhol Museum, Pittsburgh GIUCKUAIM AFCMITECI SAV B* llAI FOSTER •J Site Specific: The Work of Weiss/Manlredi Architects, preface by Terence Riley, introduction by Mark Robbbins. Princeton, Princeton Architectural Press, 128 pages, 8 X10,94 black-and-white illus• trations, 71 in color, paper, $35. jver image: Women's Memorial and Education Center, WoHd War II National Memorial. National Institute for Architectural Education Gallery Installation EDISCOVERING CONTEXT IN THE WORK OF •VEISS/MANFREDI ARCHITECTS Reviewed by Susana Torre III ilie cycles of iucliitet tural (liscoui s«-, buildings are some- site, inconspicuous as it i.s, was the preferred alternative mes viewed as objects with distinguishing formal < hanicteris- becau.se it was within Aiiiiigion Cemetery's precinct—^a space cs. and at other times as elements of a larger urban form. liekl as symbolic ally sacred. When it was selected as the winner is rchiu i lure must be about both objects and coiit«-xt. In re Jsell HI (luile llii saiiu And while llu- < iii ieiil |)olai il\ pliDse into columns in a finalisi propos;d in the iwcKSlage coni- tw<-en necHiiodern "boxes" and software-based "blobs'" mav |K iilion for the- World War II National Memorial on the ot yet Ix' exhausted, it is clear that a kind of object-centrisni W.isliiiigion Mall, illuminating an underground hall of honor IS discouraged discussion aboul the kind of urban c rbaiiisis, whose answer lo the (piestioii of arcliiieciural form is Two project.s—the uiibiiili Vale University Boailioiise and ten boilerplate. the Musc-iim of die Fartli, whic h is under toiisti uctioii—rein• The recent publication of Site Spedfir: The Work n/ force and ccmstriict topographies to constitute what is weighty kis.s/Manfredi Arrhiterts is a sign of the shifting of architectural and solid, as if to suggest that only the earth is periiiaiieiit. .As scourse from a view of buildings as discrete objects back compared to the c-arth it.self. buildings can only be ihoiigbl of iwards an engagement with (|uestioiis of context. That alone as lighlweighl, e\c-ii precarious structures. In the Museum of )iild make this monograph welcome. But there is much more the Fai th, laiidforuis conceal parking and distribute ground ere. The book displays such consistent intelligeiic«' dial ii water: the building seeks shelter under the earth. In the omiM'ls lis lo (oiisidei bow die authors have framed each pro- Boalhonse. half die building bc-longs to the ground, in die :ci and what are the larger implications ol their (|iiestions. foriii of a weightv storage podium and iiioniinieiital stairs; the I lu- book iiK hides buili and iiubiiili projects, organized in sail-like roofs are held aloft bv slim columns, the enclosure |:)UI ( ! s Slle .111(1 Mel HOI \ ." "lull 111 IIIM ^ I ,illilv( ,i|)e, • underneath barely defined by extensive glazing. Coiistriu ling the .Site." and "Surfaces and .Settings." Most of It is exciting to follow die development of a Ixxly of work by |he pnijects de.scrilx-d in the first three sections were won in ardiitects who acknowledge a thread of influence that leads— onipelilions. .Mihougli the aichitecLs claim lo work from intu- thnnigh the infiuence of Romaldo Giurgcda and Jaiiies Jiion rather than theory, projects such as New S( hools for New Stirling—back to Louis Kahn. .-Mthough the.se influences are brk, Bi idging the Gaps, and Full Circle embody clear piinci- apparent, Weiss/Manfredi has lakeii tlu- issues tliev embody to iles alM)ut how lonlext is con.stituted to include and celebrate a different place, a redefined context. .So far. they have bec-ii ^e lands< ape of urban infrastructure. able to create a persuasive cas<' lor the rele\-ance of site-specif ic NNeiss and M.iiifredi s Ix si known woi k to date is the 1997 work. They have iK'eii able to do this in part because we know [Vomcii's MeiiKirial and Fducaliou Center at ,-Viiiiigloii now that historic allv most arc liiu-c lure has been anything bin National Cenu ieiv. Iioiioiing women in the .Xiiieric aii iiiilit.ii v. site-specific, and in part Ix'cause the .scale and programs of Vomen's roles ha SHoP Talk The process involves "bleiicT jiointing out that the lot wiisl vc-ry small so thev decided loj l/yjayiw Mnh l ing. layering, keying, lofting, stack the sloic-s instead of t was a iriirrnphairt piojectiiig, sticking, shearing, birilding