THE ARCHITECTSNEWSPAPER 16^10.5.2004

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OPPONENTS' PETITION TO C/) HALT CITY REVIEW PROCESS 04 DENIED DESIGN SAVES LU AIA-NY ANNOUNCES I- DEMOCRACIES HUDSON O 05 4 AWARD WINNERS o YARDS STILL COPYCAT CAUGHT 08 ON TRACK WHALES,BEETLES, ETC., AT THE The Hudson Yards Development Plan went forward with a public hearing on VENICE BIENNALE Thursday, September 23, after a judge Tl ruled against a group of Far West Side residents and businesses that sued the HOLY BATTLE, city and Metropolitan Transit Authority to SACRED GROUND halt review of the project. The suit, filed in Daiki Theme Park by Ga. A Architects, the State Supreme Court in Manhattan on 03 EAVESDROP Mass Studies, and Cho/Slade Architecture August 26, centered on the Draft Generic 15 CLASSIFIEDS Environmental Impact continued on page 3 On September 20, the New York chapter of projects for non- profits," she commented. the AIA announced the winners of its annual "It is very challenging to do, and these proj• design awards. After a long day of poring ects were handled well." Their admiration STATEN ISLAhI D DEDICATE^^ Sono, an architect at Voorsanger & was not limited to work done for under over almost 400 submissions, which are 9/11 AjEMOR] Associates Architects in Manhattan, restricted to AIA New York members or New $200 per square foot. After Joy presented arrived at his concept serendipitously. As York State-licensed architects practicing in Peter Gluck's Scholar's Library, a tiny box in part of his routine design process, he uses New York City, jurors presented their winning the woods in upstate New York for a private postcards to build parti models. During one selections at the Center for Architecture. The client, he added "Not only do I want one of fateful session, he came to the image of winners were notified at the day's end, and these, but I wish I had designed it myself." a postcard form flexing toward downtown many were present at the awards sympo• The jurors forthe Interiors and Projects Manhattan. "Postcards evoke a tangible, sium. (For a list of winners, see page 4.) categories were not quite as effusive, how• - personal correspondence between loved While some of the winning projects in the ever, and in the lively question and answer ones," said Sono. "It's this connection the Architecture category won't surprise any• period moderated by Anthony Vidler, mem• design strives for." The young designer one—Richard Meier's courthouse in Islip bers of the two groups gently criticized the extended the postcard concept further by and Jubilee Church in Rome, for example— quality of the submissions they had seen. placing the name, date of birth, place of juror Brigitte Shim was full of praise forthe "Fifteen years ago, the Projects category Postcards occupation, and facial profile of each victim inventiveness and range of work she and [for unrealized or theoretical projects] would on individual panels of thin white granite, fellow jurors Rick Joy and Merrill Elam saw. have been the strongest of the three," which Sono calls "stamps." said juror Karen Van Lengen, "but that "I was pleased to see so many low-budget From the Edge The scale and shape of the twin "post• has changed entirely. The other two are cards," which resemble wings, was an stronger, and that speaks about the culture Staten Island delivered its residents some engineering concern in light of the wind on we're in." Fellow Projects category juror solace on the third anniversary of 9/11, dedi• its riverfront site. The Economic Develop• Peter Papademetriou expanded on that cating a memorial to the 268 local victims of ment Corporation, which owns the memor• thought, adding, "There is a notion that ideas both the 1993 and 2001 World Trade Center ial's site, contracted NEB, a Portsmouth, can make architecture, but making can also attacks. Over 4,000 people crowded the St. Rhode Island, company that designs and foster ideas that evolve as you get real." George shoreline esplanade adjacent to the builds boats, to fabricate the sturdy resin As for the Interiors category, juror Staten Island Ferry Terminal to witness the composite structure. Riccardo Roselli said, "The winning proj• unveiling of Masayuki Sono and Lapshan "Postcards is the first memorial of this ects are an exception to the general level Fong's design, entitled Posfcards. The design magnitude to be completed in New York," we saw today—many others seem to be was selected from 179 international entries said Molinaro, who expedited the process to an RFP issued by Staten Island Borough fighting the same battles of good taste, and by approving $2.7 million of his own budget President James P. Molinaro in January 2003. not taking particular efforts to say some• to fund the project, GUNNAR HAND thing new in architecture of interiors." None of this mild-mannered politesse KARIM RASHID DESIGNS SLEEK for Projects juror Pascal Quintard-Hofstein, They may not qualify as Public Menace # 1, but however. In the Q&A period, he took the NEWS BOXES FOR MADISON AVENUE the brightly colored plastic newspaper stands opportunity to make an impassioned that dispense offerings from The Onion, The denunciation of the continued on paqe4 Learning Annex, TJte Village Voice, and count• less other free publications have incurred enough ire for blocking corners, collecting trash, and being, well, ugly, that their days are numbered, at least on Madison Avenue. On September 28, a sleek gray harbinger of the future will land on the sidewalk in front of the Issey Miyake store on Madison at 75"' Street. It's the first of 75 boxes to be installed and STREET CLE represents the culmination of several years of work by Councilor Eva Moskowitz (District4) and the Madison Avenue continued on page 6 00 C\J 3 O LU

