ARCHITECTSNEWSPAPER 20 4.2005

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for Architecture (CCA) in Montreal. PARKS DEPARTMENT KICKS OFF The announcement closely follows the 10-11 DESIGN EXCELLENCE PROGRAM November ceremony for the sixth recipient, the Prince of Wales, who was selected earlier WANTED: this year for the prize but was unable to PARKS GET BOOST CURATORS receive it until his recent U.S. tour. The Department of Parks AN EXAMINATION OF THAT RARE BREED- In addition to her CCA duties, Lambert, and Recreation (DPR) will be u.sing more THE ARCHITECTURE AND DESIGN CURATOR once referred to by Canadian Interiors mag• and more outside designers from now on: azine as "our undisputed grand doyenne On November 21, it released a list of eight CO 06 of architecture," is an accomplished author, landscape architectural firms that were I— a leading advocate for low-income housing granted the Requirements Contract for LU MTA, READY and neighborhood revitalization, and a Landscape Architecture Consulting Ser• trained architect who designed Montreal's vices. In October, the DPR released a simi• TO ROLL Saidye Bronfman Centre and led the reno• lar list of six firms that were awarded the O O vation of Los Angeles' Biltmore Hotel. Requirements Contract for Archi-tectural 12 "Lambert has gotten people to consider Consulting Services. The pre-selected GIFT GUIDE the built environment through the CCA, firms have been offered two-year renew• her writing, and her practice," said architect able contracts, guaranteeing millions of 17 David Schwarz, who chairs the Scully Prize dollars of work. jury. "Her activities in educating the public The pre-selected landscape firms are EISENMAN/ singled her out." Donna Walcavage LA & Urban Design, Lambert is most famous, however, for her Thomas Balsley Associates, MKW & JENCKS DEBATE PHYLLIS role in selecting Associates, MPFP Urban Design, Nancy 03 EAVESDROP to design the Seagram Building in New York, Owens Studio, Quennell Roth.schild & 04 STUDIO VISIT LAMBERT WINS one of the 20"' century's most celebrated Partners, Abel Bainnson Butz,and Mark K. 16 DIARY structures. The daughter of Seagram's head Morrison As.sociates.The architecture firms 20 MARKETPLACE Samuel Bronfman, Lambert was working as are Architecture Research Office (ARO), 22 CLASSIFIEDS 7^" VINCENT an artist in Paris when, in 1952, she learned BKSK Architects, Rogers Mattel Architects, that her father was considering hiring the Sage and Coombe Architects, Smith-Miller SCULLY PRIZE capable but conventional Emery Roth & Sons + l lawkinson Architects,and Kiss 1 AT GREENBUILD, LEED COMES to design a new Park Avenue headquarters. Cathcart Architects. According to jonna UNDER SCRUTINY The has awarded To her dismay, her father seemed set Carmona-Craf, assistant director of its seventh Vincent Scully Prize to Phyllis against pursuing an architecturally distin• architecture for capital projects with Lambert, the founding director and chair of guished design—his building committee the DPR,"These pre-approved firms USGBC DOES the board of trustees of the Canadian Center even rejected an continued on page 3 will essentially compete with one another for DPR contracts." For the architectural projects, which range from renovating SOME SOUL- On November 16, Mayor Michael R. exi.sting buildings or designing new parks WINNING DESIGN CHOSEN Bloomberg announced the winner of the facilities, contracts may have budgets of up SEARCHING FOR QUEENS MEMORIAL Flight 587 Memorial competition. Freddy to $4 million. continued on paqe 2 Rodriguez, a Dominican Republic-born The U.S. Green Building Council's New York artist, was awarded the S2 million (USGBC) fourth annual GreenBuild project, which will be located at the ocean conference highlighted the increasing end of Beach 116'" Street in the Rockaways. importance and awareness of sustain• Flight 587 crashed in the Belle Harbor able design, but during the event, it neighborhood of Queens on November 12, became clear that the membership organ• 2001, just one month after 9/11. The memo• ization still has a long way to go if its LEED rial honors the 265 victims of the crash, (Leadership in Energy and Environmental most of whom were Dominican. Design) rating system is to become influ• Rodriguez bested 68 proposals that ential on a large scale. The conference, responded to an open RFP issued by the city held November 9-11 in Atlanta, was the last spring. His proposal includes a central ROCKWELL GROUP TO BUILD ARTS largest GreenBuild to date with more than wall that will be inscribed with the victims' CENTER IN EX-STEEL FACTORY 500 exhibitors and approximately 10,000 names and a quotation from Dominican poet attendees, including architects, interior Pedro Mir: "Afterwards I want only peace." designers, and product manufacturers. The wall will also include portals for visitors POST-INDUSTRIAL Morning plenary sessions featured to leave objects. The memorial opens up to PROGRESS speakers including Janine Benyus, the FLIGHT 587 a plaza that Rodriguez hopes will evoke a nature sciences writer, innovation consult• happy gathering place for family and friends. ArtsQuest, an ambitious performing arts ant, and author of Biomimicry: Innovation The project is to be completed in Fall 2006. nonprofit, recently selected the Rockwell Inspired by Nature (William Morrow, MEMORIAL GUNNAR HAND Group to design SteelStax, a multiple- 1997); Interface CEO Ray Anderson; and venue facility around a colossal industrial environmentalist Paul Hawken, author site in Bethlehem, Pennsylvania. The of The Ecology of Commerce (Harper organization decided three years ago Collins, 1993) and co-author of Natural that the area needed a performing arts, Capitalism (Little Brown, 1999). Andres education, and media facility. Duany of Duany Plater-Zyberk turned up In late spring, a Request for Qualifications his rhetoric meter to 11 in a morning ses• (RFQ) was issued to top design firms sion about sustainable urban design. In throughout the country. According to Kim his first GreenBuild appearance, the New Plyler, director of marketing and public Urbanism guru proselytized about the relations at ArtsQuest, about 60 firms need for connected communities. He was responded. Three continued on paqe 2 a hit among the continued on page 8 CO (\l 3 O LU

THE ARCHITECT'S NEWSPAPER DECEMBER 14, 2005

PARKS GET BOOST continued from front page PUBLISHER CO By virtue of their rarity, architecture and design curators wield an enormous In September 2004, Mayor Michael R. Diana Darling OH amount of power. By virtue of its longevity and prestige, the specific position Bloomberg initiated his Innovative EDITORS O at the Museum of Modern Art has been by far the most influential and impor• Cathy Lang Ho Procurement Task Force. The group devel• William Menking tant, not only to the profession but—given the museum's historic educational oped recommendations to integrate quality

ART DIRECTOR mission—the academy as well. "The job is important enough that it should design into new contracts. Previously, a fee- Martin Perrin turn over once in awhile," said Terence Riley, who is leaving the post in March, based procurement process preferenced low- SENIOR EDITOR after 14 years of service. bidders or in-house involvment. As part of Anne Guiney Riley's accomplishments at MoMA both contributed to and coincided with the same initiative, the Department of Design ASSOCIATE EDITOR a .shili ill architecture and design curatorship. The curator's role is considerably and Construction (DDC) launched its higher- Andrew Yang profile Design Hxcellence program last year, DESIGN AND PRODUCTION difierent from what it was in Philip lohnson's day. Curators in recent decades Christine Koroki have had to wrangle with an increasingly nebulous conception of what archi• which pre-certified 33 architecture firms to EDITORIAL ASSISTANTS tecture encompasses. Moreover, though architecture has always had its celebri• receive contracts from the city. Gunnar Hand ties, the era of the"starchitect" has never been more pronounced. Curators The parks department followed suit, Jaffer Kolb must reconcile the pressure of creating shows with mass appeal and of uncov• opening up its projects for bid by some of Stephen Martin ering or demystifying new talents or trends. The media explosion has chal• New York's most talented firms. The RFPs EDITORIAL INTERN for architectural and landscape consulting Rebecca Fuchs lenged curators' ability to be fresh. "There are so many more magazines and services, issued last spring, received over 50 SALES AND MARKETING DIRECTOR people are generally more aware of architecture and design," observed inde• Karen Begley pendent curator Donald Albrecht."But museums by nature work slowly. responses for each. "Most firms tended to shy MARKETING INTERN Shows are often criticized for not showing anything new, but that's not the only away from these programs in the past due to Daniel Barber thing shows are about, of course." the ma.ssive amounts of paperwork, but the Curators also confront the difficulty of showing, collecting, and preserving new RFP opened up the process a lot," said CONTRIBUTORS works that are increasingly created in digital media, which still .seem le.ss Stephen Cassell, principal at ARO, one of the MARISA BARTOLUCCI/ALAN G.BRAKE/ pre-selected architecture firms. ARIC CHEN / DAVID D'ARCY / MURRAY FRASER / immediate and revealing than sketches and models. If these representational RICHARD INGERSOLL/JULIE V. lOVINE / JOE KERR/ issues makes architecture .seem too removed from the real world, then the Firms were selected based on several per• LIANE LEFAIVRE/LUIGI PRESTINENZA PUGLISI/ produa-ba.sed nature of design exhibitions brings the applied arts uncomfortably formance criteria. Mary Pazan.the depart• KESTER RATTENBURY/CLAY RISEN / ment's chief of management services, explained, D.GRAHAME SHANE/PETER SLATIN/ close (for some) to unwholesome consumerism. But, as Joseph Rosa, architec• "When we looked at firm portfolios, we KATSU TANAKA/GWEN WRIGHT/PETER ZELLNER ture curator at the Art Institute of Chicago, pointed out, "If design shows are weren't looking for styles so much; rather, we EDITORIAL ADVISORY BOARD being confused with consumerism, it's because stores have copied museums." wanted to see innovative design methodolo• PAOLA ANTONELLI/RAUL A. BARRENECHE/ Also, there are simply many more museums today, each seeking ways to dis- M. CHRISTINE BOYER/PETER COOK/ gies, experience with urban spaces, the incor• tinguish itself, or niches to dominate. Museums without architecture and WHITNEY COX/ODILE DECO/TOM HANRAHAN/ poration of landmarks, the employment of SARAH HERDA/CRAIG KONYK/REED KROLOFF/ design departments are mounting shows. And as architecture's reach expands sustainable techniques,design solutions that JAYNE MERKEL/ LISA NAFTOLIN/SIGNE NIELSEN / and blurs with other practical and creative disciplines, museums are rushing to HANS ULRICH OBRIST/ JOAN OCKMAN / addres.sed multiple problems, and responsive• explain it. The Whitney's focus is the territory where architecture crosses over KYONG PARK/ANNE RIESELBACH/ ness to budgets." with an, and I he Guggenheim, loo, has announced that its future senior archi• TERENCE RILEY/KEN SAYLOR/MICHAEL SORKIN The DPR al.so issued two RFPs as part of its tecture curator will join its non-departmental organization, and contribute to GENERAL INFORMATION: [email protected] design excellence initiative. In December 2004, EDITORIAL: EDITOR(?iARCHPAPER.COM an open-ended array of shows, "enriching our own interior conversation about the department awarded Belmont Freeman DIARY: DIARY(»ARCHPAPER.COM contemporary culture," as Nancy Spector, curator of contemporary art at the ADVERTISING: SALES@>ARCHPAPER.COM and Joel Bargeman a $4.5 million contract to Guggenheim, put it. SUBSCRIPTION: SUBSCRIBE®ARCHPAPER.COM renovate and expand Recreation Center 59, on PLEASE NOTIFY US IF YOU ARE RECEIVING In other words, architecture and design curatorship has moved far beyond 59"' Street and 10"' Avenue, and in February DUPLICATE COPIES. the simple formalism privileged by the MoMA in its early days. As today's 2005, Toshiko Mori and Associates was com• THE VIEWS or OUR REVIEWERS AND COLUMNISTS DO NOT prominent architecture and design curators (featured on page 11) strive to de- NECESSARILY REFLECT THOSE OF THE STAFF OR ADVISORS OF missioned to design a new $1.75 million visi• THE ARCHITECT'S NEWSPAPER. aestheticize their subjects and place them in broader cultural contexts, the VOLUME 03 ISSUE ZO. DECEMBER 14, 200S tor's center in Poe Park in the Bronx. Both THE ARCHirecrS NEWSPAPER (ISSN ISSZ-BOail IS PUBLISHED 20 TIMES standing of the design professions can only improve. projects will begin construction next summer. A TEAR. BY THt ARCHITCCTS NEWSPAPER. LLC. P.O. BOX 937, NEW YORK. HY 10013. PRESORT-STAHOARD POSTAGE PAID IN NEW YORK. NY. As we send you this issue—our last of 2005—we'd like to thank all our read• To explain the Parks Department's sudden POSTMASTER.' SEND ADDRESS CHANCES TO: THE ARCHITECT'S NEWSPAPER. CIRCULATION DEPARTMENT. P.O.BOX 937, NEW YORK, NY 10013, FOR ers and advertisers who have supported us throughout the year. Our next issue, burst of building activity, Pazan said, "The SUBSCRIBER SERVICE; CALL 212-966-0630. FAX 212-966-063], S3.9S A COPY. S39.00 ONE YEAR, INTERNATIONAL SI60.00 ONE YEAR, lanuary 18, is devoted to your favorite sources and services. Please take the mayor has made park.s a priority." The agency's INSTITUTIONAL SI49,00 ONE YEAR. ENTIRE CONTENTS COPVRIOHT 2003 BY THE ARCHITECT'S NEWSPAPER, LLC. ALL RIGHTS RESERVED. time to answer our survey at www.archpaper.com. budget in 2006 is $900 million, increased from $500 million the year before. Soon, tlie firms will vie for projects includ• POST-INDUSTRIAL PROGRESS continued their selection of the Rockwell Group on site, the firm plans to create several mixed- ing a $ 1 million comfort station in the Owl from front page months later, ArtsQuest November 11. use buildings around the site's iconic center• Hollow Park section of Fresh Kills; a $500,000 narrowed list to 12 firms. David Rockwell, founder and CEO of the piece, the Bethlehem Steel Electrical Furnace. station in Devoe Park in the Bronx; and a "We asked [the shortlisted firms] for con• Rockwell Group, said he was interested in the Describing the new buildings as "a necklace $900,000 visitor's center in Conference House cept renderings," said Plyler "While most project because of its magnificent context, the around the center," Rockwell stated that "we Park on Staten Island. The DPR is currently were pretty straightforward, we received some Bethlehem Steel property. "We were thrilled wanted to use the existing building as a con• compiling a list of landscape architectural radically different responses." ArtsQuest, about the site," he said. "It's an incredible relic ceptual engine." projects to bid out, and plans to issue a new along with local community leaders and of industrial grit, a monument of heroic scale." While flexible, the original program called round of RFPs next spring. artists, reviewed the propoals and announced To draw attention to the uniqueness of the for one large festival hall continued on page 3 GUNNAR HAND