undc-rground p.irk- home-coming wlu-n iiiid sweeping." iii.;. hei .iu--t- pel iple- diin'l lik Gregg Pasquarelll .11 id (ihris Sharpies showe-d it. ( The sensual exjX'rie-ire e i Christopher Sharpies, two the- firm's Mile hell Park in alw.iys paramoirni in SI loP's Iof the five- partners at SIloP. < <\ (e-ii|)oM. 1 ,orrg Isl.md. lo illustrate hcnv the prcxess work.) "We convinced thc- tcKik the- podium in c lic-nt to let us do somc-tliin{ Columbia's Averv Hall on work-s. "Ax. first we dicnighl the with a kind of atrium, tliick- Septemlx-r 27 to desc i ilx- e-nergy here would come William Sharpies, (loren Sharjiles, c-ned up, and put the cars, what they c ailed "very much a toward the caroirsel and move Chrislnphei Sharpln. Gregg Pasiptarelli. on toward the- lerrv tei urinal, the pedestrians, and the e ir- anil Kimlterly Holden (.olrrriibia te-am. We- all stuck c rrlalion all in the same /one ied here, met our s|>cnis<-s birr then we realized il was and the parking in bae k. We (who arc- among the- jiar t more- a inalli-i of movement risi cl to the- computer to star rie-rs) here-, hire- jic-oplc- who along the watei front." he- s;iicl. drinking about the strrrctur.il graclirate liom here." 1 \( I \ lime the- conimirrriiv le-fiiu-s the sc hc-ine. eve r v- -svstem. We always bring Ihirc Wcxxl .Auditorium w-.is tliing sliift.s." To make gl.iss i lappold in llrc-n, earh in the fillc-d Ix-yoiid c apacity with door s for the- carousel house, cU-sign stage." With an ick-a students spiawkd in die the- aichite-e ts took the ac tivitv \sii.ii he- c.illc-d ",1 dumb huilcl ai-sles; the school's most of the carousc-l, translated it III'.; wnli re-l.iil condoniiniuni prominent laculty, and a ros• on a computc-i using the 111! a illluhle- loaded corridor ter of journalists made up the Doppler effec t, and lh(-ri and a miniature- golf e orrise- A Wall/OT An liire-e lui e- magazine re-st of the- aiidieiice-. Dc-an translated that into a gl.i/irr^ on the roof , thev went h.iik Bernard Tschumi strolled in svsle-ni c cmiposed of five- dif- the- computer to refine- the proudly and siiiiph fe-ierit shajx-s. By twisting sir uc lure and conside-r inate- amiouncc-d, -'These- are- ihc- them, the arc hilecLs were able 1 iais. .md Ix-gari to plan an fa.ste.si guns in the Tasi. to get various patterns. esc alator up to the retail U-y< Pa.sc|uarelli hegan hy "the n we we iii b,ick to the- eon expanding on that iiilrocluc - ".Since it's a governrne iit ptiler to see how to make- il. m tion with a cli;irt showing the pr eiject. we knew it would Ix* As scxm as you chive into tlx relauonsliips Ix-tween tlic- put oirt to public bid (and go mall, you'll se-e .ill the- le\e-ls. menilx-rs of the firm—(Ihris to the low bidch-r) so we had The firm's most lalked- Shaiple s .rrid William Sharpies lo understand the secpience ahoirt prciject is, of course, Slrui ture for laroiisel housi; Mitchell .lie- ic-l.rl(-d b\ hir ih (iwins). ol construe lion. We maclc- Park. Greenport. iMng Island the Museum of Sex, a 'k'l.OOO bill .md Coren Sharpies aK- plrotogi-aplis of every step of the- building process lor tlie- scju;ire-fcM)t building on a ver 111.11 rie-(l, .is ,ire Kimberly Siiid. narrow site al die corner of Holden arrd Gregg Pasquarelli. eonlractor." he Though Tilth Avenue- and 27tli Siie el| They all studied archite-c lure SI loP was originally assigned wlieie as many as eight iriil- at Columbia but. ""Wc- re- only h)ur acres on the- north• liori visitCM's a year are expect-! miitts. a pac k of mtitis, and all west corner of the waterf ront c-d, so circulation and de-risiu (litleienr kinds...Soiiic-lime-s siie-. the- e ormiiiiriilv Ir.is \ ,isil\ .ire- the name- of the game- we ma\ look like one breed inc reased the- aiea sine e- plarr- along, nalui.illv. with s\nil)ol-| or another, but then wirh the ning be-garr. The- proje e 1 will ism. "AVe s;ud we don't want next piojecl, we change-." liave a haiix>rv\alk with light |)ane-ls ( inlx-dded in il. 10 do a towc-r and we don t 11(- •ils( 1 1 e-\( ,ile (I the- Installation /or SIloP exhihition in 'Tlie r eplacing some pieces of want lo do .1 e ave." Pa.sc|ii.irel-| office's "diic'c- weai)oiis: prac• Ijing Vieio' series al the I'rban Onler boaid. to enc-rgi/e and 11 rioiecl. "It vs.is alxxii lookinj tice, th-sigii. and making." He ( The Ixnig Vinii armature also lr\ SlloPi