THE ARCHITECT'S NEWSPAPER OCTOBER 5. 2004

Brian Carter PUBLISHER CO Architecture is label-obsessed. Like an insecure nouveau riche, seek• Diana Darling State University of New York at Buffalo ing legitimacy via association with the right brands, the right style, School of Architecture and Planning EDITORS o architecture constantly strives to be on this side of chic, daring, Founded: 1969 Cathy Lang Ho William Menking l-H avant-garde. Modernism, postmodernism, deconstructivism, mini• # of students: 446 undergrad., 244 grad. malism, blobism, regionalism, digitalism. (Givenchy, Paco Rabanne, Dean since: 2003 ART DIRECTOR LU Martin Perrin Com me des Gar(;:ons, Armani, Prada, Issey Miyake.) Meanwhile, architecture's commentators—^journalists, critics, historians, cura• The School of Architecture and Planning at SENIOR EDITOR Buffalo is founded on the idea that design Anne Guiney tors—are forever at pains to identify the last or next big thing, aware has few boundaries. It is also a place where ASSOCIATE EDITOR of the need to update continually whatever's au courant. research has long been viewed as an integral Deborah Grossberg For the 9th International Architecture Exhibition of the Venice part of design. Having worked in practice ADVERTISING SALES Biennale, director Kurt Forster focused on one "movement," the with Arup in London prior to coming to teach Jonathan Chaffin widespread trend toward organic, biomorphic form-giving, gath• in the United States, I am very interested in MEDIA ECOLOGIST ered under the rubric of Metamorph. The quantity of compelling that history and committed to working with the faculty to advance those ideas. The pres• Keith James projects that Forster has culled from around the world adds up to ence of Reyner Banham, John McHale, and EDITORIAL INTERN a provocative polemic—though admittedly one that already seems Gunnar Hand other broad and deep thinkers at the school historic, and that is ultimately limited by its emphasis on architec• throughout the years focused those views MEDIA CONSULTANT ture's formal properties. and continues to inspire our work. These tra• Paul Beatty Our reviewer, Richard Ingersoll, traces Forster's agenda to his own ditions are providing us with extremely strong close personiil history with Peter Eisenman and Frank Gehry ("From foundations off which to build a range of the Belly of the Whale," page 8), while Esra Erkans observes in her programs that address contemporary issues. essay ("The Golden Lion Goes to Africa," page 9) that alternative At Buffalo we have the only accredited architecture program in the 64-campus SUNY voices at the Biennale were found mostly in the national pavilions. system. Consequently ours is a large school Peter Cook, director of the British pavilion, also alludes to architec• with accessible programs that serve broad ture's closed circuit. In the catalogue accompanying his pavilion's and diverse communities, it is also located CONTRIBUTORS presentation, he reminds that, not too long ago, all the "in" architec• in a city with an outstanding collection of PHILIPPE BARRIERE / ARIC CHEN / tural ideas seemed to emanate from "a certain architectural network buildings designed by eminent architects— MURRAY FRASER/RICHARD INGERSOLL / Sullivan, Wright, H. H.Richardson, Albert JOE KERR/LIANE LEFAIVRE/JAMES PETO/ in the United States [which took] selected French philosophers, LUIGI PRESTINENZA PUGLISI/KESTER RATTENBURY/ [found] tectonic links, and then [discussed] these issues by way of Kahn, the Saarinens, Gordon Bunshaft and D.GRAHAME SHANE/PETER SLATIN / many more—and set within an elegant and rather complicated American verbiage." He goes on to comment that GWEN WRIGHT / ANDREW YANG/PETER ZELLNER liveable city plan devised by Joseph Ellicott even "straightforwardly talented building architects [were drawn] and advanced by Frederick Law Olmsted. EDITORIAL ADVISORY BOARD into the game," threatened with "reputational void" if they didn't play PAOLA ANTONELLI/RAUL A. BARRENECHE/ Though once prosperous, the city is now M. CHRISTINE BOYER / PETER COOK / along. Publications and institutions have been—and continue to reconsidering itself in a postindustrial setting. WHITNEY COX/ODILE DECO/TOM HANRAHAN/ be—all too compliant in advancing elite trends. The inspired patronage that shaped the city SARAH HERDA/CRAIG KONYK/JAYNE MERKEL/ is not only still alive and well but is support• LISA NAFTOLIN/SIGNE NIELSEN / Metamorph does not capture a prevailing Zeitgeist as much as it ing our research and teaching and helping HANS ULRICH OBRIST/ JOAN OCKMAN / offers a narrative to understand one of architecture's primary recent KYONG PARK/ANNE RIESELBACH/ us create an ambitious program of lectures, evolutions. But it leaves out much that people have come to expect of TERENCE RILEY/KEN SAYLOR/MICHAEL SORKIN exhibitions, and publications while promot• the Biennale, particularly, the work of young architects. One upcoming ing the design of new buildings in the region. GENERAL INFORMATION: [email protected] effort that might address some of the curiosity left unsatisfied by the This provides us with a vital context in which EDITORIAL: [email protected] DIARY: [email protected] Biennale is Archilab, a conference that will be held Orleans, France, to educate both architects and planners. At ADVERTISING: [email protected] from October 13 to 15, accompanied by an exhibition that will be on the heart of the school are our accomplished SUBSCRIPTION: [email protected] view through December 30. Critic Bart Lootsma has devised this year's research centers, which work on urban PLEASE NOTIFY US IF YOU ARE RECEIVING theme. The Naked City, for the endeavor that was launched by France's design, community development, universal DUPLICATE COPIES. access, and virtual architecture. Meanwhile, regional government in 1999 with the mission of exploring experi• the design and fabrication of award-winning THE VIEWS OF OUR RCV1CWERS AND COLUMNISTS DO NOT mental architecture. Rather than look for a single way in to contempo• NECESSARILY REFLECT THOSE OF THE STAFF OR ADVISORS OF small works by faculty and students provide THE ARCHITECT'S NEWSPAPER. rary architecture, Lootsma is seeking "more ways out," in his words. an important part of our educational agenda