THE ARCHITECTSNEWSPAPER thanks Ted Hathaway and Susan Trimble, Oldcastle Glass Craig Konyk and everyone at kOnyk architecture, plus his posse of Parsons students Jesse Smith, Lighting Designer Larry Silverstein, Dara McQuillan, the staff of Silverstein Properties, and Rubenstein Associates Tishman Construction In All our sponsors for their generous donations And the writers and critics who made our last issue so successful

OldcaBtle Glass' JCPAZ ERCO chilewicK \/oss MIIDMIN niKMUIKI IN( o 00 ro

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LLl IT SHAKES A VILLAGE > CASEY KAPLAN GALLERY 525 West 21st Street, Manhattan The far West Village Is a real estate goldmine-when It's not caving in on itself, O Telephone: 212-645-7335 that is. Last year, the construction of the area's third tower caused Designer Neil M. Denari Architects top-to-bottom cracks next door at 163 Charles Street, the home of art dealer M Kenny Schachter and his wife llona Rich. Things got so bad that the couple moved out and sold the house to developer Barry Leistner before heading to London. Now, it seems Leistn-who demolished the house to make way for Q- another condominium, by architect Daniel Goldner-has added another tile to a O giant game of dominoes. Work on his project has caused the adjacent house of a: photographer Jan Stoller to tilt by about an inch, with the fagade of his carriage house cracked to the brink of collapse. Neither Stoller nor Goldner's office wanted C/) LU to comment, but Stoller has one consolation: Work has stopped on the project, and > a recent downzoning may reduce its eventual height from eight stories to three. < LU DECK THE HOLL Last month, we were in the otherwise tranguil town of Helsinki and checked up on Kiasma, which is not a geriatric malady, but rather the contemporary art museum that Steven Hell completed in 1998. And we were shocked. Don't get us wrong; while it didn't appear to have been built to the highest standards of crafts• manship, we actually liked the building. But it seems not everybody does, since it looked as though someone had taken a baseball bat to its exterior glass wall. Yes, you heard right: a large section of the museum's western facade, spanning The Ca.scy Kaplan (Jallcry is the first Manhattan project tor the Los perhaps 20 or 30 feet, had been smashed in dozens (dozens!) of places-bring• Angeles-basetl studio Neil M. Denari Architects (NMDA), which is also ing new meaning, perhaps, to Holl's oft-cited "porosity." "It's due to vandal• ism," confirmed Holl's rep, who looked into the matter after we, um, broke the designing a slim-tit. L^-story building on 23 ^' Street, next to the High news to her. The damage is being repaired, she added, and should be fixed by Line. NMDA left the two large exhibition spaces of the 4,7()0-square- mid-January. Entirely irreparable, however, is Charles Gwathmey's new Astor foot gallery—a former ta.xi garage—almost untouched: plain u jlls, Place tower. (Sorry, we just had to slip that in.) concrete floor, exposed beams. (The whole operation was done in nine weeks at a cost of $80 per .square foot.) The primary architectural FROM THE ZAHA FILES intervention is a curving dropped ceiling over the entry, a formed sur• We've said it before, and we'll say it again: We love . Not just for face that pulls one into the gallery space. Fluorescent tubes imbedded her various morphologies-interpret that as you like-but for stories like the one in the ceiling spread a homogeneous, over.saturated light that seems to we recently heard when the L.A. architect Clive Wilkinson was in town for his flatten the whiteness of the space. This rough industrial space is quite induction into Interior Design magazine's Hall of Fame. Flash back to London, uncommon in the Chelsea art galleries district. "1 am impressed by 1980. Hadid is teaching a unit at the Architectural Association with how many people said today, 'Well, it s not Richard Cluckman,'" said and Ella Zenghelis. Wilkinson is a student of theirs, but decides to transfer to Peter Cook and Ron Herron's unit mid-year. Now it's the school's end-of-year Marc 1. Ko.scnhaum, NMI 'A\ lo^dl .uvhilcU. OLYMPIA KAZI party. Hadid spots Wilkinson, and the wounds of rejection open afresh. "You stupid nitwit," she tells him. "If you had stuck with our unit, you would have got• ten Honors." The 6-foot-4 Wilkinson, wearing a white suit and drinking a pint of Campari (give him a break; it was almost still the '70s), replies, "Who cares?" Wilkinson's aloofness rips a new hole in Hadid's fiery heart. In retaliation, his red Campari goes flying across his white suit. Onlookers are stunned. A legend is born. LET SUP: ACHENIBARCHPAPER.COM

PHYLLIS LAMBERT WINS 7TH VINCENT place for people to meet and relax. "One of SCULLY PRIZE continued from front page the most important things about the Seagram unsolicited proposal by . Building is its plaza," said Lambert, whose His daughter, however, had other ideas. Scully Prize lecture, on the building and its Earlier that year she had met impact on the urban environment, will be at a dinner party, during which he drew up included in a book she hopes to publish in a short list of architects he thought should 2007. "It changed the view of the city." get the Seagram job. Only two received his Lambert's selection reflects the prize jury's unalloyed recommendation: LeCorbusier focus on diverse careers centered more on and Mies. Lambert passed these recom• advocacy and education than on practice. mendations on to her father, who took her Indeed, the only other practitioners to receive advice to heart and selected Mies for the the award, the teams of and project, which was completed in 1961. Denise Scott-Brown and Andres Duany and The building immediately achieved iconic Elizabeth Plater-Zyberk, are at least as well status, but like all great buildings its signifi• known for their writings as they are for their cance is multifaceted. For some, its beauty design work. lies in the purity of its structural expression; "There are a lot of awards for single proj• for others, it ushered in the era of modernist ects and prizes for a singular career," says skyscrapers designed by top-shelf architects. NBM Director Chase Rynd. "We're looking For Lambert, its importance revolves not at something more multifaceted." The 2006 Who doesn't? Great architecture happens here. That's why we've around the building itself but the space in Vincent Scully Prize will be awarded on formed our new Commercial Projects Group. They are Oldcastle front of it, designed to break the monotony of January 19 at the National Building Museum Glass*'s test and brightest and they're ready to help you deal Park Avenue's hulking towers and provide a in Washington, D.C. CLAY RISEN with New York City's most complex glazing requirements. Call 1-866-653-2278 or visit us online at wvvw.oidcastleglass.com.

POST-INDUSTRIAL PROGRESS ing the number of buildings early planning stages, the continued from page 2 (a 50,000 by encouraging shared firm is on a fast schedule square-foot space for up spaces, such as a theater and with a mid-January deadline to 3,000 people), to be sur• cinema, or rehearsal spaces for design. Plyler hoped that Oldcastle Glass* rounded by smaller venues, and educational facilities— the complex would be fin• Where glass becomes architecture " /KI »^^'^ f studios, and classrooms. in order to keep the entire ished in time for a perform• Rockwell proposed consol• center vibrant. ance festival in the summer idating the program—reduc• While the proposal is in of 2008. JAFFER KOLB 00 >4- 3 O LU

THE ARCHITECT'S NEWSPAPER DECEMBER 14, 2005

UJ Until fairly recently, most of the 16-person firm Architecture oi M Research Office's (ARO) work has been residential. The firm is U. clearly switching gears with three projects at Princeton University, LL. O one each at Colorado College, New York University, and Brown, X and a contract with the New York City Parks Department o through their Design Excellence program (see "Parks Get Boost," <: page 1). "Well always want to do houses," said principal Stephen UJ Cassell, "but we made a conscious decision to try to shift focus. 00 LLi Institutional work requires different approaches than residential LU does—you also have to look at architecture on a social level." sx. Their two highest-profile projects—the 1998 U.S. Armed I— Forces Recruiting Station in Times Square and their work in OI LU 2002 as architect of record on the Prada store in SoHo by the h- Office of Metropolitan Architecture—may have paved the way WESTON PERFORMING ARTS CENTER M for the switch. "Prada was technically challenging, and we devel• O oped a lot of competencies on it," said principal Adam Yarinsky. < "It proved that we can do complex, large-scale projects" But not A every building has a budget like the $42 million dollar Prada CO Store or the luxury of a long schedule, and ARO knows that M > they will be working under tighter constraints from now on. o "The challenge with institutional work is to sustain inventiveness within projects of limited budget and scope," said Yarinsky of their current projects. "I think it is important to frame a design CENTRAL PARK WEST APARTMENT 00 problem in terms under which it can be implemented, without major compromise."

Axonometric plan of Central Park West apartment with fiberboard lattice panels.

MARTHA'S VINEYARD RESIDENCE PRINCETON UNIVERSITY SCHOOL OF ARCHITECTURE N AND RENOVATION CO in 3 O

1 MARTHA'S VINEYARD RESIDENCE For a wooded site with an expansive view of the ocean on the coast of Martha's Vineyard, ARO developed a simple design that works within the contours of the glacially formed landscape. Two bars with private spaces are connected by one with public rooms; together, the three form a C-shape that defines an entry courtyard. On the outside of the C-shaped plan, other, smaller outdoor living spaces protected by extensions of the house's walls look towards water and woods. The central living spaces are clad in zinc panels that run vertically. For outer walls, ARO riffed Take The Leed.™ on the traditional board-and-batten pattern with hor• izontally hung cedar siding, providing an interesting contrast with the zinc. with Clayton Concrete Products

2 WESTON PERFORMING ARTS CENTER In 2003, ARO won an invited competition to design a performing arts center that would be a part of the local public middle school in Weston, Connecticut. Since the town plans to use the center for community events as well as academic ones, ARO developed a proposal to distinguish the entrances for both con• stituencies. Students will access the 24,000-square-foot hall through a link to the school, while the public will layton concrete products enter via a grander entrance off of a new plaza. From this plaza, the auditorium, which is wrapped in fin- ply plywood and stained red, will be visible through the Ccan help your projects meet glazed lobby space that surrounds it. The rest of the exterior will be clad in metal shingles. The project is LEED^'^ (Leadership in Energy expected to go forward as fundraising progresses. and Environmental Design) 3 CENTRAL PARK WEST APARTMENT About five years ago, Yarinsky and Cassell decided to buy a laser-cutter for the office. While the staff gener• Credit requirements toward ally uses the machine for modelmaking, they have also harnessed its abilities to transform materials like paper LEED^M Certification. and cardboard. As Yarinsky explained, it encourages them "to take prosaic materials and make them rich," i.e., to cut them into forms that would be almost impossible to do by hand. They exhibited a laser-cut paper wall at Artists Space in 2000, which led them to Get concrete solutions for a a client who wanted them to apply similar ideas to an apartment in Emery Roth's San Remo at 145 Central better environment. Park West. They are now renovating the entire 2,500- squarc-foot space though the most distinctive feature by far is a series of 18 medium-density fiberboard panels—some sliding, others fixed—which have been carved by a computer-numerically controlled milling machine into a lattice whose pattern varies in density over their 9-foot height. The screens are set into a ceil• ing track with LED lighting that rakes down their sur• faces to accentuate the variations in pattern, density, and light in each. 4 PRINCETON UNIVERSITY SCHOOL • Lightweight Concrete OF ARCHITECTURE ADDITION AND RENOVATION Cassell and Yarinsky are in the process of renovating the School of Architecture at Princeton, a particularly • High Performance Concrete appropriate project as both spent many years there, Cassell as an undergrad and Yarinsky as a graduate student."! actually like the building,"said Yarinsky of the existing building—a 1963 brick and concrete • Control Density Fill block by Fisher, Nes, Campbell Architects—though he admits it does have a few drawbacks, such as the underused main lobby that links the classroom and studio wing with the administrative wing. After con• • NJ State Approved Mixes struction is complete in 2007, it will be a triple-height space with an upper-level lounge, with fritted glass and minimal mullions that permit views to a green beyond. As part of the renovation, ARO brought the • Sand/Cement Grouts woodshop back into the building, saving it from its current exile near the football stadium, a tcn-minutc walk away. Because of this act, Yarinsky laughed, "It doesn't matter what we do, |the students] will like it." ARO is working on two other projects at Princeton, which is in the middle of a major building Initiative. By the end of next year, the university will have added 1.6 million .square feet of facilities and 500 additional students. The firm is part of the mas- terplanning team, which is led by Beyer Blinder Belle Architects and includes Michael Van Valkenburgh Associates. The team is still in the early phases of work, but is charged with evaluating the projects already underway, and planning for future growth by densify- ing the existing campus. To accommodate new students, Princeton has ^^^^ created another residential college called Whitman, For more information: •= which was designed by Dmitri Porphyries in a neo- Gothic style and is currently under construction. ARO is designing the new college's master's house, which 1 -800-662-3044 • www.claytonco.com QLJflfIfl^i will be across the road from the Porphyrios project. While the hou.se is still in development, it's safe to say P.O.Box 3015 •Lakewood.NJ 08701 ^^^^^^ that ARO's design will not be neo-Gothic. 00 sO 15 O LU