e-rrr|)hasi7e the direction at the lx>clv and how it could defined |)i actice as a rne-lliod |)c-ople- walk along it. be leccmfigured to give us of problc-iir se>l\ing. De-sign, at somediing nc-w." Tliey tan .SI IoP, absorbs inlhreru es < lose r to the- cilv. SI loP is simrrlalions to delerniiru- liov^ Il(>iii (l.issH iMii and die ch-sigiiing the \-Mall in people could come in and organic but is neithei .stylisti• Hushing. Que-ens. at the- move- aroiirrd and how ilrc- cally nor frrrre tionallv |)rc-- inte-rsectioii of Noi thei u and c ode worrld let us extc-nci ovet sc liptive-. Making invohes Par scMis boulc-varcls. "It's just a the pro|x-rty line. .Again, ihc-y lM)tli de-sign and construe tion. si.irrdaid shopping c»-nl<-r." thought aliout the- stirrc lure without pre-conce-ive-d forms. P.iscjuar e lli s.rid. rliough c le-ar- and how ihe\ could build it. -"The computer has alToicled l\ lli.il is merely how it be-^ari. "making sure- it wor ks for ihe us new tec hnic)iies that c an '^This is wlu-r c- we Ix'gan to e lient and is something more act upon lor riis. transforming ge-t init-r este-d in the idc-a of iliii kiiess." Ill- i-\pl.lined. ili.m jirsr .in ii on." fins -pn 1- Miiu'in/i of Sex ihe-rn as de-sign piex e eds 1(, AT THE PODIUM ii\ Ix gan lo (lesion ilu- .uljustabU- ( hair, we made a Zoning for Better Design lildiiif^. latlitT tiian ihe skin, lot of imgirs and von found ff\ Jaync Mirkcl lu'lpod ilu-in l)n ak ii down die angle vou wanted to sii UnWed Bulk ver a year after a sleel l)a\ SNSK iii cxac tl\ in." Pas<|narelli said. Museum the Phuming <• U'ligth ol the largest trac - director .Manna lleiss U)ld (ionunissi 17 AT THE PODIUM lolc. We can't iiHoid not U) rorm of New York w-auLs to Ix"." aichileclure nol Iwcatise of (>|)<-ii Paudoi.i's IM>\. Tiu- /on- He wondeied. "Have we found /oiling, but in spile of il." iii^ rcsoliiiioii as ii cm renlly ilu- right balance between |)i<'- Alex Krieger, ihe t h,iii iii.inl fxisis ciiibodifs a ligid i(it (>- di( labilitv and crealirity? Is a «)rUrhaii I'lauiug and Dcsign| logit al \isit)ii of an tirl)an tell clients why tlie integiated invoKc^d \ridi promoting efficient design and building Kreening World team is belter and what they efforts. < >U (.in ,II< hii( ( IS are getdng, die fee issue ''|i^L|^H siA\ .iliead o\ fades." Wendy Talarko, a contribu• l^^^^H ( III \<' A principal \sidi Flack 8c tor to Arckitfctuml Reaml and 'fp m (OHIO lo lllc Mlv Kurtz Engineei s. Alan TraugoH, designarchrtecturecotn, moderated inable design" trend? Simply emphasized the imporuince of the |)anel. She noted that New How ad\ic<' dial dates back research and development in York's new tax credit for green this area. Tfiis is the fnn AIIM-I ti and make aiteiuion buildings, along v\ith a slow Developmetit Resource Center, ph^-sic al and social sustain- part," he said. "And it's im[K>r- but steady increase in requests Challanooga, Tennessee, Mlity a part of the architec- tant to remember that not for green design qualifica• Croxton (UtlUtborative Architects, and Artech Design Group iral pKKess. Such was lh«- ever\tliing has lo IM- heioit. tions, are certain to condnue ( ll\c K ( iilllllK lui llloll ol Some of it is just practical and to raise the profile of this diisiry leaders at "^inai t almost paintiillv ofjvious. emerging mat kei aiea. .As yet, Marketing: hitegraung Employing ihes*- ideas akmg building ccnles in New York islaiiiability ;uul Selling with sophisticated su-aiegies. are not helping to exjKmd the i|K'rior ,\rchilf( ture," an such as the new building-inte• m.iikcl. as the siringeni 'etit cohosted In die AIA grated photovoltaic.s—(an Kuro[)e;ui codes have done, ew M>rk Cihapter's I t siili in buildings that last a prompdiig signific imt iiinova- Committee on the vet y long lime ;UKI that ai«' lioii in recent vears. Most IIS. nviiomiieiil and the easy to inainlain. I liest .iic ccxies don't emphasize effi• tarkcting and Public characteristics that evei y cost- ciencies or su|>erior jK-rfor- Jt l.iiioiis C lomiiiiiu c ct>ns< ions cLient appreciates." nuuK c-. .As ( loxlon adinon- As pmate and public Kirsten Sibilia is maikeliiiii islu'cl good-naturedly. Ixiasting ietjLs lequest liigb-|XTfor- direc tor at Fox & Fowie alx)iii a building dial's fullv lance buildings that res|)ond Aichiiect.s, which Ix'rame (oiiipliaiit with all the late.si and .ucomuKKlau- dicii kncmii for bringing green codes is ix'ally saying "miis is sers and sites more coinplete- slratc-gies into its projects alter the worst legid building |X)ssi- aic hilects ha\e to l)e leady. the- compleuon of the 4 nines ble" —K.l..