VOLUME 02 ISSUE 16. OCTOBER S, 2004 From the looks of the program (www.archilab.org), he's invited dis• that also creates vital new spaces and facilities THE ARCHITECT'S NEWSPAPER IS PUBLISHED 20 TIMES A YEAR. BY THE ARCHITECT'S NEWSPAPER. LLC. P.O. BOX B37. NEW YORK. NY 10013. similar voices whose collected efforts probably won't add up to any within the university and the city. PRESORT-STANDARO POSTAGE PAID IN NEW YORK, NY. POSTMASTER: SEND ADDRESS CHANGES TO: THE ARCHITECT'S NEWSPAPER. CIRCULATION coherent movement or trend. But they'll hopefrilly get at the broader These ideas are particular yet not parochial. DEPARTMENT. P.O. BOX «3T. NEW YORK, NY 10013. FOR SUBSCRIBER SERVICE: CALL 212-966-0630. FAX 212-966-0633. S3.95 A COPY. Our location at an international border $39.00 ONE YEAR, INTERNATIONAL S160.00 ONE YEAR, INSTITUTIONAL range of forces—technological, ecological, socio-political, et cetera— SM9.00 ONE YEAH. ENTIRE CONTENTS COPYRIGHT 2003 BY THE prompts us continually to project the work ARCHITECT'S NEWSPAPER. LLC. ALL RIGHTS RESERVED. shaping architecture today, WILLIAM MENKINC AND CATHY LANG HO we're doing in Buffalo into the wider world of contemporary architecture in ways that are always redefining center and edge.

Degree Programs Left Out exciting for them to be a part of real, funded emerging generation of architects means we New Jersey Institute of Technology projects and not just paper exercises. This can never pretend that the nature of practice In our feature Deans List (15 9.7.2004), BArch we left out two important schools, the New can also help economic development in the isn't changing, and makes sure that we know BS in Architecture Jersey Institute of Technology and the State region. We are a state university and one of where the profession is headed. Our adjuncts MArch I University of New York (SUNY) at Buffalo. our roles is to provide expertise to the state. are all very eager and smart and marvelous Master in Infrastructure Planning PhD in Urban Systems We hope these interviews make up for their At the same time, we are not competing role models. The relationship between with professionals. Our neutrality as faculty and students is almost collegial. omission. State University of New York at Buffalo an academic institution can help inform the For many of our students, without NJIT, BS in Architecture debate on the pros and cons of a complex Urs R Gauchat they might not be studying architecture. BA in Environmental Design political situation, and then officials can New Jersey Institute of Technology It is a real vehicle for social mobility. When MArch I proceed as necessary. It is an extraordinary MArch II School of Architecture you are dealing with Harvard students, for Master in Urban Planning experience for students to talk with players example—I taught there for several years— Founded: 1973 MArch/MBA and decision makers. they typically come in thinking that they are # of students: 653 undergrad., 89 grad., MArch/Master in Urban Planning a success, and will continue to be successful. 31 post-grad. Another aspect of our real world engage• MArch/Master in Media Study (beginning Fall 2005) Here, the students come with enormous Dean since: 1990 ment is our large population of adjunct professors who are practicing architects. drive, talent, and eagerness, and we have CORRECTION to make sure that they leave here with aspi• One of the hallmarks of NJIT is a commit• The direction of the school is influenced by The article "What Went Right" (Issue 15.9.21.2004) rations and confidence commensurate with erroneously stated that the Stari Most bridge in Mostar ment to an engagement with the real world. the combination of full-time faculty who do their talents—an aspiration to play a key role was destroyed by Serbs. In fact, It was blown up by Students get an insight into the political more academic research, and these younger Bosnian Croat forces. We deeply regret the error. in something larger. processes that make things happen, and it is practitioners. The involvement of the CO 3 o