THE ARCHITECT'S NEWSPAPER DECEMBER 14, 2005

MONEY SECURE, MTA LOOKS TO GET ROLLING

Commercial & Residential Going Transit Bond Passes Leave it to the MTA to make billions in new money seem grim. Voters on Election Day endorsed granting $1.45 billion to the MTA as part of a $2.9 billion bond issue. Less than Beyond two weeks later, the agency reported a billion-dollar surplus, largely the benefit of stub• bornly low interest rates and surprisingly high real-estate tax revenue. Yet the board adopted its 2006 budget on November 16 in a somber mood. Every dollar the MTA expects All to receive in the next year has been earmarked for critical projects and pension obligations. The MTA will split the new bond money in thirds, among general upkeep, progress on a Second Avenue line, and a rail link from Penn Station to Grand Central. Director Katharine Lapp proposed assigning much of last year's unexpected surplus to funding pension costs, arranging two years of discount Yuletide MetroCards, and adding security cameras and seat locks to buses and trains. These steps could improve the MTA's image with voters. That's important, because the MTA may call again for financial help in the next few years. Big chunks of the MTA's revenue come from taxes and subsidies. It expects 43 cents of each dollar from fares and 14 from tolls. The rest comes from taxes and, to a lesser degree, subsidies. The bond act, which the state will repay through general taxes, will help the MTA begin work on major projects. "It's a beginning," said Richard Ravitch, who as MTA chair• man in the 1970s saved the agency in part by promulgating a series of five-year capital plans. Those plans never yielded a Second Avenue line, in part because state lawmakers wouldn't help the MTA cover other costs. So the MTA took on mounting debt. By 2009, the MTA expects debt service to eat 35 percent of all fare and toll revenues. It would take massive increases in ridership to plug interest gaps. "We need a new dedicated source of revenue, a piece of a new tax, something," said MTA board member Andrew Albert. State politics make revenue forecasts rocky. Insiders say that Governor George Pataki, desperate to show off developments at Ground Zero as he eyes national politics, wanted to use the MTA to push through progress downtown. In the November 16 plan, the MTA ignored Pataki's public request to earmark $250 million of its operating surplus to develop a rail link from JFK International Airport to Lower Manhattan. Analysts say that the idea makes scant economic sense. According to Nyesa Pranger, campaign director for the public interest group the Straphangers Campaign," It's a $6 billion project that would help a couple thousand people a day." The group regularly urges the MTA to ease crowding on subways and buses. "Compared with Second Avenue and East Side Access, the benefit per number of riders is worlds apart."Still, the MTA earmarked $100 million of its new bond money to "facilitate initial elements" of a JFK-Lower Manhattan rail link. For now, the MTA has won voters' support. But changes in Albany—and handwritten signs about weekend route changes—could erase that goodwill, too. ALEC APPELBAUM hours: monday-friday: 10am-6.30pm Saturday: 12-5.30pm

landscape C/) The U.S. Green Building Council selected the newest recipients of its annual Leadership Awards on November 4. An award was presented to one theory o individual and one organization in each of six categories: for community, the Kresge Foundation and BNIM Architects' Bob Berkebile; for education, o the Croxton Collaborative and Traci Ryder; for organizational excellence, I Gensler Architecture and Ross Spiegel of Fletcher-Thompson; for research. Advanced Energy Design Guide for Small Office Buildings and University of urbanism design Oregon professor G. Z. Brown; for advocacy. Global Green and Battery Park City Authority CEO Tim Carey; and for the LEED award, the New York State Energy Research and Development Authority and Paul von Paumgartten construction of Johnson Controls. history At the International Masonry Institute's annual Golden Trowel Awards on November 17, H3 Hardy Collaboration Architecture was lauded with the intenor best of community award and the grand prize. housing On November 3, New York-based artist Tara Donovan was presented with new york the inaugural Calder Prize, a biannual prize from the Calder Foundation. The artist, known for her use of common industrial materials in her installa• tions and sculptures, received $50,000 as well as assistance in placing a major work in a major public museum. the municipal art society's bookstore for architecture ntemational Devrouax & Purnell Architects received an Award of Excellence for its regional Potomac Electric Power Company headquarters in the nation's capital. The Washington, D.C. Marketing Center, a joint program of the D.C. Economic ancente Partnership and local business and development interests, bestowed the typology honor on November 2.

The Council of the Royal Institute of Brrtish Architects announced its Inter• national Fellows on November 30. The awards will be presented February monographs 15 to: Bernard Tschumi, Massimiiiano Fuksas, Wolf Prix, , Peter and more... Eisenman, and Rafael Viholy. Viinoly's firm has just awarded a research grant to Joseph Hagerman, a student at Columbia University's Fu Found• ation School of Engineering and Applied Science. Hagerman will research urban center books environmental performance and green roofs while in residence at the firm.

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THE ARCHITECT'S NEWSPAPER DECEMBER 14. 200S LU COCO BROWN $1.6 billion in tax-free Liberty FACILITIES MGMT 8e CONSTRUCTION MGMT bonds to fund the project. The building PASSES AWAY will be completed in 2009. —I On November 23, real estate executive Harry "Coco" Brown, Jr., died in his < PRESERVING PRATT LU Manhattan home. He was 71. Brown, Last month, the Pratt Institute was a former theater producer, is known awarded a $175,000 Campus Heritage for his innovative development in grant from the Getty Foundation to Sagaponack, in which he enlisted 34 develop a historic preservation master architects to design one house each. plan for its main campus in the Clinton Plan and Build Noted architects included Richard Hill neighborhood of Brooklyn. The Meier (who served as the project's cre• announcement follows the designation ative advisor), the late , of the Pratt Institute Historic District a Better Future , , and earlier this year-which includes all 36 Richard Gluckman. While all 34 homes buildings on the Brooklyn campus-by at Pratt. have been fully designed, only one, the National Register of Historic Places. loqtaphy Bill tonnui 76 by GIsue and Mojgan Hariri, has been Pratt has hired Ehrenkrantz Eckstut completed. Four have been sold, and & Kuhn to complete the plan, which eight are currently under construction. Facilities Management is the management of facilities and equipment as assets to will include a conditions survey, con• The homes, which are between 2,000 assure a quality environment and cost-effective investment. This program educates struction feasibility and analysis, his• and 5,000 square feet, sell for less students to assume executive responsibilities including strategic planning, financial toric preservation and review, and than $3 million, generally under both forecasting and budgeting, and real estate acquisition while integrating new recommendations for restoration and the size and cost of the average technologies into existing and planned facilities. long-term maintenance. The plan will Hampton estate. be finished early next year. Construction Management is the art of orchestrating and focusing of all needed forces towards the successful completion of a project. This program educates students to be skilled planners and managers of complex construction projects from concept STRIKING GOLD MORE MARTHA through completion in this four-year undergraduate program. Goldman Sachs broke ground on their Martha Stewart Living Omnimedia new 43-story headguarters in Lower has tentatively announced the launch Programs located at Pratt Manhattan Center 144 West 14th Street Full-time/Part- Manhattan on November 29. Located of its newest publication to be called time studies, financial aid/scholarships and evening programs for working students. at the intersection of the West Side Blueprint. The magazine intends to fill To receive details, call Yolanda Rodriguez at 212-647-7524 or email [email protected] Highway and Vesey Street in Battery a niche the media company believes or [email protected] Park City, the $2.4 billion building is under served: 30-something first designed by Henry Cobb of Pei Cobb time homebuyers. S/uepr/nf will cover Freed and Partners Architects, will renovation and furnishing tips as well Pratt Institute, as entertainment, fashion, design, and Office of Admissions house the investment banking firm at least until 2028. The building is even travel. The magazine is anticipat• 200 Willoughby Ave., Request a catalog at receiving $100 million in city and state ed to launch sometime May with a Praft Brooklyn, NY 11205 www.pratt.edu/admiss/request tax breaks and cash grants, as well as circulation of 200,000 to 250,000. Draw it. Build it. Make it. (718) 636-3514 E-mail; [email protected]

USGBC DOES SOME SOUL-SEARCHING LEED-CS for core and shell projects; LEED-H continued from front paqe already-converted for homes; and now LEED-ND. Watson green choir. Some urban designers in indicated that this is too much, too soon, attendance who were already familiar with in USGBC's development. "We're doing too Duany, though, were disappointed that he much simultaneously," he said in the ses• and the Congress for the New Urbanism sion. "There's no way an organization can (CNU) are closely tied to the development deliver all that." of LEED-ND, a rating system for neighbor• USGBC has had a bit of a wake-up call hood development which will be released in recently. First, the organization faced signifi• draft form in 2007. Many voiced hope that cant financial troubles early in the year, the system will encompass qualities of sim• though Watson noted the problems have ply smart, urbane urbanism and not neces• been dealt with. Then, independent authors sarily the CNU's traditional neighborhood Auden Schendler and Randy Udall published mantra. an extensive article, "LEED Is Broken, Let's In a provocative and surprisingly candid Fix It," in which they point to the complexity, If; session on the state of USGBC and LEED, Rob cost, and bureaucratic requirements of LEED Watson, known as the founding father of as hindrance to broader implementation of LEED, stepped overthe USGBC party line. the system. Watson said the article (a por• Watson, a senior scientist with the Natural tion of which appears on www.grist.org) Resources Defense Council and chair of the roused the USGBC board of directors and LEED Steering Committee, said the council led to the user-friendly refinements found has grown in membership and raised aware• in LEED 2.2, released at GreenBuild. ness of sustainability as expected, but the LEED 2.2 features a simplified registration market penetration of LEED has not acceler• system, lowered costs, and improved ated quickly enough. To date, nearly 400 standards of sustainability. The application -i- million square feet (or about 3,000 projects) process, still rigorous but easier to under• T have been registered with USGBC to become stand, is now entirely online. Version 3.0, LEED certified, but Watson noted that that which will be in development in 2006, will be constitutes only about 6 percent of new the first version to address regional issues commercial construction nationally. And in sustainable design. LEED-certified projects account for only One of the stranger GreenBuild moments about 1.5 percent of the nation's construc• was the Thursday evening USGBC tion. Watson said that the adoption of LEED Leadership Awards Celebration, when soul needs to reach 25 percent of the new con• diva Leela James performed. One word struction market soon for USGBC to be more described the scene as members of the pre• than a niche organization. dominantly white, middle-aged audience USGBC currently has six ratings systems got their groove on: awkward. On her web in use or development: LEED-NC for new site, James says, "You can't fake or buy soul." commercial construction and major renova• The crowd proved that one cannot fake soul, FISHER MARANTZ STONE tions; LEED-EB for existing buildings opera• but James' soul apparently has a price and www.fmsp.com 2126913020 tions; LEED-CI for commercial interiors; USGBC paid it. JOHN CZARNECKI \

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THE ARCHITECT'S NEWSPAPER DECEMBER 14. 2005

3

Modern Architecture. International Exhibition, University architectural historian Barry was flirting with postmodernism, MoMA POSITION IS POWER it described a particular kind of modern archi• Bergdoll redressed that distortion in MoMA's published Robert Venturi's Complexity and JAYNE MERKEL tecture which, like the paintings and sculpture Mies in America show by exhibiting original Contradiction in Architecture as the first and the museum was showing at the time, was drawings for both buildings along with the only Museum of Modern Art Papers on assertively geometric and came mostly from ones that had been displayed in 1932, noting Architecture (1966) and held The The fate of a lot more than who will be the Europe. The catalogue's title. Modern the earlier alteration in the exhibition and Architecture of the Ecole des Beaux-Arts exhibition (1976), when Arthur Drexler was next Chief Curator of Architecture and Design Architects, implied a wider reach than it had, catalogue. That public institutional admission curator. And when Johnson lost interest in at the Museum of Modern Art has been since the technologically advanced skyscrap• was only one of a series of decisions Riley the movement, he guest-directed the hanging in the balance since Terence Riley ers of the age were not included. And although made that showed he was his own man. When he was hired, in 1991, after he had organized Deconstructivist Architecture show (1988), an announced last month that he was going the exhibition had a section on housing, an exhibition at Columbia University on the event that not only helped counter the classi• resign from the position he has held for 14 selected by Lewis Mumford, the overall emphasis was on aesthetics. No wonder the history of the International Style show, it was cizing influence of the postmodern move• years: That role has been the primary force show is usually called The International Style, widely assumed that he was Johnson's per• ment but also advanced the careers of all the able to confer star status on architects (or the title of the book published by Johnson and sonal choice and, as such, Johnson's influ• participants—Eisenman, , Zaha deny it) and to define new directions in archi• Hitchcock that same year, minus Mumford's ence would continue. Hadid, Rem Koolhaas, Daniel Libeskind, tecture, whether they exist or not. material. What had begun in Europe as a Wolf Prix of Coop Himmelb(l)au, Bernard Johnson had been a potent force at MoMA For 75 years, ever since Philip Johnson and social movement was presented as a style. Tschumi—by suggesting that they were the for years. The stars of the International Style Henry-Russell Hitchcock started research for Hitchcock and Johnson even redrew Mies van heirs of Russian constructivism and practi• show were given exhibitions again and again the 1932 exhibition, catalogue, and book that der Rohe's 1929 Barcelona Pavilion and 1930 tioners of a new style, rooted in history and (ten on Mies, nine each on and came to be known as The International Style, Tugendhat House to emphasize the abstract, modernism at the same time. They all denied Wright). Johnson's friends Peter Eisenman, MoMA has been creating reputations and geometric qualities that they had identified that there was any such thing as "decon," none Charles Gwathmey, , John identifying trends more successfully than as characteristic of the style. louder than Eisenman who touted deconstruc- Hejduk, and Richard Meier made their debuts any critic, magazine, book, school, or other tivist philosophy as an continued on page 14 as Five Architects in 1969. When Johnson institution. Though the show was called Four years ago, Riley and Columbia ID l- < LU