(i Coiidr .\'nf,l Building. Fox Of Fowle II as Randy Croxton, FAIA, S<|uare building. Tlie jMiblici- Dinted out in his intnxlucio- ty surrounding that green reniarks. This should ituralh to us. I he ai chiiecis kind—helped brand us as a UNIVERSITY OF VIRGINIA e liaiiied to think in terms green lirm.' she s;ud. She said SCHOOL OF ARCHITECTURE ai t and science. .An hite< - the |)iin (I light-brain acti\iiv. .And gocxl design is iin|)orlanl. and Associate Professor in Practice aking our prodnci' inou' that Fox & FowIe teams spend Successful candidates for these visiting positions will have innovative professional work and an emerging national reputation for design excellence. These newly created a great deal ol liiiic- working to TK ii nl and elle( live can positions are structured to allow practicing designers to teach full time at the graduate ave a dramatic iinpat t." .As help their c lienis understand level one semester per year for a period of 2 - 4 years. ",ri>\i(>n said, ii'v ,i "K xolii the value and |Missibiliiies ol Architectural Design and the Natural Environment ion" ol Mil Is, one ili.il he I ligli-pei formal ice buildings— Successful candidates for this position will have a broad understanding of sustainable design concerns together with the ability to teach studios and/or lecture courses involv• lelped siarl inoie lli in a and the fact that such build• ing the integration of environmental systems and design with climate. Candidates lecade aii<) iiid lias Ix-eii ings dcm't have to bust the should have demonstrated in their creative work an interest in innovative approaches towards issues of thermal, luminous and/or acoustic design. This appointment will be eadiiiii e\i i MIH < hiid^cl. at the Assistant or Associate Professor level, depending on the qualifications of the can• Bill Reed, AIA, runs his own I he design director ol die didate. >ra( lit < .ind (i msiilis uidi Battery I'ark City .Audioiiiv, Architectural Design saiiii.il l.<>i;it. \IM)1II m iniij.; Stephanie Gelb, AIA, disc iisvd Successful candidates for this position will have demonstrated excellence in teaching or architectural practice with computer related design methods. The position will iees for the res«'aich-inteiisive the Authority's recendy award• involve design studio instruction as well as related course offerings in design visual• ppioac h that high-jx'rfor- ed residendal project, and ization, theory or methods, or building systems. This appointment will ye at the Assistant or Associate Professor level, depending on the qualifications of the candidate. nain e. elbcieni faciliiies lAu u mentioned that more RFPs eciuii e. he sjiid. "CHKKI will IM- coining out this fall. Candidates for these positions should have professional and/or research degrees in lesign—'gn-en' design—pro- Charles Granquist, (•! IIK architecture or a related field. Evidence of a dear agenda in a candidate's creative work ides ()|)|)oriuniiies. and il we Rockc-lellei Brollu i^ Fund, and/or research is essential. Substantial teaching experience is desirable. Please sub• mit a letter of interest, curriculum vitae, and names of three references (include phone Itop pracucing like an hiie< - noted that coinmeiciiil build• and email address). Materials will be reviewed beginning )anuary 15. The review will ure is a dead lield. then we ings are res|K>nsible for 16 continue until the positions are filled. Send applications to: Faculty Search Committee. an gi-| (c)ni|K'nsiUed fairly. |M-rceiit of greenhouse eiiiis- Department of Architecture, University of Virginia, School of Architecture, Campbell iVe iire ju.st now leai iiing how .sions, which is why his org-ani- Hall, P.O. Box 400122, Charlottesville, VA 22904-4122. Women and minorities are encouraged to apply The University of Virginia is an equal opportunity/affirmative o sell the |)OW»T of the inte- zation. committed to sn.stain- action employer. rmu-d te;un." adding. "If von able issues overall, finds itself I" AROUND THE CHAPTER till lied up again and again. At Varying Scales, Poetic |)rojc c Is. ihoiigli Mc(airr\ Bui Miro noted that "the se and Bold Solutions noted that ihev were dis;c|>- are not dogmatic modernist.'i //> Kim I., (rttulil |)oiiued not U) lind anv oui- TItey are using objc-c is \oii ome ifli<-sliing sianding low-cosi housing in wonUln'l expect," Puiinan insi^lus .ilx)U( ilit- the mix. "Bm in geiu'ral, we agieed. "The eclecticism we origins ol an hiir( - lonnd that ilu ic was an enor• are seeing implies a great lunil fxtfilfiu (• siir- mous nmnber of c|nalilied cle.il of freedom." .she said. Slacccl at tlu- AIA New Noik |)rojec ts. " Tlie winners, all in New ^blk^ ( liapter Design Awards 2(»(K). I he .