to Cooper. The project went OVERHEARD IN VENICE through the Uniform Land Use Review Process before Last month, we headed to the Venice Architecture Biennale's opening weekend the design phase started; and, when we weren't pondering the ins and outs of Metamorph-ing (the exhibi• Mayne had to stay within tion's theme), we managed to hear another funny story about Zaha Hadid. an already-approved zoning The London-based firecracker was at a Venice dinner that included Guggenheim envelope to prevent com• director Thomas Krens where, among other things, her planned Taiwan outpost munity conflict. for the museum was being discussed. At one point, we're told Krens made an 0. Morphosis' design is off-color comment that prompted Hadid to banter back "I'm going to cut off a negative image of the your balls and feed them to you!" We love her. neoclassical Foundation ^1 Building across the street. COI Meanwhile, both Hadid and Daniel Libeskind were looking awfully cute and cud• The two are nearly identical LU dly as they gave each other a big hug and kiss in the lobby of the Hotel Danieli, in height and bulk, but the > where Architectural Record was hosting a party. Earlier that day, Libeskind stone-clad Foundation < provoked gasps when, at a press briefing for the American pavilion, many LU Building is heavy and opaque learned for the first time that the State Department had appointed him the while Morphosis' perforated country's first Cultural Ambassador for Architecture. "I guess he's owed it, after NEW DESIGN BY MORPHOSIS EXPANDS steel and glass design is what happened to him with Ground Zero," one well-known architect conceded. COOPER UNION'S ARCHITECTURAL HOLDINGS light and translucent. "Talk about America losing prestige abroad!" others uncharitably snarked. For Mayne, the building's Also the subject of chatter was Rem Koolhaas, who was conspicuously absent transparency exposes the in both the exhibition and in person, and Peter Eisenman, who was widely THE MAYNE EVENT energy of the student life rumored to have been allotted somewhere between $180,000 and $250,000 within. The inner atrium, for his installation in the "Episodes" section of the Italian pavilion. (Eisenman's The Cooper Union for the Mayne unveiled the design cut through by lighted stair• office says the actual figure is closer to $120,000). This prompted some to Advancement of Science and of a bulbous, S-story, $120 ways, will be visible from 3"' speculate that the expenditure may have busted the budget for a planned but Art manages to float the million academic building Street. The building's motor• nixed installation of the entire pavilion by Hani Rashid and Lise Anne Couture tuition for 900 architecture, on Third Avenue and 7* ized, movable steel skin of Asymptote, who nevertheless pulled off their design of the Biennale's main engineering, and art students Street. When completed in is meant to encourage a Arsenale exhibition hall. In either case, it was somewhat ironic when, just before each year largely through 2008, the building will dynamic interaction with a breakfast awarding Asymptote the $67,000 Kiesler Prize, Eisenman, who had return on its shrewd invest• house Cooper's engineering the building's users and its just won the biennale's Golden Lion award for lifetime achievement, was over• ments. Cooper's real estate, school, while the current environment, though Mayne heard jokingly offering Rashid half of his own prize for half of Asymptote's. like the Chrysler Building engineering building (just has not yet decided whether The Golden Lion has no monetary component. and the neighboring luxury north of the site) will be the screens will be controlled apartment tower by razed and the lot leased to by students and faculty or Gwathmey Siegel, now developers. by computerized environ• under construction, will The new structure will mental response. "It's like CHEAR BUT NOT CHEERFUL soon be joined by a work by replace a two-story academic changing clothes according Like many architects, we are easily lured by events with lots of free drinks Morphosis Architects. Last building, so securing a zon• to the seasons," said Mayne.

(see also above). So we sympathize with the thirsty freeloaders who recently month, principal Thom ing variance was a priority DEBORAH GROSSBERG went to the AIA's Center for Architecture for the opening of its exhibition about the General Services Administration's Design Excellence Program, only to find that they had to pay $5 for "plastic cups of cheap, warm wine," as one put-off attendee put it to us. "How tacky is that?!" To make matters worse, the hosts 606 Universal Shelving System " were charging $10 for a GSA-financed book that was supposed to be free. Designed by Dieter Rams in 1960 for Vitsce and VITSCE produced continuously ever since. Add more Pamela Puchalski, the AlA New York's deputy director for programs, tells us when you need. Take it with you when you move. the latter scandal resulted from a publishing house mix-up by which the GSA's www.vitsoe.com complimentary books were mistaken for those that the Center had ordered and paid for. As for the $5 drinks? The organization's executive director, Rick Bell, acknowledges that the move was the eguivalent of taxing pork rinds in Texas, but reminded us of both the number of free events the AlA offers and the budgetary constraints of nonprofits. Fair enough. But despite architects' fond• ness for boxes, they certainly don't want their wine coming out of them.