THE CURATORIAL LANDSCAPE

The role of the architecture and design curator has to art galleries, international art biennials and special since Joseph Rosa left to assume the architecture curator Celant in producing a massive retrospective on Zaha expanded considerably since the Museum of Modern Art interest institutions, like the Museum of the City of New position at the Art Institute of Chicago. Rosa, for his part, Hadid, scheduled to open June. (MoMA) forged the position, shortly after its founding in York and the Studio Museum in Harlem. has announced his intention to hire two associate curators We decided to look at the most prominent and prolific 1929. Though still only a handful of collecting institutions There's a great demand at this moment for architecture to fulfill the Art Institute's ambition to expand to include architecture and design curators in this country today, to in the United States have dedicated architecture and design and design curators, a job that's evolving in pace with the design and for its exhibitions to be international in scope. gain a sense of how architecture and design are exhibited. departments (MoMA, San Francisco Museum of Modern fields to which it's devoted. Several major curatorial posts The National Building Museum claims that it still intends (Aaron Betsky, based in the Netherlands, is an exception, Art, Heinz Architectural Center at the Carnegie Museum in the U.S. are currently vacant: MoMA is seeking a chief to hire a chief curator, though it's been a more than a year but his career as a curator was established in the U.S.) The of Art, the Art Institute of Chicago, and the Cooper-Hewitt, curator to replace Terence Riley, who will leave in March, since Howard Decker abruptly resigned from the post. work of the curators presented here diverge from the prop• National Design Museum), architecture and design are as well as a curator to fill the position left by Peter Reed, The biggest news is that the Guggenheim is looking to agandizing, taste-making role distinguished by Philip cropping up in exhibitions more frequently and with who was promoted within the museum last summer. The hire a senior architecture curator, having recently hired a Johnson. Design curatorship has come a long way, but greater depth in a range of venues, from furniture stores SFMoMA has been curator-less for nearly six months. junior curator to assist contemporary art curator Germano clearly, the field remains wide open.

DONALD ALBRECHT PAOLA ANTONELLI AARON BETSKY K. MICHAEL HAYS BROOKE HODGE MATILDA MCQUAID JOSEPH ROSA Independent Curator Curator, Department of Director, Netherlands Archi• Adjunct Curator of Curator, Department of Exhibitions Curator and Head John H. Bryan Curator of Education: BArch, Illinois Architecture and Design, tecture Institute (since 2000) Architecture, Whitney Architecture and Design, of the Textiles Department, Architecture and Design, Institute of Technology (1974). MoMA (since 1994) Education: BA in History, Museum of American Art Museum of Contemporary Cooper-Hewitt, National An Institute of Chicago Education: MA in Architecture, (1979); (since 2000) Art, Los Angeles (since 2001) Design Museum (since 2002) (since September 2005) Donald Albrecht is unique Milan Polytechnic (1990). MArch, Yale University Education: BArch, Georgia Education: BA in Art History, Education: BA in Art History, Education: BArch, Pratt as a prolific independent pro• (1983). Institute of Technology Queens University, Kingston, Bowdoin College (1979); Institute (1984); MS in ducer of exhibitions and pub• Paola Antonelli made a great (1976); MArch in Advanced Ontario (1983); Masters in Masters in Architectural Architecture and Building lications. He has dozens of first impression as a curator Aaron Betsky has forged Studies in History and Architectural History, History, University of Virginia Design, Columbia University exhibitions to his credit. at MoMA with her exuberant, connections with just about Theory of Architecture, MIT University of Virginia (1989). (1990). (1990); PhD candidate, Including the important trav• eclectic exhibition Mutant every architect worth know• (1979); PhD in Architecture, Columbia (1990-94), eling retrospective of Charles Materials aadb). Though she ing on the planet. He made Art, and Environmental Brooke Hodge's curatorial Matilda McQuaid went pretty and Ray Eames (Vitra Museum, had previous shows under her Studies, MIT (1990). himself a player on the efforts are well-balanced much straight from her stud• Joseph Rosa gets around. 1997), World War II and the belt as an independent cura• architecture circuit early in between architecture and ies, in art history, to working Not only has he occupied the American Dream (National tor—at the Triennale in Milan, his career, most notoriously K. Michael Hays was brought design, historical and con• in the Architecture and majority of the architecture Building Museum, 1994), the Tokyo Design Forum— feeding the Deconstructivist on as adjunct architecture temporary subjects. While Design Department at MoMA. curator jobs in this country, New Hotels for Global her American debut initiated Architecture show to Philip curator by former Whitney director of exhibitions and During her 15 years there, but his shows cover a vast, Nomads (Cooper-Hewitt, her reputation for having a Johnson in 1988. He was director Maxwell Anderson, a lectures at Harvard's GSD she curated several shows unclassifiable territory. His 2003), and an exhibition on catholic perspective on what even up for the MoMA cura• strong proponent of architec• (1991-2001), her shows were on architecture and design previous exhibition subjects Enrique Norten (Museum of constitutes and drives design. torship before it went, some• ture. The Whitney decided primarily monographic, including, with Terence Riley, include Piranesi and Lauretta the City of New York, 2005). Microscopic, monumental, what surprisingly, to Terence from the outset not to com• devoted to historical figures Towards the New Museum Vinciarelli (both 1992) while he metaphoric, real, or fantasy— Riley in 1991. like , as well as con• of Modern Art (1997), a pres• The scope and mix of his pete with MoMA, choosing to was director at the Columbia for her, design seems to have temporary architects such as entation of ten architects' exhibitions are made possible Betsky rooted himself in focus on architecture that is Architectecture Galleries; and limitless boundaries. and Zaha Hadid. participation in a charette on by his independence: the Los Angeles architecture closely related to art. Though photographer Camilo Jose the architecture program• the MoMA's expansion; Vergara's series The New Unencumbered by an institu• If her shows share one scene, working in the offices Though the LAMoCA has ming has been low key. Hays, Structure and Surface (1998), American Gheffo (1996) while tion's mission or collection, he characteristic, it's tremendous of Frank Gehry and Hodgetts mounted architecture and who teaches architectural on contemporary Japanese he was head curator at the can pursue ideas as they inter• gusto. She's distinguished + Fung as well as coordinat• design exhibitions in the history and theory at Harvard, textiles; and the magnificent National Building Museum. est him, finding venues as herself as a curator with a ing lectures and exhibitions past, it did not formalize the frequently consults with installation of Shigeru Ban's While curator at the Heinz appropriate. Or, often, he is keen eye, pithy tongue, and at SCI-Arc. All the while, he curator position until Hodge's director Adam Weinberg and A Paper Arch, spanning the Architectural Center, he pro• recruited by institutions for profound heart. Her convic• wrote exhaustively for just 2001 appointment. She his fellow curators on how sculpture garden (2000). duced Folds, Blobs, and specific projects. Presently, tion that design gives shape about every magazine quickly focused on topics architecture enters the other 0oxes(2OO1).Then, at he's working on seven shows, to people's lives suits the con• a ro u n d—Metropolis, dear to Angelenos' hearts: In 2002, McQuaid joined arts. For example. Hays' SFMoMA, he mounted shows including retrospectives on text of MoMA, which has a Blueprint, ID, Metropolitan cars and Frank Gehry. Her the Cooper-Hewitt, National voice is seen in the last on industrial designer Yves Eero Saarinen, Moshe Safdie, historic mission to educate Home. In fact, Betsky was first two shows looked at the Design Museum, as head of Biennial, which featured sev• Behar (2004) and graphic and Dorothy Draper and lift tastes. Her open atti• thought of primarily as a work of automobile designer exhibitions, and quickly inau• eral works with a strong design firm 2x4 (2005). He tude has resulted in apprecia• magazine writer before he J Mays and of the region's Curious and energetic, gurated Solos, a lively series architectural dimension. began his new job, as curator bly quirky, and sometimes landed the position of archi• most famous architect. The Albrecht's shows are always of full-scale building installa• at the Art Institute in Chicago, risky, selections—for example, tecture and design curator at latter, which came a mere two strongly grounded in social tions that brought shipping Under Hays' direction the in September. her jam-packed current exhi• SFMoMA in 1995. years after the Guggenheim's history. Rather than privilege museum has organized two containers and polymer-skin the formal aspects of objects, bition, SAFE, includes a UN all-rotunda blowout, seemed Betsky's shows, articles, intelligent exhibitions—one pavilions to the museum's His grounding as a Albrecht emphasizes their cul• refugee tarp, camouflage superfluous. But Hodge is and books have run the on (2002) and pristine lawn. Her exhibitions practitioner (he worked tural resonance. (Who else cream, and a baby buggy. learning how to balance gamut in topic and tenor the other on Diller + Scofidio show off her ability to dis• at Gwathmey Siegel and would do a show on the air catering to a mass audience Antonelli began her career (athletic shoes, queer space, (2003), co-curated by Aaron play arcane technology in Eisenman/Robertson) comes conditioner?) Moreover, and creating challenging as an architect and architec• Dutch design). His detractors Betsky. Hays also launched alluring ways. Though the through in his exhibitions, his exhibitions are always shows. Her background in art ture journalist, with editorial say that his always-topical the lecture series Architecture Cooper-Hewitt has suffered even when dealing with trendy notable for their dynamic and architecture, penchant stints at Domus (1987-91) and exhibitions put glitz over Dialogues, featuring artists as recently from organizational subjects. For example, in installations. For example, for the interdisciplinary, and A/j/fare (1992-94). Herthe- depth. But under Betsky, the well as architects. He is now and leadership problems, Folds, Blobs, and Boxes, he his forthcoming show, on sus• extensive bicoastal networks matically strong shows have SFMoMA's profile grew, as did working on a show on McQuaid's consistently strong showed that non-Cartesian tainable residential design will hopefully enrich her always included architectural the authority of his depart• Buckminster Fuller and his contributions, such as her architecture predates the that will open at the National contribution as a guest co- as well as artistic components, ment. It was Betsky, too, who interactions with artists such recent, acclaimed Extreme advent of digital tools, empha• Building Museum in the curator of the 2006 National perhaps because of her Italian added "digital projects" to the as Jasper Johns and Robert Textiles show, have given the sizing a continuum of ideas spring, includes a full-scale Design Triennial at the roots. In Italy, art, architecture, department's official heading. Smithson. The Whitney does institution a much-needed air and processes in architectural Cooper-Hewitt. mock-up of a living room and and design are easily regard• not have an architecture col• of confidence. Betsky's high energy level practice. kitchen showcasing green ed as overlapping territories. lection but hopes to start one. has charisma has already lift• products. ed the profile of the NAi.