\rchitec lure .Award Stefihanir Malln. Aiiilrtr hilnutn.Jiiiin ( ll\ I \( < pi die |il Saildi I hvkl Septcinlx-i 2i\. "WV ga\c wiimers were Bai tram's Mini iiidiring liUmor Archilecturr iiuHiids Milan Slum room In Gabellin^ special consideration lo how (iaiclc-n Barn Renovation and Associates; were lelu n New ilu- projects respoiuleci lo I ..ilhc- I louse .Addition \oi k l)\ Daniel Goldner; I ikci |)iaci' and to liie <'inir()n- (Philadelphia) b\ James Dart, Fislier ShowTooin bv CR nieni, and to the st)cial Architect; ( r,iid)iook Studio Architects; Loll impac t tiiev louid have,"s;iid Naiaioiium (Bloondield Kciiovalion In Kar-Hwa Ho; arc hileetin e juror Ricardo I lilK. Mi( liiu.m) In Tod Tliundei 1 lonse Online Legoretta, Hon. FAIA. ( )li< ii Williams Billie Tsien and Marketing .Ageiicv bv (l<-sign aw-ards push aside Associates; llic Nengeh.iiK i Resolution 4 Architecture; and such iispects ol the arc hiti c - Mouse (Naples, Florida) bv Historic Teahouse ^l: Ciaidei inral |)roeess in the rush to Richard Meier & Partners; I IBS M.mliaiiaii Ro(ilio|i, and reward lorniai in\eiuic)n and Pond Park Pavilion (.Stalc n Central Park Pied-a- ierre, al OimfMiii Knoppffler. .\L\. and lirian material exploration. But Island ) 1)\ Sandro Marpiilero lirice 'lh\lor di.sntss I'rojii ls rntnes In Shehon Mindel & Associates. l .c goretta's jurv. one of three and Linda Pollak; I i ilx i a ITie Tlmnder House- project ihree-memher [KUK IS. Poinle (Manhallan) bv was die- oiil\ lou-l)U(i'4( I ( lliu seemed (Ic ieriiiincd to keep Gruzen Samton; (lohen 11< >iis( recognized: Mallis said they the soc ial and c-n\ironincntal (Osprey, Florida) by Toshiko tried lo picseni more aw,ii(ls| context in mind. .Viler a long Mori Architect; Ai mcd I OK CS in that c ategory bnl didn't day examining 'M)() entries in Recruiting C^-iuer (Manhat- lind oilier exceptional worksj 11\ rev categories—Arch it ec - I.in ) 1)V Architecture Research Four Project .Avv.uds, for tme. hilerior /\rchitccmre, OHice; Millan\illc- Hcmse unbuilt works, were selected and Projects (for mihnilt (Nhllan\ille. Penns\i\-ania) by from NO enii ies In Gae Aulenll works)—the nine jurors div Bone Levine Architects; 1)1 Milan: Laurinda Spear, FAIA| cussed their choices at a s\ in- Hamilton S<|uaie (Washing- Um, D.C.) I>\ Skidmore Owings of .Arquitectonica Inter• liar Aulfttti. iMiinnda Spear, and posimn, nuwlerated by national in Miami: .ind Brian | Brian lirire I ay lor fudging prtijects Architecturf magazine editor & Merrill; Little Red School- Brace Taylor, author and ])id- Reed KroloH. I lie progr.ini \\a- hoiiM- (Manhallan) b\ 1100 fessor al die New W n k oiganized by the ALA New Architect (Juergen Riehm and Institute of Technologv. Tliis| \'ork ( '.haj)ter Design .-Xwards David Piscuskas); and the was die most selective jurv. Committee. I.\'M1I Tower ( Manhattan) In The Hillier Group (ai chilec I Spear noted dial tliev wantec Kleven .Aic liilecniie I >l I (•( Old ) willi Atelier to be unanimous on all •Awards were chosen bom minated bv a determinc-d three jnrors s;jicl they were .American Mus«-vun of Natura Riiardo Ijgoretia, Margaret MHMrry. modernism. Monochromatic and Mal^^anne Ihompson pic-ased with the range of the Flistorv People Center by CR iniei iois. niosi ol ilu in wliiic. judging A rrhileilure au Lin AROUND THE CHAPTER idio Archrtects; ihc Hiidsdii the U.S. today are additions Kudos • The Donald Ci. Bi iukmann rer Piirk Site .Structures or renovations, ;md in a city 3 The winners have l)een Se holai ship Aw-ards, estab- isli r rian b\ Anderson such as New ^'ork, a gcKMl anuoimce-d for the design lislied lasi \eai iii iiieiiiorx < >! chHects, all in Manhallan: many of lho,s<' involve historic coinjx'Ution for the National die late (iensler designer d l ielmm I.