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HUDSON YARDS STILL ON TRACK include zoning changes and the creation continued from front page of several "special districts" to spur high- Statement (DGEIS) for the Hudson Yards density commercial and residential devel• project, certified by the city in June. opment along major corridors in Hell's Required by law, such a study estimates Kitchen, currently a low-scale mixed-use a project's traffic, waste, and noise, air, neighborhood. Also covered in the DGEIS and water pollution impacts and proposes are an expansion of the Javits Convention mitigation strategies. Center and the construction of a stadium The complainants—among them the for the New York Jets on a platform above Hell's Kitchen Neighborhood Association MTA-owned railyards between 32nd and and Madison Square Garden—claimed 34'" Street. Advocates of the plan, including that the Hudson Yards DGEIS is flawed and members of construction unions, faced off incomplete, preventing meaningful public at Thursday's hearing against opponents participation. The petitioners hoped that whose concerns included not only environ• the court would enjoin the September 23 mental impacts but also the plan's lack of hearing, but Judge Herman Cahn ruled on affordable housing provisions, displace• September 21 that judicial consideration ment of businesses in the area, and the of the legality of the environmental review soundness of project financing. process is appropriate only after the City The City Planning Commission expects Planning Commission decides to adopt the to approve a final EIS by November 12 and statement. He also indicated that the has set a tentative date of November 22 for 146 Greene Slteet Distributed exclusively in North America September 23 hearing was a sufficient New York, NY 10012 a vote on the project. Opponents are then moss dno by moss dna, a division of moss. forum for the public to voice objections to T 212.204.7105 expected to take further legal action, an vllsoe©mossdn8.com www.mossdna.com the draft statement. avenue left open by the September 21 ruling.

The city's Hudson Yards plan would LAURA WOLF-POWERS CO o

THE ARCHITECT-S NEWSPAPER OCTOBER 5, 2004

AIA-NY 2004 AWARDS Museum of the Earth at the INTERIORS PROJECTS European Central Bank, Frankfurt, Paleontological Research Institution, Jurors: Jeremy King/Riccardo Roselli, Jurors: Peter Papademetriou, Karen Germany Ithaca, New York Patricia Conway, Charles Terry Shook Van Lengen, Pascal Quintard-Hofstein Skidmore, Owings, and Merrill LLP ARCHITECTURE Weiss/Manfredi Architects Jurors: Merrill Elam, Rick Joy, Honor Awards Honor Awards Pratt Institute Design Center, Brigitte Shim Little Sisters of the Assumption Facilitv, Angelo Donghia Materials Study ARB Bank Headquarters, Riyadh, Brooklyn, New York New York City Center, New York City Saudi Arabia hMA, Hanrahan Meyers Architects Honor Awards Peter L. Cluck and Partners, Architects Christoff: Finio Architecture Skidmore Owings, and Merrill LLP Weiss House, Cabo San Lucas, Mexico Stephen Gaynor School/Ballet Steven Harris Architects Scholar's Library, Olive Bridge, Canal Street Penthouse, New York City Aqua Center, Aalborg, Denmark Hispanico, New York City New York Rogers Marvel Architects Christoff: Finio Architecture Rogers Marvel Architecture Local Union 580. Long Island City, New York Peter L. Gluck and Partners, Architects East End Temple, New York City 106 Greenwich Street, New York City Perth Amboy High School, Perth Daniel Goldner Architects BKSK Architects Leven Betts Studio Amboy, New Jersey Merit Awards Fox & Fowie Architects United States Courthouse and Federal Apple Store Soho, New York City Zankel Hall, New York City University of Michigan Museum of Art, Building, Central Islip, New York Ronnette Riley Architect and Bohlin Polshek Partnership Portland, Oregon Sustainable Technologies Research Richard Meier & Partners Architects Cycwinski Jackson Allied Works Architecture Park, Syracuse, New York LLP, with Spector Group David L. Lawrence Convention Center, Center for Architecture, New York City Swanke Hayden Connell Architects Pittsburgh, Pennsylvania Andrew Berman Architect Merit Awards Jubilee Church, Rome, Italy Rafael Vinoly Architects PC William Paterson University Student World Cultural Center, Richard Meier & Partners Architects LLP Merit Awards Center, Wayne, New Jersey New York City Armstrong Avenue Visitors Center, Yuen Loft, New York City Gruzen Samton Architects Planners THINK Heritage Health and Housing, Lancaster, Pennsylvania DESAI/CHIA Studio New York City Audrey Matlock Architect Six Theoretical Exercises - Caples Jefferson Architects BOX Studios, New York City Houses and Garden Daiki Theme Park, Seoul, South Korea Deborah Berke & Partners Paul J. Amatuzzo Ga. A Architects, Mass Studies, and Cho/Slade Architecture