NED CRAMER EVAN DOUGLIS SARAH HERDA ZOE RYAN HENRY URBACH PETER ZELLNER Curator, Chicago Art Principal, Evan Douglis Executive Director, Storefront Senior Curator, Van Alen Founder, Henry Urbach Principal, Zellner/Planning RESEARCHED Foundation (since 2002) Studio (since 1991) for Art and Architecture Institute (since 2000) Architecture (since 1998) Research (since 2003) AND WRIHEN BY Education: BA in Architecture, Education: BArch, The (since 1998) Education: BA in Art History, Education: AB, History and Education: BArch, Royal ANDREW YANG, Rice University 11994). Cooper Union (1983); Education: BA in English University of Sussex (1998); Theory, Princeton University Melbourne Institute of CATHY LANG HO, MArch, Harvard GSD (1990). Literature, Mills College MA in Art History, Hunter (1984); MArch, Columbia Technology (1993); MArch, JAFFER KOLB. Cramer was specifically hired (1995); Masters in Urban College (2005). (1990); PhD candidate, Harvard GSD (1999). AND ANNE GUINEY to energize the exhibition Following notable predeces Design candidate. City Princeton (1992-95). program at the Chicago sors Terence Riley and Joseph College of New York. Trained in art history in her At Harvard, Zellner trained Architecture Foundation Rosa, Evan Douglis served as native England, Ryan arrived Founded in 1998, Henry with Rem Koolhaas and did (CAF), whose bread-and-but• director of Columbia's archi• From a brief stint as a curator in New York in 1998 and Urbach Architecture (HUA) his thesis under the auspices ter activity had always been tecture galleries, from 1995 for 2AES, a small, nomadic quickly landed a job as cura• is one of the few galleries in of the Harvard Projects on the city tours. During his tenure, to 2003. With shows like The organization in San Francisco, torial assistant at MoMA. At Chelsea to show the work City. With former classmate the CAF has mounted fewer Work of Paul Virilio (1997) to her current job at the the Van Alen, whose focus is of contemporary architects. Jeffrey Inaba, he runs VALDes, but more thorough and con• and ARCHItourism {2002), innovative, hole-in-the-wall the ever-so-fleeting phenom• Leaning more toward emerg• a collaborative devoted to temporary shows, such as Douglis' interests are clearly gallery Storefront for Art and ena of public space, Ryan ing experimental designers researching suburbs. Since A Century of Progress (2004), diverse, though his shows Architecture, Herda is well curated, with then-director than old-guard gallerist Max relocating to Los Angeles devoted to the experimental tended to focus on innovative versed at pulling together Ray Gastil, OPEN: new designs Protetch, Urbach has given from New York two years ago, architecture of the 1933-34 materials and technologies. shows in a pinch and on a for public space (2003), a architecture firms like freecell, Zellner put together several Chicago World's Fair One of Rather than simply show dime. During her seven years global survey of projects that LOT/EK, Roy, and many others group shows relating to both Cramer's most valuable drawings and objects, at Storefront, she has over• illustrate the changing nature a chance to show off their current and historical archi• initiatives has been to put Douglis allowed an exhibi• seen 40-plus shows, including of public space. It was her discipline-blurring efforts. He tectural movements in Los Chicago's architecture and tion's design to express the Urban Renewal: City Without first large-scale, traveling has also brought architecture- Angeles. As an unaffiliated culture into a national and ideas on display. For example, a Ghetto (2003) and, recently, show. With her diverse inter• sympathetic artists into the curator, he has proven to be international context. While to convey the mass-fabrica• Can Buildings Curate?More ests—she writes comfortably fold, such as photographer enterprising in creating the- that has also meant a subtle tion-oriented works of Jean important than any individual about industrial and graphic Richard Barnes and media maticaily compelling exhibi• shift away from the CAE's Prouve in his 2004 mono• exhibition she has brought to design for magazines like artist Marco Brambillo. tions and finding venues long-time focus on historic graph show, Douglis created a Storefront (many of its shows Surface and Blueprint—Ryan However, HUA never became for them, such as Sign and preservation, local observers CNC-milled kit of parts to form are organized by independent has helped Van Alen to broad• as commercially successful Surface at New York's Artists say that his interest in exhibit• a sensuous displayscape. curators), Herda has helped en the scope of its programs, as Protetch's gallery, and its Space (2003) and most ing younger, more innovative to stabilize the institution, such as l/ar/ab/£>C/ry(2004). Recently, Douglis has been public exhibition prngram is recently, Whatovor Happened Chicago architects has had increase its public profile, and which reprogrammed public focusing on his practiceand currently dormant. Urbach is to LA..', at SCI-Arc. an invigorating effect on the attract interest and support space through dance. on his duties as undergradu• now focusing on independent local architecture scene. from varied quarters. ate architecture chair at Pratt. curating projects. LU f\J 0^ ^

< LU THE ARCHITECT'S NEWSPAPER DECEMBER 14, 2005 • wes

fiberlike polyester membrane comes as flat sheets 9 SCALE PEN GIFTS latest in lighting technology to the masses in an 4 SUPPLE MOCHA CUPS elegant design. Available as a compact task light, Ribbed and curvy, the Supple Mocha Cups that are snapped together and shaped around For the over-accessorized architect, the Scale a desk lamp, and a floor lamp, Halley is energy- designed by Greg Lynn for Alessi imbue bono plastic rings; the lamp morphs according to its Pen designed by Shigeru Ban for acme studios 1 SOLIO AND SOLAR BACKPACK efficient and has a great range of movement, china with a fresh tactility. $70. owner's whim. $498 to $698. is the perfect accompaniment to oulr6 eyewear Yes, wn are always on the go, and we can't based entirely on counterbalanced components (www.unicahome.com.) (Design Within Reach, various locations.) and Intellectual scarves. Inspired by architects' bear being disconnecled. Harness the power of (no springs or knobs). S510 to S640 classic triangular scale, this retractable ball-point the sun for all your portable devices. The Solar 7 LEXON STICK SOUND pen is engraved on each of its three sides with (Moss, 146 Greene Street.) 5 MOD CABINET Backpack from Voltaic Systems generates enough different measurement scales. $98. Mod Cabinet's thumbprint-activated locking The Stick Sound by French company Lexon power to juice up cell phones, digital cameras, (MoMA Store, 81 Spring Street.) 3 OEK (DESIGNER EMULATION KIT) system marries contemporary pragmatism to a looks like a minimalist video-game joystick but and the like, but not laptops, alas. The bag comes Now you can own a miniature of a design retro aesthetic. PDAs with Bluetooth can control is actually a radio. Toggle left and right to search with a set of standard adapters and a battery classic, with a simple DIY kit from New York access to the cool, stackablo units, which wore for frequencies; up and down to control volume. 10 L0VETANN pack to store unused power. S325. (MoMA, 81 designer IVflark McKenna. Just punch out the parts, designed and fabricated by Brooklyn-based $48.50. (Industries Stationery, 91 Crosby Street) This season, why not give the biggest gift of Spring Street.) The solar.powered Solio will also assemble, plug Into a 9-volt battery, and small design and technology consultancy Glide. all—a new home. The Lavetann, developed by rachiirgo coll phones, polm pilots, and your other miniatures of Richard Sapper's Tizio Lamp. $2,395. Iwww.glide-inc.com or 8 CREVASSE VASE Oslo-t>ased firm Snehetta, is the latest iteration gadgets. For iPods, one hour of sun light will Achllle Castiglioni's Arco Floor Lamp (pictured), Matter, 227 Fifth Avenue, Brooklyn.) Zaha Hadid has brought her famous fondness for of the prefab craze, based on modules that buy• power one hour of music. $99. (www.solio.coml Ingo Maurer's Lucellino come to light. $26. twists and torques to the Crevasse Vase, which ers can arrange at will. Flatpacked and shippable, moMK 81 Spring Street.) she created for Alessi. The polished stainless steel Levetann is buildable in 10 days. From $276 to 6 CLOUD LAMP 2 HALLEY LAMP vase is appealing individually or as a pair. $220. S345 per square foot (www.loveIann.com) Continuing with his experiments with paper and Richard Sapper's Halley Collection for Lucesco (Special order. Conran, 407 E. 59th Street.) does for LEDs (light-emitting diodes) what his lighlwnight materials, Frank Gehry has created 1972 Tlzio Lamp did for halogens—it brings the the Cloud Lamp, made by Bnlux for Vitra. The

»> IT'S THAT TIME OF YEAR AGAIN. »> HERE ARE OUR SUGGESTIONS OF WHAT TO GIVE YOUR FAVORITE HARD-TO-SATISFY, DESIGN-OBSESSED, ON-THE-GO, LU m

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BOOKS

1 THE CONTEMPORARY GUESTHOUSE: BUILDING IN THE GARDEN .w™-..- Katsura Susanna Sirofman tliBContenipoiaiy Edizioni Press, $45 (hardcover) Though guesthouses are typically reserved in scale and program, the projects in this monograph are hardly ffyeslnouse restrained from a design standpoint. Featured are projects building inllieRanleii by Shigeru Ban. Shim-SulcliHe. Toshiko Mori, and others.

2 KONSTANTIN GRCIC INDUSTRIAL DESIGN Edited by Hloiian Bohm , $69.95 lhardcoverl This comprehensive monograph of young German industrial designer Konstantin Grcic shows a mechanistic aesthetic— seen in his famous ONE Chair and Mayday Lamp—that's as comfortable in an auto shop as in a living room.

3 KATSURA: IMPERIAL VILLA Edited by Virginia Ponclroli Electa, $79.95 (hardcover) This new book on Katsura, the Japanese imperial villa, begins with an informative introductory essay by . An impressive number of Images and drawings, as well as a collection of writings from architect-authors ranging from Bruno Taut to Kenzo Tango, offer a diverse analysis of the complex site.

4 THE SILVER SPOON ARCHITECTURE NO Phaidon Press, $39.95 (hardcover) Originally published in Italy by Doinus In 1950, Silver Spoon, a collection of regional and seasonal recipes from all over Italy, has finally been translated into English. The classic besl-seller has been beautifully redesigned, with recipes organized by course and Ingredient.

5 NEUBAU WELT Stephan Gandl/Neubau Die Gestallen Verlag. $59 (hardcover) A meticulous catalogue of things categorized by neu (objects), bau (humans), and well (plants and animal forms) may seem like an odd gift. Inside, however, the silhouetted Items—from hatchets to titmice—offer an endlessly amusing diversity of forms. The book comes with a CD of Images, which may be reproduced and edited at will. li 6 ARCHITECTURE NOW 3 Philip Jodido Taschen, $39.99 (paper) Architecture Now 3 may be the perfect book to give to friends who are less than savvy about established and rising architecture stars. The book presents thorough profiles of 27 contemporary practitioners from around the world- Including the likes of David Adjaye, Carlos Zapata, Vito Acconci, Ken Yeang, Asymptote—complete with head shots of principals, full-longth biographies, and notable works.

7 CASE STUDY HOUSES: THE COMPLETE CSH PROGRAM 1945-1966 CfiSG STUDV Elizabeth A. T. Smith Taschen, $200 (hardcover with case) HOUSES The Arts & Archilecliire-sponsorBd brainchild of John Entenza has been revitalized In this grand tome. Thirty of the projects from the magazine's Case Study program are portrayed in stunning photographs, detailed drawings, and clear essays. EDWMRO HUSCHA 8 ED RUSHA: THEN & NOW THE SteidI, $175 (boxed set, casebound) ED RUSCHA: CATALOGUE RAISONNE OF COmPLETG CSH THE PAINTINGS VOLUME 2 Edited by Robert Dean and Erin Wright PROGRflm Steldl/Gagosian Gallery, $200 (clothbound) Two recent books confirm Ed Ruscha's place as one of the most important artists of our time. The second of a planned A six-part volume. Catalogue Raisonne contains paintings from 1971 to 1982 as well as essays by Peter Wollen and Reyner Banham. Then & Now includes two sets of panora• mas taken of Hollywood Boulevard, one in 1973 and the other in 2004.

9 1000 LIGHTS: 1960 TO PRESENT Editors Charlotte & Peter Fiell Taschen, $39.99 (paper) lOOO ADHESIVE TAPES 1000 Lights is an authoritative history of contemporary lighting design. A follow-up to 7,000 Lights: 1878 to 1959, this volume traces more recent lighting trends, with over LIGHTS 1,200 lights representing movements from pop to postmod• ernism to high tech. jack 10 HUMBLE MASTERPIECES: EVERYDAY MARVELS OF DESIGN Paola Antonelli Regan Books-HarperCollins, $22 (paper with case) From the Dixie cup to the fortune cookie, nearly 100 com• monplace objects are celebrated In MoMA curator Paola Antonelli's latest book. Inspired by an exhibition she pre• sented at MoMA Queens in 2004. The cleverly designed book features a small image of each object, accompanied by a large color photograph of a detail, and a brief blurb on the object's design history.

11 TAPE: AN EXCURSION THROUGH THE WORLD 11 OF ADHESIVE TAPES Kerstin Finger Die Gestalten Verlag, $36 (hardcover) Clothes, graffiti, teapots, toys, plants, and other artifacts fill CORBUSiER the pages of this book, dedicated to showcasing endless uses—artistic, jovial, and practical—of tape. The book features artists' as well as essays about the sticky subject.

12 LE CORBUSIER PLANS Birkhauser, $2,100 per set, $7,600 for all four Extravagant, yes, but impressive. This digitized collection of over 35,000 plans, sketches, and documents from the archives of the Fondation Le Corbusier is being released In four sets. The first two have already been released; the remaining two will fie published over the next year.