^ing, Minami- buildings. Miro added that .MeiiiDrial to Martin I.uther have I)een awarded to Allen oaiiia, in Tokvc), by "the few preservadon prcijects King.Jr. in Washington, I).('.. Chich-Wei ol Parsons, Sigal uckman Mayner Architects. we .saw did not documem and iliey inc hide some New Baranowitzol die Ne w York Encouraged by Kroloff what the spat e lcM)ked like- Yorkers. Boris Diamov and School of Interior Design, and d l)c-sign .Awards CA)mmit- before. Withoni diat, we can• Be)nnie Fisher, < >f ROMA Radha Kalaria ot die- School o| c hair Campari KnoepHler, not judge the technical excel• Design Group, .San Francisco Visual Arts. |A, iiKiin jmois • itleied lence or whether there was took lop honors. In a fielel of vice h)r those- planning to innovative inteipieuition." ne-;irly 9(X) e-ntr;uiLs. Kevin lel liexl \e,ll. I < '^i H KM Kennonof Kcilm Pedersen Fox led that nol all the entries Architect.org Launched placed second .md Michelle jui\ ie-\ifwed indicated he .-Vrchitecture Bertoman and Lisa Lulo of Salional Memorial to • Io( alioii .>l die piojcc I. Research Insiitule Biookhii .Architects CloUeciive- Min im Luther k'ing. design mmpilition, s very imporiani to kncm founded in New eai ned the third spot. For Mirhelf liertomen. A.J. UtefjUr. s," he stressed. "It's not Heather lioslund. Lua D. luUt, M>ik In Beverly Willis, more information, visit Ro/ifTt I'apocchia. and Daind BnyU ssible to fullv and fairlv T FAIA, in \9\)yt has launched an www mlkmemorial.org/mlk/ of Brooklyn Architects (lollective P^illl.ile die |iioje( I wilhoiil online web |)oiial lo prtnide ov\ing where it is." reseiuch and information for Currv seconded his com- the aichiteciuial and urban |(-ni. Holing dial iiiaiiv ot die- planning ccnninuniues. bini.s.sions could have Ix-ne- Archite<::t.org provides over .'V")(l cl tioni a l)elter explan;»- categorized links, a ghibal n ol their ccmtexts. She coin|K-titic:>n listing, and an tied lb.It sirong photcjs ;u"e extensive interdisc iplinarv tic .illv (and obvioasly) l)ibliogra|)hy with cner I,(XM) poi tiuit. That's ;i reason to entries. .All are seiirchable bv t unlil the project is really k(Awoid on the- site's propri- |i(K ii) subiiiii and von li.i\e etarv search engine. The site ough images." she said. also provides current ne ws, NEW JERSEY SCHOOL OF ARCHITECTURE-FACULTY POSITIONS Spear's jury read many of fed bv several international The New Jersey School of Architecture at New )ersey Institute of Technology seeks submitted lexis out loud, news distribution agencies, applicants for positions at the rank of Assistant or Associate Professor, ich she found eve-o|>ening. which is uixlaled on a dailv Architectural Technology «(Design: Candidates must hold at least a Masters degree onii- ol llu- wolds I'll ne\(-i and weekly basis and ihc- in architecture or engineering & a professional license. A record of achievement in practice & teaching or research is req d in an area of architectural technology such c- a^aiii. and neilliei should Institute's own research. as building structures, construction or environmental control systems Experience lieis. iiu hide collage.' with the integration of computer based applications in the architectural design I he not-for-profit process is essential The successful candidate will take a leadership role m the tech• ilei loi sire t-r—ibis is one I Insutute is a virtual diink/act nology area of the curriculum & will work with design studio coordinators to enhance the connection between design & building technology. As a technological e .ill die- lime Inn iievei uink that studies how the university. N)IT offers multiple opportunities for funded research within & across aiii'—and noiion." Fbesc- disciplines. Send letters of interest, curriculum vitae &. list of 3 references to: rapid and diverse changes Personnel Box NJSOA-AAP/ATR. e biiz/words .mcl iliev wc-ak- associated with the new global I the des( I ipin •11'-. Computer Applications in Design: Candidates must hold at least a Masters degree scM iety and digital tee hnology in architecture or related field. A record of creative & professional work is req'd that includes research or leaching in the area of computer applications to architectural The subject of historic can help make twenty-first design. The candidate will join an internationally recognized program where com• eservauon and