AIA-NY 2004 AWARD WINNERS continued from Word Cultural Center by THINK front page quality of some of the work he and his DESIGNERS RE|NTERPRET The show was inspired by hotelier Andre Balazs' unusual collection of fellow jurors saw, and what he didn't want to see in THE VOTING MAfiHINE the future. Citing a corporate project "that I can't several dozen Votomatics. which he describe, because I do not want to promote it," he picked up at a Florida flea market. Each decried "magazinism" (the mix-and-match, integrity- Votomatic folds up and is contained free method of choosing pretty details from maga• within a metal attach^ case. Goldberger zines), "clientism" (subservience without invention), convinced Parsons to take on the show and invited editorial and design and cultural amnesia, all of which the mystery project consultant Chee Pearlman to be presumably had in spades. guest curator. "The booth is a quizzi• "If precedent holds, a lot of these projects will go cal object," she said." It's remarkably on to win at the national level," said lllya Azaroff, who low tech—brilliant and dumb at the co-chaired the awards committee with chair Tina same time." The chad controversy Meliti-Ceas. "Competition in New York is so tough." Manfredi Architects arose from the voting machine's pat• ANNE CUINEY terned plastic tray which confounded voters when they attempted to posi• Studios by Deborah Berke & Partners tion their ballots before punching out their votes.

Participants, including Frank Visit the polls early this year at Parsons Gehry Richard Meier, SHoR Polshek School of Design, where the exhibition Partners, Diller + Scof idio, and David The Voting Booth Project will be on Rockwell were each given the same view beginning October 7. The show Votomatic. As might be expected, consists of a collection of nearly 50 the results vary wildly. Robert A. M. artworks commissioned from archi• Stern's 20/20 Hindsight (pictured) tects, artists, and designers, each adorns a Votomatic with rearview riffing on the Votomatic—the flimsy mirrors, "to trigger a moment of reflection and put voters back in Amboy High School by Fox & FowIe Architects confusing voting machine made infamous by producing hundreds the driver's seat." Milton Glaser of inconclusive "hanging chads" on proposed a gold-leafed case labeled Florida ballots in the 2000 presidential "Fragile" and "Contains Democracy." election. According to Paul Goldberger, The pieces will be auctioned on Parson's dean and one of the show's October 27, to benefit Parsons and organizers, the show seeks to high• Declare Yourself, a non-partisan voter light how good or bad design can awareness group. The show will be make a difference in society. up through the election, DG

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MIT PRESS SEEKS COMPENSATION received an e-mail note from a British reader "with a good eye and a keen memory" who FROM MCGRAW-HILL FOR COPYING noticed overlaps between Shepherd's book IN ARCHITECTURE BOOK and hers, and "said that he was appalled." At first, Clausen said, she was not partic• ARCHITECTURAL ularly concerned: "I didn't get around to doing anything until a couple of weeks later." WRITER- Then she examined a copy of Shepherd's book. "I was just amazed," she said. AND PUBLISHER- Encouraged by a lawyer to pursue the matter, she prepared a document compar• UNDER FIRE ing the two volumes. She cites 19 passages from Pietro Belluschi: Modern American MIT Press has demanded compensation Arch/fecf—including several long para• from McGraw-Hill for infringing MIT's graphs—^that also appear in Structures of copyright on Pietro Belluschi: Modern Our Time. (Clausen's book was reissued in American Architect, by Meredith L. Clausen, 1999 and remains in print.) a professor of architectural history at the At times, the wording varies slightly. University of Washington. Portions of Someone identified as "an all but ideal Clausen's monograph are reproduced, with• client" in Clausen's account "proved to out acknowledgment, in Structures of Our be the ideal client" in Shepherd's telling. Time: Thirty-one Buildings That Changed Sentences appear to have been copied Modern L/fe (McGraw-Hill, 2002), by Roger intact, then altered for punctuation. In each Shepherd, a professor of fine arts at the case. Shepherd's book follows exactly the Parsons School of Design, in New York. sequence of information and argument Shepherd, who has admitted the dupli• presented in Clausen's work, including her cation, said that McGraw-Hill destroyed all quotations from primary sources, without unsold copies of the book last year. adding new material. In addition to seeking unspecified "This is about as clear a case of copyright reparations from the publisher, Roger L. infringement as I've seen," said William Conover, MIT Press's executive editor, has Strong, a lawyer in Boston who is represent• asked Shepherd to apologize to Clausen. ing MIT Press. "It isn't just plagiarism, though Most of the section on the Equitable Savings a lot of people don't get that distinction." and Loan building in Portland, Oregon, in Plagiarism includes a variety of ways of 100 Chapter 5 of Shepherd's book is taken appropriating another work without giving watt RESOLUTE credit—for example, by paraphrasing it verbatim or with small changes of wording network from Chapter 6 of Clausen's study, "The without acknowledging the source.