Material Connexion 13 MATERIAL CONNEXION George Beylerian and Andrew Dent John Wiley & Sons, $80 (hardcover) 100 It seems only fitting that Material Connexion, the industry's RESOLUTE megasource for materials, would produce an expansive watt catalogue presenting the latest in plastics, resins, metals, and other cool design building blocks. Where else will you network learn the difference between light-degradable and biodegradable polymers? 13 Nt^W YORK SAN FRANCISCO SEATTLE CHICAGO r 18881 477-9288 F 18881 882-9?81 www.100watt.nel CLUTTER-PHOBIC, INSPIRATION-SEEKING ARCHITECT »> IF THESE DON'T PLEASE, THEN WE DON'T KNOW WHAT WILL! LU a:

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THE ARCHITECT'S NEWSPAPER DECEMBER 14, 2005

POSITION IS POWER continued from page 13 Arata Isozaki, Rafael Vinoly's Tokyo Arquitectos with Guy Nordensen, Office dA, Envisioning Architecture: Drawings from influence on his own work, was close to International Forum, Raimund Abraham's Smith-Miller + Hawkinson, and Munkenbeck the Museum of Modern Art {Museum of Johnson, and was the main personal link New Austrian Cultural Institute in New York, + Marshall) and A Paper Arch (2000) by Modern Art, 2002). Although it was "the between the participants. and the show, Bernard Tschumi: Shigeru Ban, a grand latticed canopy for the first museum devoted to modern art, and The Deconstructivist Architecture show Architecture and Event. museum's garden. Riley's ambitious The the first general fine-arts museum to have did, however, rekindle interest in modern (or Riley's OMA at MoMA: Rem Koolhaas Un-Private House (1999) introduced a num• a curatorial department devoted to architec• modernist) architecture, which was good for and the Place of Public Architecture ber of new talents (Michael Bell, Thomas ture," writes Riley in his contribution to the the Modern. The museum hadn't had an archi• appeared at the end of 1994, around the Hanrahan and Victoria Meyers, Hariri & Hariri, same catalogue, the MoMA "was chartered tectural blockbuster since Drexler's 1979 sur• same time S,M,L,XL was catapulting the Winka Dubbeldam) and ways of exhibiting as an educational institution, rather than vey. Transformations in Modern Architecture. Dutch architect to superstar status. The architecture. The gallery was arranged as a museum." The museum has always had During the heyday of postmodernism, other following September, Light Construction rooms to sit in, including a living room in extensive lectures, tours, and symposia to institutions, such as the Cooper-Hewitt and focused on thin-skinned, transparent and front of a large video screen and a dining accompany its exhibitions. the Architectural League of New York, shared translucent buildings by more than 30 archi• table with interactive electronic images pro• Before World War II MoMA also actively the role of tastemaker. And MoMA, which had tects from ten countries. Works by Herzog jected at each place-setting. tried to link "architects and potential clients," always undertaken historical exhibitions & de Meuron, , , Riley also played an advisory role when McQuaid notes in her essay. And because but mainly of modern masters, showed the Gigon and Guyer, Nicholas Grimshaw, Toyo the museum began planning another addi• for a long time it was the only place where work of Gunnar Asplund, Edwin Landseer Ito, , Ben van Berkel, many of tion to almost double its size. Most, but not architecture was exhibited with art, MoMA's Lutyens, Ricardo Bofill and Leon Krier as whom were little known in this country at all, of the architects invited to compete were influence in the world of architecture may well as of Le Corbusier, , and the time, were shown along with those by ones whose work he had shown—Herzog have been greater than its impact on painting Mies as usual. Also during those years, the well-known Americans, such as Johnson, & de Meuron, Holl, Ito, Koolhaas, Tschumi, and sculpture, which were shown in muse• museum, which had always practiced what it Gehry, Holl, Tschumi and Tod Williams Vinoly, Williams/Tsien. Also invited were ums and galleries throughout the world. preached, hired Cesar Pelli to design an addi• Billie Tsien, newcomers like Joel Sanders, , Dominique Perrault, and Yoshio Placing architecture and design in a fine art tion, instead of Johnson who had design-ed Thanhauser & Esterson, and some visual Taniguchi, who won the commission. The museum privileges aesthetics, but it also the garden and the earlier new wings. artists. The premise of the show was rather sensibilities Riley had highlighted in his shows allows a consideration of their personal, (Philip Goodwin and Edward Durell Stone elusive but Riley proved that he was willing were very much in evidence in the museum private, technological, handmade, and designed the museum's main building very to take risks and promote work different than competition, while Johnson's friends were not. visionary aspects. At least partly because much in the International Style, in 1939.) his own. (Like previous heads of MoMA's Johnson's early emphasis on aesthetics, of MoMA's influence, these dimensions of It was only at the very end of the 1980s architecture and design department— however has been dominant at MoMA in architecture and design are being celebrated that younger modern architects' work Johnson, Philip Goodwin, Drexler, and recent decades. The architecture shown at today at the Canadian Center for Architecture, reappeared on MoMA's walls. While Stuart Wrede—Riley is a practicing architect, in the MoMA, like the art, is chosen for artistic Georges Pompidou Center, San Francisco Wrede was in charge (1986-92), there were partnership with John Keenen.) merit and originality first. From the museum's Museum of Modern Art, Netherlands exhibitions of Emilio Ambasz (a former During Riley's tenure, his department beginning, under its zealous first director, Architecture Institute, and a whole host of MoMA curator), Steven Holl, Diller+Scofidio, staged, as it always had, historical shows Alfred H. Barr, Jr., "the museum's staff saw progeny the world over. But the Museum of and , as well as of Mario Botta (on the United Nations, , Lilly their new institution as a populist one whose Modern Art is still the mother ship, so it mat• and Louis I. Kahn (his sixth at MoMA). Reich, Wright, Mies) as well as more uncon• fundamental mission was to educate the ters very much who takes Terence Riley's Riley's first show, in 1992, was the small ventional presentations like Fabrications general public about the developing culture job and what he or she does with it. of modernism," former MoMA curator New Furniture Prototypes by Frank Gehry. (1998), a three-museum event that invited JAYNE MERKEL IS A NEW YORK WRITER WHOSE Then came his Prev/ews series, with the Nara architects to create site-specific installations Matilda McQuaid writes in an essay that MOST RECENT BOOK IS EEffO SAARINEM Convention Hall Competition Exhibition by (at MoMA, contributors were TEN appeared in the exhibition catalogue (PHAIDON, 2005).

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THE ARCHITECT'S NEWSPAPER DECEMBER 14. 2005 m THURSDAY 22 DECEMBER WEDNESDAY 11 ARCHITECTURE AND NEW YORK: O EVENT LECTURE NEW NEW YORK, THE BROOKLYN BRIDGE o WEDNESDAY 14 New York Building Kate Haley December 15 through February 8 CM LECTURE Foundation Theater Benefit Every Citizen a Soldier: Urban Center Gallery, 457 Madison Avenue Richard Guy Wilson 5:30 p.m. American Propaganda >- The White City, Gotham, Firebird Restaurant on the Home Front With the face of the waterfront changing throughout New < and the American Renaissance 365 West 46th St. 10:00 a.m. York's five boroughs, the timing couldn't be better for the 8:30 a.m. www.buildingcongress.com Bard Graduate Center Z) Architectural League's exhibition on the proposed Brooklyn The Harvard Club of New York 18 West 86th St. Bridge Park. The masterplan for the site, designed by land• 27 West 44th St. WEDNESDAY 28 www.bgc.bard.edu scape architecture firm Michael Van Valkenburgh Associates, www.nypap.org EVENT covers 85 acres and includes collaborative designs by firms Institute of Design and EXHIBITION OPENING including James Carpenter Design Associates, Mathews EXHIBITION OPENING Construction Open House: Green Towers in New York: LU Nielsen Landscape Architects, Pentagram Design, Margie Pixar: 20 Years of Animation Architect Registration From Visionary to Vernacular Ruddick Landscape, and Maryanne Thompson Architects. CO Museum of Modern Art Examination Preparation Skyscraper Museum The plan, which responds to the site's industrial history while 11 West 53rd St. 6:30 p.m. 39 Battery PI. introducing a new, natural landscape, proposes an integra• LU www.moma.org The Institute of Design www.skyscraper.org tion of land and water through floating walkways, tidal O and Construction marshes, and an area of the river designated for recreation• LU EVENT 141 Willoughby St. THURSDAY 12 al uses. It has been met with both praise and criticism for American Society www.idcbrooklyn.org LECTURE its scale and the extent of its planned development. of Landscape Architects Lewis Erenberg, Drawings and renderings of the masterplan and proposed Holiday Party Stephen Polcari, Naima development and construction, as well as a large-scale site HOT! LIVE! DESIGN! 2005 Prevots, John Zukowsky model will present the dynamic project. The show is the Times Square Awards THURSDAY 5 Made in America: fourth the Architectural League's New New York series, 6:00 p.m. EXHIBITION OPENINGS Nationalism and Culture dedicated to showing new building projects in the city. Center for Architecture View Nine/Scene I in the World War II Era 536 LaGuardia PI. Mary Boone Gallery 5:30 p.m. www.asla.org 745 5th Ave. Bard Graduate Center PIXAR: 20 YEARS OF ANIMATION www.timessquarealliance.com 18 West 86th St. www.maryboonegallen/.com Museum of Modern Art, 11 West 53rd Street www.bgc.bard.edu December 14 through February 6 THURSDAY 15 Mary Mattingly LECTURES Second Nature SATURDAY U MoMA's 20-year retrospective of computer animation Bruce Mau. EXHIBITION OPENING Robert Mann Gallery / pioneer Pixar demonstrates the museum's commitment to Robert Adams 210 11th Ave. exploring emerging technologies and art forms. Organized 6:30 p.m. Turning Back www.robertmann.com by the Department of Film and Media, the show includes Parsons The New School Matthew Marks Gallery over 500 pieces of original art from such blockbusters as for Design 522 West 22nd St. SATURDAY 7 Toy Story (1995), Finding Nemo (2003), and The incredibles Tishman Auditorium www.matthewmarks.com EXHIBITION OPENING (2004), including conceptual drawings, oil paintings, and 66 West 12th St. Acute Zonal Occult Outer sculptures, illustrating the extensive production processes www.parsons.edu Drawing Room WEDNESDAY 18 behind the company's extraordinary animation style. EVENT 40 Wooster St. The exhibition also includes material from Pixar's more Neil Chambers, Robert Architectural League's 125th www.drawingcenter.org obscure short films, such as For the Birds (2000, early Watson, Gail Suchman Anniversary Benefit Dinner sketches, at left) and Luxo. Jr (1986), a short about animated Talking Green: Green Policy 7:00 p.m. SUNDAY 8 office supplies and the source of the company's trademark, 7:00 p.m. The University Club LECTURE a hopping desk lamp. CUNY Graduate Center Larry Liss 1 West 54th St. In honor of the show, and possibly to ensure future 365 5th Ave.. 9th Fl. www.archleague.org The Imagery of screenings, Pixar and its estranged partner, Walt Disney www.cuny.edu Chess Revisited Pictures, have donated new 35mm prints of the films to the THURSDAY 19 3:00 p.m. museum's permanent collection. EXHIBITION OPENING Noguchi Museum LECTURES Architecture and New York: 9-01 33rd Rd., Queens Clifford Channin, New New York, The Brooklyn www.noguchi.org Marilyn Cohen, Bridge Marianne Lomonaca,

Urban Center Gallery TUESDAY 10 Barbara McCloskey GREEN TOWERS IN NEW YORK: 457 Madison Ave. LECTURE The Visual Culture of War FROM VISIONARY TO VERNACULAR www.archleague.org Hiroshi Kashiwagi 6:00 p.m. Skyscraper Museum, 39 Battery Place Japanese Modern Design Bard Graduate Center January 11 through April 11 FRIDAY 16 1920-1940: Rationalism, 18 West 86th St. EVENT Nationalism, and www.bgc.bard.edu Cooper Union Art Auction Total Warfare The Skyscraper Museum's newest exhibition focuses on Cooper Union 6:00 p.m. Neil Chambers, Robert the growing trend of tall green construction in New York. The show includes 14 buildings, divided into three groups- 7 East 7th St. Bard Graduate Center Watson, Gail Suchman corporate, mixed-use, and residential—which allows the www.cooperartsale.org 18 West 86th St. Talking Green: show's organizers to convey the differing motives behind www.bgc.bard.edu Green Education sustainable building practices. For example, with resi• SATURDAY 17 7:00 p.m. dences, sustainability is a handy marketing tool; in office EXHIBITION OPENING CUNY Graduate Center EXHIBITION OPENINGS buildings, the use of environmentally safe materials, natu• Bryan Savitz 365 5th Ave., 9th Fl. Anarchy to Influence: ral lighting, and other green technologies is regarded as a Rare Gallery www.cuny.edu Design in New York, sign of good corporate citizenship and of a healthy work• 521 West 26th St. 1974-1984 place. The show includes the Solaire at Battery Park City www.rare-gallery.com FRIDAY 20 Parsons The New School by Rafael Pelli for the Albanese Organization, the Helena EXHIBITION OPENING for Design on West 31st Street by FXFowIe Architects for the Durst TUESDAY 20 Jessica Bronson Arnold and Sheila Aronson Organization and Rose Associates, the Hearst Building on EXHIBITION OPENING Galleries Lombard-Freid West 57th Street by (pictured, left), and Robert Rauschenberg 66 5th Ave. 531 West 26th St, Cook - Fox's Bank of America Tower on 42nd Street. The Combines www.parsons.edu www.lombard-freid.com exhibition will be accompanied by a nine-part lecture series, Metropolitan Museum of Art titled How Sustainability Succeeds in Business, which will 1000 5th Ave. Frederick Kiesler WEDNESDAY 25 be held at the museum. www.metmuseum.org Vision Machine SYMPOSIUM Cooper Union Developers Forum: WEDNESDAY 21 Arthur A. Houghton, Jr., Getting Bold in the Boroughs EXHIBITION OPENING Gallery General Society of Transformed by Light: Mechanics and Tradesmen 7 East 7th St. The New York Night 20 West 44th St. www.cooper.edu Museum of the City www.pwcusa.org of New York 1220 5th Ave. THURSDAY 26 www.mcny.org SYMPOSIUM LIST YOUR EVENT AT SPSW: State-of-the-art Steel Design for Seismic and DIARY(5)ARCHPAPER.C0M Blast Resistance 8:30 a.m. McGraw-Hill Auditorium FOR COMPETITIONS GO TO [email protected] 1221 Avenue of the Americas WWW.ARCHPAPER.COM www.siny.org CO