restorauon century ciUes compact, sus• puter based design is integrated throughout the studio sequence. The successful candidate will have numerous venues for specialized & interdisciplinary research & ojects remainc-d unsettled, tainable, more walkable. and is expected to contribute towards maintaining the school's leadership in the field of computer applications in architecture. Send letters of interest, curriculum vitae & nh one such pr(>ject was less autexentric. list of 3 references to; Personnel Box N)SOA-AAP/CAO. raided (Flamilton .S(]uare, New York architects associ• Architectural History: Candidates must hold a PhD in 19'^ & 20th century architec• the arc hitecture category), ated with the Institute are tural history, with additional expertise In urban systems A record of scholarly research & publication, as well as teaching experience, are req'd. Teaching in the iro suggested that it may l)e Willis and Lynne Breslin, who school will include survey &. seminar courses in t>oth the undergraduate &. graduate ne to consi(h-r adding a cat- are trustees along with a vari• professional programs. Send letters of interest, curriculum vitae & list of 3 refer• ences to Personnel Box N|SOA-AAP/AH. ;ory. "It's diffimh, and pei- ety of scholars from dilleient ips unfair to lx)tb cate- di.sciplines. ;md advisor> The university reserves the right to substitute equivalent academic qualifications or pro• fessional experience at its discretion NJIT is on equal opportunity, affirmative action, •ries, to weigh pi eservaiion benu'd memlH-i s Edward equal access employer a[ especially encourages applications from women, minorities a( persons with disabilities. Send resumes to the specific personnel box of interest to: id restoration projects Larrabee Barnes, Robert ,^inst gut leiicnations, " hc- Geddes, Hugh Hardy, William New Jersey Institute of Technology i 21 EXHIBITIONS Ihi'iuiih Siivinnliit I Dark iJgtit: Photographs ol Ezra Sloller llriiiy I rhaih Aiihilnliiu ^26 West 2hth SI.. IIHh Ih. 212-1,27 (i')71 Ihroiififi Sin'rmbrr l I hrougli iJecetnlvT 3 Thirty Years ol the Gowanus: Two Generations ol Cityscapes by Eddie EaH I WANT WIRED-UP, PRE-BUILT Cato and Nichols Evans-Calo (paintings and drawings) llnmklyn (.enter fur Ihe t 'rhcin OFFICE SPACE, IN A HIP AREA, l.ninrrmmeiil I he Tennis Houu: hosfierl Park. 7IS-7SSfi'jlXI CLOSE TO MANHATTAN, WITHOUT .Woitmh-i 2 -11 The Long Viewr. Projects by Michael Mahzan THE #%*/ HIGH RENT PRICES. //(,• Muiiinjiid ATI Stiiirlx with llii .Mnseiim of Miximi .\rt Ihc I'thin (jittix 157 .Miulisim Ai'eiiuc. 2l2-'f35 S'ovrmlfi 5 - Jniinary 30 Open Ends: Museum-wide Exhibition ol Iconic and Lesser-known Works The Musiiiiii II/ Mtximi .\rl II W T 3yd St.. 2I2-7l)S- Scnnnbcr 6 - Diriinhir Ifi Luigi Ghirri/Aldo Rossi: Things Which Are Only Themselves *• Jiliiinbia I 'niittsily (Graduate Schtxd of Anhilerlure. I'laiiniiifi. and IWsm'alion •lrM)Avn^ Hall. 212 SU 3473 \mnnlMi 10-20 Canstruction 20O0 \.7r ) .Vmv7n/#i 10 - DrcrmlK-r 22 LOT/EK: Mixer llniiy lilmch .\nhilcrluit 526 West 26ih Si. lOlh Jh. 212-f>27-(l't74 MAIN STREET .Kui'rtnbn lO- January 6 J 1 ArchHectural Competitions in America I'lall hisliliile MiinhalUin (lalliry 1 LEASED i L % IWk Hiiddhi)^. 2<'5 hifa\ellrSl '. 2nd ///:. 7IS-63&35I/ UNIT #9 UNIT #8 UNIT #7 UNIT #6 UNIT #5 I UNIT #4 4,530 SF 2,600 SF 1,300 SF 1,300 SF 1,300 SF 3,315 SF Sofniibei 16 - 25 The Long View: I * Projects by Reiser + Umemoto Ihc Muninpnl \unrl\ tiilh Ihr .\lusnnii of .Modem .Art t he I rban ('.enter 157 .Mnilisim Ai'miu: 212-135-3960 UNIT #3 UNIT #10 ,730 SF .V Sm'embrr 30 Deirmlxr 9 The Long View: Projects by Foreign OHice ArchHecIs Ihc Muniiitml .An Stuicly with ihc ANDY UDIS.Sr./Vlonaging Dir. 212.372.2176 Muicum of .Modem .Art [email protected] I he I'riian (j-nter. 457 Miiilisnii Ai'.. 212-935-3'HyO ISAAC ESTERMAN 718.222.2500 N E W M A R K [email protected] www.newmarkre.com A TWO TREES DEVELOPMENT 22 EXHIBITIONS continued from page 22 I hnnigh /nniiiiiy 7 American Modem. 1925-1940: Design lor a New Age 'ITie .Metrobo/itan .Museum of Art liXM)Fifth Axf.. 272-57^^395/ Ihmugh January 7 Art ana the Empire CHy. 