Equitable Building and the Postwar Boom." "Plagiarism is a moral violation," said NEW YORK • SAN FRANCISCO • SEAHLE T [8881 477-9288 F1888) 882-9281 www.100watt.net No acknowledgment to Clausen appears Strong, "but it's not illegal." anywhere in the book. Reproducing the actual words appearing Shepherd acknowledged the plagiarism in a copyrighted text, however, is legally and said that there were "a variety of rea• actionable.lt is a matter to which Strong has sons why some chunks of that book ended devoted close attention over the years, as up in a book of mine from two years ago." author of TAie Copyright Book: A Practical "None of them, I have to say, are reason• Guide (MIT Press), now in its fifth edition. able," he continued. "That is, they're rea• Clausen said she had had qualms about sons but not excuses." seeking remedies, at least at first. "I don't Asked to elaborate. Shepherd said, "It had like inflicting pain or suffering on anybody," something to do with one of the research she said, "and I knew this would certainly assistants I had hired, and the pressure have some sort of impact" on Shepherd. I was under during 9/11." He said that Apparently the last straw came when she KNUO HOLSCHIR 01 some of Clausen's book "had been put in learned that Structures of Our 77me was on as rough stuff, meant to be rewritten, and it the list of recommended readings for an intro• remained in." ductory architecture course at her alma "There's really no excuse," he said. mater, the University of California at Berkeley. Shepherd said that it is not the first com• "Knowing that students were going to be plaint that McGraw-Hill has received about reading Shepherd's work, and thinking that Structures of Our Time. About a year ago, it was he who came up with the insights and he said, Princeton Architectural Press con• the connections, that was really painful," tacted the publisher about passages from she said. "I thought of all those hours I had one of its books that had been incorporated spent interviewing Belluschi before he into Shepherd's volume. died, traveling back and forth from Seattle Kevin Lippert, publisher of Princeton to Portland, largely at my own expense." Architectural Press, confirmed that the Paul Goldberger, dean of the Parsons press had complained to McGraw-Hill. But School of Design and architecture critic for he also indicated that material from not one The New Yorker, said that he had not heard but three of the press' titles had "appeared about the plagiarism charges against his Hardware without attribution or permission" in faculty member. "Without knowing the Bathroom Structures of Our Time. specifics," he said, "I can't comment more, Washroom "McGraw-Hill went so far as to recall the except to tell you that we take this very Handrail d line • north anxenca book," including the remaindered copies, seriously, not at all casually or lightly." opetAiing tnroug'i Wardrobe

said Shepherd. "It's shredded them." For his part. Shepherd said that he is Hentik Hall, Inc. Signs April Hattori, McGraw-Hill's vice president now writing a letter to Clausen. "I'm going 410 Park Avenue. 15lh Floor New York. NY 10022 for communications, confirmed that the to tell her I have remorse for this, and that I USA press had received a complaint about take total responsibility. And in fact, I'm Tel: •1 917 210 8282 Fax ,1 516 628 1199 Structures of Our Time in 2003, but said that probably not going to be able to write any E-msil: [email protected] the book had not been withdrawn because more books. It's really a tragedy, probably Internet: wvvw.dlino.com

of the plagiarism charge. "For business rea• the worst thing I've ever done. Nevertheless, Sales 8i Customer Service: Tel: *^ 516 759 5669 sons," she said, "it was taken out of print." it's being addressed." SCOTT MCLEMEE Fax; tl 516 759 5664 www.dline.com Copies of the book remain in circulation, Copyright 2004, The Chronicle of Higher Education. however. Clausen said that in late June, she Reprinted with Permission. CO so 3 O