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Asphalt) excludes a host of other urban feelings. It is disap• pointing, for example, that food plays a negligible role in a show about urban sensations. The focus of Sense of the City is more anthropological CIVIC than architectural, although buildings are part of the story. In addition to the Koolhaas bedroom scene, there's a drawing by James Stirling showing the ventilating ducts at the BODIES Staatsgalerie in Stuttgart, and a stunning 1958 photo by architectural photographer Ezra Stoller from inside CCA founder Phyllis Lambert's beloved Seagram Building. These Sense of the City disconnected images remind us of the rarely mentioned Canadian Center for Architecture mechanical guts of famous buildings. In this regard Sense of 1920 rue Baile. Montreal the City 'is remarkably different from Out of the Box, a show Through September 10, 2006 Zardini organized as an independent curator for the CCA in 2004, a more straightforward exhibit on the output of superstar architects Cedric Price, , James Stirling, and Gordon Matta-Clark. What's really startling about Sense of the Cityls how an exhibit about urban stimulation—about the ways cities frighten, disturb, delight, and chill us—can be so soothing. Low and changing lighting conditions in each gallery make the overall experience calming, almost like a visit to a spa. The change helps visitors through the different sensual dimen• sions of each space—the aromas in the smell gallery, the tex• tures of the surface gallery, the tones of the city in the sound gallery. Low-level violet lighting in the gallery devoted to the

rivulets city at night slows everybody down. "You slow down in order for dcBinage and conveys a- v for your eyes to adjust," explained lighting designer Linnaea Vrie^ndorp's Flagrant Delit (1975). Tlllett. "Otherwise you'd miss everything." She's right. It's dark. Zardini claims that the show offers a new approach to Museums typically try to keep out the air pollution associated fly has 3,000 lenses? Each subsequent room is devoted to a urbanism that's less dependent on sight than the other sens• with urban living. But since October 26, the scent of rotting different theme: "Nocturnal City," "Seasonal City," "Sound es. It's a worthwhile project because it does open our ears, garbage and subway fumes has been wafting through the of the City," "Surface of the City," and "Air of the City." noses, and miscellaneous body parts to ignored aspects of galleries of the Canadian Center for Architecture (CCA). These sections promote a range of ideas: In "Nocturnal urban life, but the result is not nearly noisy, stinky, dark, Sense of the City, the show responsible for these unlikely City," a subway poster from a child-abuse nonprofit and tasty, or gooey enough to give us a real sense of the city. sensations. Is designed to challenge visitors to experience Madelon Vriesendorp's erotic Flagrant Delit oi 1975 (best ANNHARIE ADAMS IS A PROFESSOR AT THE SCHOOL OF cities through our noses, ears, and other parts of our bodies. known as the cover of Rem Koolhaas' Delirious New York) ARCHITECTURE, MCGILL UNIVERSITY, MONTREAL. The show, which will fill the CCA's main galleries for nearly suggest that cities are more frightful, transgressive, and clan• a year, is the first effort of the center's new director, Mirko destine at night than during the day. "Seasonal City" is not Zardini, since he assumed his post on November 1. Zardini really about all the seasons but primarily about winter, play• has a background in the world of magazines, and is perhaps ing to its Montreal audience. It features the city's magnifi• best known as the editor of the Italian publications cent 1889 Ice Palace designed by architects Hutchison and Casabella and Lotus International. His editorial perspective Steele. Some sections work better than others; for example, comes through in the exhibition and its accompanying in the "Sounds" section, 16 sets of headphones suspended 350-page catalogue, which have a post-grunge, neo-modern from the ceiling invite visitors to appreciate the soundscapes style that is familiar to us from art-based magazines: lots of of as many cities. It's a nifty, interactive feature, but after a sumptuous images, edgy graphics, and pull-quotes. Sense while, recordings of garbage trucks, raindrops, honking cars, of f/7e C/Yy blasts visitors with non-traditional material, and cathedral bells, ice cream vendors, and cooing pigeons compared to most CCA exhibits, is distinctly ahistorical. sound the same in Vancouver and Amsterdam. In the Sense of the C/fy unfolds in six big rooms connected in an "Surface" section, one can touch the black goo of real enfilade loop. The first room explains how animals' senses asphalt and see the textures of pavers, but this emphasis far surpass those of humans. Did you know that the eye of a on roads and sidewalks (Zardini wrote a book in 2003 called

The debate at Columbia University's dable cultural landmarks of our age, the true ures. The symbolic richness (and shameless- Graduate School of Architecture, Planning, signs of Zeitgeist; others see them as signs ness) of the new architectural iconicity is best and Preservation last month for the launch of our collective disgrace. Jencks didn't take captured by the "metaphorical analyses" of THE ODD of Charles Jencks' new book. The Iconic sides, though he is clearly fascinated by the Dutch artist Madelon Vriesendorp, a series Building (Rizzoli), was a dialectical tango trend. As he writes in the conclusion of his of sketches drawn for the book that reflect worthy of a Jack Lemmon/Walter Matthau book, the new icons may well "usher in a on iconic buildings. Jencks showed some COUPLE skit. Prim and proper Jencks, the architect new era of creativity and freedom." of them at the lecture, including a rendering and author of the best-selling The Language Frank, Peter, Rem, Santiago, Zaha, Danny, of Gehry's Disney Hall as a Marilyn Monroe of Post-l\/lodern Architecture, faced off with Norman: these are the authors of the new figure, taking pleasure in the subway puff. an acerbic Peter Eisenman, whose views on iconic buildings. (If you don't know who Not surprisingly, Eisenman disagreed. For Charles Jencks and Peter Eisenman: the nature and value of icons are decidedly we're talking about, you haven't been follow• him, Jencks' book is "dangerous to read." The New Iconic Building? different from those of Jencks. The two pro• ing.) Jencks argues these architects deal with The problem, he said, is that Jencks doesn't Columbia Unniversity GSAPP voked, teased, mocked, and ultimately gave Wood Auditorium, Avery Hall, October 26 "event buildings," i.e., the monuments of an qualify the properties of the enigmatic well each other a friendly pat on the shoulder. age obsessed with media. If past monuments enough. "I don'tthink Foster's building is In his opening salvo, Jencks declared, "The were expressions of social and religious enigmatic," he said, referring to Norman's iconic building is here to stay." He showed a ideals, and ultimately symbols of ruling Swiss Re London headquarters (nicknamed Byzantine-era religious image as an exemplar ideologies, today, said Jencks, commercial the Gherkin) which is featured theatrically on of the complex and immediate symbolic forces and the quest for instant fame demand the book's cover. "Foster's is a pretty dumb value of icons. The Eiffel Tower and Le that architecture be "an amazing piece of building. Charles thinks well but he doesn't Corbusier's chapel at Ronchamp aside, the surreal sculpture as well as something that see well." Eisenman countered Jencks' every phenomenon of global architectural icons appeals to a diverse audience." The new par• phrase, and finally exploded, "Multiple enig• has picked up steam only recently with the adigm is what Jencks called "the enigmatic matic? The worst example of all is Calatrava's so-called Bilbao effect. Now that every civic signifier," a "curious sign [that] suggests buildings. The only enigmatic thing about leader seems to want one, iconic buildings many meanings without naming any of Calatrava is his success." For Eisenman, have become ever more prominent in the them." Whether intentionally or not, such media, which, after all, are their natural con• Jencks' enigmas are way too obvious; an new architecture conjures up many sym• text. Some see architectural icons as formi• enigmatic building for him would be one that bols—a triumph of easy, seductive, pop fig• conceals its meanings, continued on paqe 19 00 00

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THE ARCHITECT'S NEWSPAPER DECEMBER 14, 2005

infamous Chris Burden, did similar same space. The Aztec Empire. Who Marina Abramovic performing Entering the Other Side (2005) pieces. And striking images from else has explored blood and end• and (below) reenactinq Vito Acconci's 1972 piece Seedbed. Both Abramovic's own performances urance rituals with as much convic• events took place in the rotunda ti%ff ththee Guggenheim Museum. are continually being appropriated tion and artistry as the Aztecs? by fashion photographers with no The ceremonial objects that were credit given. "We have lost an old- on show radiated a fearsome aura. fashioned sense of morality," said The rapt engagement of Abram• this granddaughter of an Eastern ovic's audience, which swelled to Orthodox patriarch. "Everything is more than 1,400 some nights, gave copied without thought." me a sense of the power those Not that she's against these ancient Aztec rituals must have concepts being disseminated into exercised over that society. the wider culture. She beams at Today, we live in an era where the mention of the Sex and the City public tests of endurance only episode that recreated scenes from occur on television shows like her 2002 performance at Chelsea's Stvrv/Vorand Fear Factor. As the Sean Kelly Gallery, where she fast• threat of losing life or limb is more ed for 12 days while living on a large theater than possibility, the ordeals shelf. The difference she's quick to suffered offer no transcendence, point out is that the producers asked only crass celebrity and fortune. her permission and paid for the Abramovic received no remuner• rights—which is what she has ation for Seven Easy Pieces. In fact, done in Seven Easy Pieces, and she contributed to its funding, what she hopes a new generation endowing the series with a rare of artists will do in the future. purity of intention. In fact, her performance marathon Architecture always plays a criti• seemed a bit of a dare to younger cal role in ritual. It became the adver• artists. While they have drifted to sary on the first night in Abramovic's installations, tape loops, and other performance of Nauman's Body career she might have had a nega• technical effects to mediate experi• Pressure (1974) which consisted of tive view of such a project. "The ence, Abramovic continues to push a set of instructions requiring her to work was supposed to be in the herself to physical and mental repeatedly press her face and body RITE MINDED moment," she said. But over the extremes in order to engage the hard against a glass wall and then years she, like some of her peers, audience directly. The series the floor. On the concluding night, came to feel that the relics from a required her to stare down an audi• Abramovic performed her latest performance—instructions, images, ence while wearing crotchless pants piece. Entering the Other Side, in and objects—were themselves and holding a submachine gun; to which she stood on a tiny platform works of art. lie on a steel bed with candles burn• about 16 feet high, resplendent in Marina Abramovic; Seven Easy Pieces a shimmering blue dress that Solomon R. Guggenheim Museum, 1071 5th Avenue She regrets, too, that as a young ing beneath her; and to incise a pen• November 9 through 15 artist in her native Yugoslavia, she tagram into her belly with a razor cascaded to the floor. It was if she was unable to travel to see the per• blade, lie naked on a cross made had arisen from the "seedbed" formances being done elsewhere. of ice blocks, and then whip herself. of the stage. She had become the In all my years of visiting the hour performances that ran from Little was documented then or cate• Even reenacting Acconci's notorious architecture. With her arms out• Guggenheim Museum, I never saw November9"'through the 15"' gorized later. It's taken her years to onanistic Seed/?ed(1972) must have stretched, she turned slowly from its undulating walls and glazed on the museum's main floor. The track down original materials and become a trial of unusual endurance side to side, triumphantly regard• dome as feminine erogenous zones series was itself a bold attempt at sources for these historic pieces. as it stretched on for hours. ing the audience. This was the until I stood on a circular stage in the conversion—some might claim "It's a big mess," she said. As mad, masochistic, and dated artist as priestess. Through trials middle of the rotunda listening with transgression—as it comprised the This dusty disorder has undoubt• as these acts might seem when of will and the letting of blood, awkward intimacy to the projected reenactment of six ground-break• edly encouraged the casual described, they almost all proved Abramovic gave new life to old art. moans and panted fantasies ing works by the early exponents of pilfering of early performance art's affirming, ecstatic experiences. MARISA BARTOLUCCI LIVES IN of the performance artist Marina performance art: Bruce Nauman, concepts and imagery. Ten years Their altered context imbued them NEW YORK AND WRITES ABOUT ART, ARCHITECTURE, AND CULTURE. Abramovic as she lay beneath the Vito Acconci, Valie Export, Gina Pane, ago, for example, Tilda Swinton with fresh currency and meaning. floorboards masturbating. With only Joseph Beuys, and Abramovic her• created a sensation when she As a Slav, Abramovic finds it sig• her voice and suggested presence, self. Through her performances, spent a week as a living work of nificant that the series coincided Abramovic transfigured familiar Abramovic has transformed these art, sleeping in a glass vitrine in with the museum's survey show of architecture into erotic metaphor. exercises in ephemera into docu• a work conceived by the artist Russian art. To watch her bleed as Such is the sorcery of her art. mented art works. Legend recast as Cornelia Parker. What bothers she lay on an icy cross in view of an There would be all varieties of legacy. A fitting pursuit for an artist Abramovic is that neither the artist icon of the crucifixion was indeed transformation during Seven Easy long fascinated by ritual. nor the media noted that several galvanizing. Pieces, Abramovic's punishing, The 59-year-old, darkly alluring artists in the 1970s, including herself During the week I could not help enthralling seven-day rite of seven- Abramovic admits that early in her with her then-partner Ulay, and the thinking of last year's exhibit in the