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Chapter Bylaws Changes lM-lie\e we can lev 2n DEADLINiS THE LAST WORD: ON CONTEXT November 15 Ihe .American .Academy in liome seeks applicaticim for the Rome frize fellmvships valued at $60,000 (stipend, rotmi and board, arut u And K is changing our very idea of context. February 12 The Young Architects Forum of the In tf>e city, adjacencies exist. In New York City, the built fat>ric of entire blocks creates legi• Architectural Ijeague of New York is open to architects and desiigners who have been out of undergraduate or graduate sc/wol ble neighborfxMxIs. Recent fiealthy economic times fiave given us a plethora of large-scale for ten years or less. Winners receixte a $l(X)0 cash prize and the opportunity of buildings and megaprojects in locations where such structures have not been located histori• exhibiting their work and lecturing at the league in May or June. The r etpiired cally. From NYU's new Village towers to Trump's record-breaking residential skyscraper to the entry forms can be obtained on the uvbsile wwwarchleague org or by calling the latest Mkltown highrises, tfie city is changing and wHh it the physical consistency of neighbor• iMgue at 212-753-1722. hoods. Calls for a 100,000-seat stadium on the West Side bring this discussion to the forefront. Upcoming Die City of New >br* Department of City I'lanning has released a Reijuest for New York, like any city, needs to evolve and be protected. In a growing capHalist society I'roposaU for a Competition Professicmal Advisor This Inofe.^sicmat will serve as evolution is natural, but protection is not as easy. Community groups, landmark laws, and zon• consultant to ihe department for the plan• ning and administration of an ininted ing regulations all help to correct tfie balance, but change inevitably follows growth. What tfie InlemalioncU Design Competition for End Use Master Plan Concepts for Ihe Fresh latest changes in the cKy add up to is a del>ate about context, in terms that have grown beyond Kills landfill on .Stolen Island, hutiifidnah or firms wishing additional the old postmodern talking points. Under the influence of the convention-shattering work of tnfomuilion may contactJeffery Suganruin. Nno York City Deparlment of City I'lanning. 22 Reade Street, Room 3F. Frank Gehry, Rem Koolhaas and others, which responds to its context in the most daring of New YoHc, NY KHMJ?, or email |[email protected] nycnyus. ways, the idea of url>an order has loosened up to allow for far more abstract connections l>etween buildings and their environments. CKies wouldn't be bearable if they were all happenstance. Their chaos needs context, a framework of expectation. In Greenwnch Village, this doesn't necessarily mean that only low brick buildings sfKxild be built, nor only megastructures downtown. There's more to context than scale and height—what's at stake fiere is tfte human environment at the street level, the quality of pedestrian life. We should be careful to ensure tfiat powerful institutions and private enterprise are not allowed to benefit at tf>e expense of a greater good. It is not enough to say tfiat large-scale peripheral uses that are outside the parameters of good urban planning gen• erate income. WKh the density, environmental, and transportation issues in Manhattan, a site truly extends beyond tfie piece of land a building sits on. Context is a necessary part of our work. Walking down tf»e street in the real world, you can't click away to someplace else. -Wendy Evans Joseph, President 27 NOVEMBER/DECEMBIR 2000 NOVEMBER 14 17 Toun Long Island Federal Courthouse Lecture: Diana Baknori- AIA NEW YORK CHAPTER EVENT in Isiip, New York Ideas & Buih Landscape Forum: Why Is (he Netherlands a Leader Lecture: Kas Oosterhuis Willi licsisjiieis lioin Rirliard Meie-r SiMinsore-d In the- School ol in Suttainability? .Sponsoreel l>v llie- Prall liistiliin- land Paitiiers and TTie Spector (>roiip liite-< tiire. I'dvui Design, and Willi C liu I Booiisii i. I)ll\ : Fi.iiiiine Scliexil ol Arcliiiee iiiif. (> I-.M. Room ] aild use rs of the bnileling. .Spons4iie-a l.inelseaiK- .\i For updated calendar informalion, visit the Chapter's website, a^.¥fww.aiany.org AIA New York Chapte r 6^ BulkRcjIe The Fcniiiiliiig (^haple r ol US Postoge PaicJ the Ame-ric-aii Insliliili- of .Ar( hlle( l> New^brk.NY 200 l.e-xiiigloii Avenue Mr. Norman L^^^^once, FAIA PermilNo.4494 \.-« Ydik. I'Miji, The Ainerleanestitute of Architects 1735 NEW AVE NW WASHINGTOJ DC 20006-5209 i..l.ili..afM.ll....ll...i.i...l.iii«.i 1'!; ">'• J'M^O