BIrsel + Seek proposes designating loading and unioadingj^itrtones. Whaddyagonnado? Fuggedaboutit! This eternal question and its inevitable answer summarize the sublime paradox of New York: In order Checkered to live in this, the greatest city in the world, locals claim, one must put up with a number of often transit-related challenges—mystifying MTA man• agement, bikes lanes used as loading zones, Los Angeles-grade gridlock, History and the insufferable back seats of 14,000 already-lousy Ford Crown Victoria sedans fashioned into taxis—that, taken collectively, render the city something less than great. Mediocrity, it seems, is the price of Great• ness. And the unlivable, perversely, becomes a measure of the urbane. Designing the Taxi, a project by the Design Trust for Public Space in cooperation with Parsons The New School for Design, resists this complacency. In workshops earlier this year, the project assembled what i Parsons dean Paul Goldberger described as "a wide range of taxi stake- ; holders," including the Ronart Leasing Company, which is one of the Designing the Taxi I city's largest taxi fleets, the National Resources Defense Council, and an Parsons The New School for Design ; eclectic selection of design firms. They have reimagined the taxi as infra- 2 West 13th Street Through January 15 ; structural system, practical vehicle, and urban icon. With such diverse contributors, the new proposals continued on page 19 CO O

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CHECKERED HISTORY continued from page 18 avoid the questionable fate of The Taxi Project, a 1976 exhibit curated by Emilio Ambasz at the Museum of Modern Art, which despite billing itself as offering "realistic solutions for today," showed high-end fantasias INTERSECTION that were anything but. Many of the best ideas at Parsons, sensibly borrowed from other FOR ART cities, are precisely not the sort of thing you can polish up and show at MoMA. Designers Birsel + Seek suggest designated loading zones, as seen in Hong Kong. Landscape architect Solange Fabiao Ken Smith envisions London-type dedicated taxi lanes and congestion pricing. Design con• Transitio„NYC sultancy Imagination proposes that subway Metrocards work in taxis, too, as in Zurich. Cornerof Canal a The ghost at the feast is, of course, the Checker. That purpose-built, high-riding, gas- October 20-31 guzzling behemoth became a rolling city landmark before being replaced by converted Chevy Caprices and Ford Crown Victorias in the 1980s and '90s. Pentagram proposes a modernized "New Checker" that resembles the currently fashionable 2005 Chrysler 300 sedan. Hybrid Product Design applies the familiar Checker yellow and checkerboard stripe to a vehicle that resembles the best of French science fiction. And in what is described as a gesture that "acknowledges the diversity of origins of New York cabbies, while also professionalizes their appearance," pedestrian rights group Citystreets applies the same pattern not only to an ear-flap-hat and nautical cap worthy of Judd Hirsch but to what appears to be a Sikh turban—an alarming conflation of the mundane and sacred. One also laments the absence, among the graphic and industrial designers and architects who contributed to the show, of an actual automotive designer—perhaps J Mays, who as the inventor of the new VW Beetle and the new Ford Thunderbird might be able to teach New Yorkers about adding a little user-friendly functionality to legendary Greatness. But some locals would remain unconvinced. Overheard from one exhibit-goer was this response to the humane and sensible notions—from GPS systems to cupholders—on offer: "Where For a brief period in October, pedestrians and eastbound traffic on Canal Street who hap• do they think this is, San Francisco?" Whaddyagonnado? pened to look upward between 6:30 and 11:00 p.m. were treated to the striking sight of a NEW YORK WRITER/DESIGNER THOMAS DE MONCHAUX TAKES THE SUBWAY. video projected onto a building at the intersection of Canal and Centre, in the heart of Chinatown. It was an installation by Brazilian-born, New York-based visual artist Solange Fabiao, who recorded the material from a taxi coursing through the Chinese cities Manning THE ODD COUPLE continued from page 17 continue a search they began some 30 ago, and Shanghai. Many of the scenes projected above echoed the live scenes below: red tail burying them within architectural form. for complexity of meaning in architecture. lights of cars and motorbikes, processions of Chinese faces, storefronts emblazoned with "Iconic buildings," he added, "destroy the Jencks imagines buildings as canvases for Chinese characters. Whether one looked straight ahead or up, the scenes seemed to occu• possibility of multi-coded design." A truly an eloquent, pop iconography; Eisenman py a continuum, which said something about the ease with which some cultures are trans• enigmatic building, for Eisenman, would searches for multi-coded, brainy scripts planted outside their native land. demand more from the spectator, and would open to cross readings. Jencks grants the Fabiao started the series, called Transitio, in 2000, shooting a continuous video of the oblige him to think deeper. It would not sur• contemporary icons the benefit of an enig• entire length of Broadway, also from a taxi. Last year, her Broadway footage was projected render its secrets so easily, so impudently, matic doubt; while Eisenman declares that onto the City Center Dome in Beirut. Transitio is not complex or political (like Krzysztof but be an exercise in delayed gratification. they are hopeless one-liners. The verdict is Wodiczko's or Jenny Holzer's building projections) but offer, simply, a slice of a place and The debate was spirited, but there was also pending, OLYMPIA KAZI IS A NEW YORK-BASEO time that can shift one's awareness, for a moment, CATHY LANG HO IS AN EDITOR AT AN. a sense of deja vu. Both Jencks and Eisenman ARCHITECT.

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SR. PLANNER/LOWER MANHATTAN SR. PROJECT MANAGER ARCHITECTURE + DEVELOPMENT Department of City Planning Business is Growing - Come Join our Team! Tamarkin Co. is an award-winning architecture Rensselaer firm that combines the art of architecture with The Senior Planner for Lower Manhattan will Supervise staff, manage clients, audit reports, the excitement of real estate development. We and perform property condition assessments. have immediate positiions available for excep• oversee the Department's role in the planning ASSOCIATE/ASSISTANT PROFESSOR Candidates must have 10 yrs exp., R.A. or P.E., tional junior designers with 2-5 years experi• and revitalization of Lower Manhattan including School of Architecture the redevelopment of the World Trade Center strong knowledge of building systems and ence. AutoCad skills required. Site. The Senior Planner will direct planning The Schfi. [email protected] West 17th Street, #2N, New York, NY 10011; the Manhattan Office Director and Deputy by Fax: (212) 414-2683; Architectural Oesif-n ami Innovation; .\rchitecrur.il Director, and coordinate with other city and by email: [email protected] practices are tninslornied bv inateri:il, lecliiiical. social public agencies. and cultural factors. The School of Architecture is seeking candidate w ho have demonstrated a capacity to innovate A full position description is available at Irom within pr.ictice. The successlul candidate uill l>e Rutli l lirscli Associates Inc. expected to suhsianiiallv contribute to the underj^raduate Listed below are some of the open positions http://www.nyc.gov/planning and graduate architectural design curncula and to offer Please e-mail a resume and letter of interest to rcseiirch and teaching resources in the innovative pracncc for which we are currently searching: Sean Hennessy at [email protected]. of architectun-. 0 Proj Mgr/RA with 10 years experience for firm known for its cultural projects, Candidates must have earned a master's or iloctorate FACULTY POSITIONS o Sr. Designer with Masters in Arch. in architecture or a related field and have teaching The School of Architecture of the University of PROJECT ARCHITECTS experience. .\ record ol au-ards, exhibitions, scholarly plus experience in ground up buildings research and/or publications thai demonstrate a recogni/ Miami invites applications for faculty positions o Project Architect for mid-size firm with Project Architects wanted with a minimum of able contnbution to the pnicnce of architecture is to offer undergraduate and graduate level experience in Labs or Hospitals. 5 years experience in laboratory planning and rei|uired of >enior level candidates. .A letter ot interest, instruction in architecture and urbanism. These Please call, fax or E-mail your resume: design. Responsibilities include preparing and curriculum vitae. and references shoukl be sent to: appointments will be two-year visiting posi• 212-396-0200 Fax: 212-396-0679 reviewing design, construction documents and tions with the potential of tenure track. The E-Mail: [email protected] specifications, and coordinating work with Sch(M)l of ,\rchitectvire Search (Committee .\rchiiectur.il Design and Innovauon Position school offers fully accredited professional engineers and consultants. Must be proficient c/o Dean's Office Clreene 1 l.S Bachelor of Architecture and Master of in AutoCAD. Construction administration expe• Rensselaer Polytechnic Institute Architecture degrees. The school is particularly DESIGNERS rience is also desired. IHi«ih -Sta-ei interested in adding faculty with expertise in Prominent NY architectural lighting design firm Please send resumes and salary requirements Troy. M' i2IWi-.^.V«i the fields of new urbanism, green building and is looking for highly motivated, talented design• to [email protected] Review of applicanons will begin immedi.iteK and environmental responsibility, preservation, and ers. Our projects are diverse, global and chal• continue until the position is filleil. building technology and systems. lenging. Our staff is obsessed with the delivery We welcome candidates who u-ill bring diverse mtcUec- of great illumination. Applicants are to be fluent These full-time positions include responsibilities tuaL geographical, gender and ethnic perspectives to in graphic programs and have a US Passport or NEW YEAR, NEW JOB! in teaching, scholarship, and service. Rensselaer's work and campus coinniunines. Green Card. **SoHo-based design firm** Candidates are required to have a terminal Please email to [email protected] •'Dynamic studio environment** Rensselaer is an Kqual ()pportunity /.\ffirmative degree in their field: an M.Arch. or Ph.D. in Action l impkiycr. •'Energetic, fun staff** a field related to architecture. Experience is **Diverse project types** required in one or more of the following areas: "Opportunities for growth** teaching, creative work in practice, and BUSINESS SERVICES **lntermediate Architect, 3-5 years experience** ARCHITECTURE - SENIOR PROJECT MANAGER research. Candidates should send letter of **Sr. Project Architect/Job Captain, 10+ years interest and a curriculum vitae to: Chair, Diller Scofidio + Renfro seek a senior project experience** Faculty Search Committee, University of manager Applicants should have 10+ years •'Interior Architect, 3+ years experience** Miami, School of Architecture, RO. Box 240178, ANDREA BRIZZI experience. Responsibilities include managing Resume, work samples, salary requirements, Coral Gables, Florida 33124-5010. PHOTOGRAPHY OF ARCHITECTURE AND INTERIORS references to [email protected] budgets, schedules, staffing responsibilities, ensuring quality control and working in collab• The is an Equal oration with project architects. Direct client 9-0512 Opportunity/Affirmative Action Employer. dreabrizzi.com contact is required. Candidates must have .andreabrizzi.com excellent organizational and interpersonal communication skills as well as strong analytical and design skills. Other senior level positions SENIOR ARCHITECT Classifieds Online also becoming available. Please enquire via fax Mid-size firm specializing in high-end residen• REAL ESTATE to number below. MArch. Please fax your tial, cultural and commercial projects seeks resume and cover letter to: 212 260-7924 or Senior Architect with 7-10 years experience to email [email protected] be a project leader. Candidate must have full HUDSON SQUARE SUBLET working knowledge of AutoCAD and good man• 1 Year Sublet in prime Hudson Square office agement and communication skills. Send building. Beautiful views of Empire State resume & cover letter to: ARCHITECTURAL DESIGNER Building, overlooking park. 14 foot ceilings, Selldorf Architects, 62 White Street, Gotham Design, an architectural design firm 9 foot windows fantastic day lit space. Fully New York, NY 10013 or [email protected]. located in Dobbs Ferry, NY (30 min. from NYC furnished desks, lighting, shelving storage, No phone calls, please. by train), has an opportunity for an Architec• reception area 2 offices. Option to continue tural Designer to join the firm. Gotham is a full lease in December 2006. service firm that coordinates the design process Contact [email protected] through completion of construction. In this ROZ GOLDFARB ASSOCIATES position you will be developing design con• Senior design and management positions open cepts, and preparing schematic design, design in architecture, interiors, retail, brand environ• LOFT SUBLET - 21 ST FLOOR development and construction documents. ments, and exhibition design. Jobs are in local, Architecture Degree Required. Proficiency in national and international offices of high-profile AutoCAD. Photoshop a +. Must be eligible to companies and high-quality boutiques. All are work in U.S. Please email resume and sample available through leading recruitment and work to [email protected] search consultancy. Contact Margot Jacqz or visit our web site, www. rgarecruiting.com ARCHITECTS - AFFORDABLE HOUSING Award winning midtown firm with not-for-profit G TECTS LLC / GORDON KIPPING client base seeks Architects at all levels for pro• ARCHITECTS duction, design and management. Innovative We are seeking a Project Architect with 3 to 5 projects including housing, mixed-use and cul• New Postings Every Monday years experience with large scale projects. tural facilities. Collaborative office providing [email protected] Advanced computer skills are required to ideal setting for those who value socially include AutoCAD, Maya and IT infrastructures. responsible architecture; seeking a challonging, Graduate degree and architectural LOFT SUBLET - 21ST FLOOR 2 large work supportive environment. Client contact and real registration are preferred. stations, 12'-0" x ^3'-6" plus use of conference opportunities for growth. Forward resume and Send resume and optional work samples to room. Includes cleaning. 24 hour access cover letter to: Amie Gross Architects Gordon Kipping, G TECTS LLC, 530 West 25th secure building with high ceilings and large [email protected] Street, 503, New York, NY 10001. windows. Close to Penn Station, Port Authority www.amiegrossarchitects.com No phone calls please. and subways. E-mail [email protected] BKSK ARCHITECTS LLP, NEW YORK GKV, NEW YORK OLSON LEWIS DiOLI & DOKTOR ARCHITEQS, MASSACHUSEHS

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