THE ARCHITECT'S NEWSPAPER OCTOBER 5. 2004

INTERNATIONAL BUILDING CODE SPREADS THROUGH TRI-STATE REGION Aztec Empire, an exhibition of some 440 objects, culled from public and private col• lections in the United States CODE DEPENDENT and Mexico, which will be the most comprehensive In August, Pennsylvania cities, and counties to pass, pressure on already strained survey of Aztec art and cul• became the latest state in the administer, and fund the code local community budgets. ture ever assembled. New York area to implement .switch. Many communities Many communities are Some of the show's most the International Code have adopted at least sections attempting to rectify this important pieces were only Council's (ICC) construction of the ICC code, often enact• problem by lobbying for recently discovered in the code, fulfilling a nearly 90- ing alterations. According state-financed education archaeological excavation year goal for architects to Guttman, Pennsylvania's and training. Supporters say of theTempIo Mayor (Great across the state. Maureen A. enactment of the code dif• the code will eventually save Temple), part of the sacred Guttman of AlA- fered from the national stan• money by saving time and district of the Aztec capital, Pennsylvania said, "The dard: "Pennsylvania is unique energy now spent research• Tenochtitlan, now down• FOR UPCOMING AZTEC SHOW, Pennsylvania chapter of the because we enacted 11 out of ing and implementing dif• town Mexico City. These AiA was founded in 1909 the 14 ICC codes with minor fering codes across counties. THE GUGGENHEIM'S SERPENTINE GALLERY include a life-sized clay with the express purpose of or no modifications." For example, a construction GOES FOR THE SOFT LOOK eagle warrior and a ritual passing statewide construc• The state of New York company could stock code- offering of a miniature tion legislation. We're finally passed an adapted version compliant materials in bulk greenstone, with tiny instituting a code that's easy of the ICC codes in 2002, but rather than buying them The Plumed Serpent mother of pearl fish, one of to understand and execute." New York City was exempt project by project the show's several never- Under the uniform code, from the process due to its Although the code's finan• Wears Gray before-exhibited artifacts. architects, engineers, size and complexity, as well cial benefits remain to be A major challenge for designers, contractors, and as the dming of the bill's seen, one potential advantage With commissions to world capital ambitions, so Norten was to design a code enforcement officials passage, one year after 9/11. is a leveling of the playing design the Visual and it quickly embraced Norton's display system that could are required to adhere to "The city is a different ani• field among developers, Performing Arts Library in trendy, increasingly signifier- fiuidly accommodate an one comprehensive model, mal," said Barbara Rodriguez who will no longer gain by Brooklyn, a 42-story office- free architecture as its own. array of variously scaled as opposed to separate, often of AIA-New York. "Excluding crossing state lines to build hotel-residential tower in But no Mexican artist, not works. Unlike previous poorly integrated versions. the city gave the ICC code more cheaply in zones with Harlem, and another mas• even Norten, works entirely Aztec exhibits, this show Tlie ICC was formed ten a better chance of passing fewer regulations. The code sive multiuse complex in without metaphor. His will present these pieces years ago when three regional through the state legislature." can thus prevent local gov• Los Angeles, Mexican design of the display wall as aesthetic objects, not architect Enrique Norton U.S. code organizations— However, New York City is ernments from accepting for The Aztec Empire is archeological artifacts. Its has become a player on the Building Officials and Code currently pursuing its less safe structures in inspired by QuetazalcoatI, conception is as minimalist world architectural scene. Administrators International, options to opt in on the exchange for the economic the plumed serpent god as its display. There will be Now that the Guggenheim Inc., the International bill. New Jersey passed the benefits of development. As of Aztec myth. Sheathed in no diagrams, models, or Museum is discussing a charcoal gray felt, the ser• Conference of Building uniform code in 2002, and Diane Harp-Jones of AIA- maps, nor any indication of satellite branch with the pentine structure will wind Officials, and the Southern Connecticut, which currendy Connecticut argued,"Public the colorful splendor that Mexican city of Guadalajara, its way up the museum's Building Code Conference only enforces the residential health and safety is what defined Aztec life—just the where Norton is in charge spiral galleries, its dark, International, Inc.—merged section of the code, is antici• this is all about. When all the objects themselves. of the master plan for a undulating form imbuing in an effort to standardize the pating its full adoption by codes of a region speak the Ever since the late 18'" huge cultural and business the interior with a shadowy language, format, and con• mid-2005. same language, the people century, when Mexicans center, there's talk that he mystery through which visi• tent of building codes for the Detractors of the uniform living in its buildings are the began to seek an identity might be a favored con• tors may glimpse remnants entire country. Since then, it's code argue that unfunded ones who benefit the most." beyond their Spanish colo• tender for that juicy muse• of a once magnificent been up to individual states, mandates put too much GH nial heritage, they have um commission. The civilization. It's fitting that regarded the Aztecs with Guggenheim's choice of an abstraction of an Aztec special fascination. Like Norton's TEN Arquitectos, divinity should shape the for the Canadian postal system and manhole in collaboration with J. show's design. Religion their ancestors whose covers for New York City made him a natural Meejin Yoon, to design the informed Aztec culture, and greatness derived in part choice for the project. "My agenda was to exhibition for the New York abstraction defined their art from their genius for cultur• make it elegant, unobtrusive, and contempo• blockbuster The Aztec and ceremony. The Aztecs al assimilation, they have rary," Ra.shid said. Empire, opening October were constantly perform• welcomed new ideas and The pilot program costs $475,000, and the 15, certainly augurs well. ing religious rites and sac• influences, transforming city is footing the bill. Moskowitz said that rifices in order to maintain them to suit their own getting funding for the legislation passed— In the 1990s, Norten their harmonious relation• needs. There is a caution 2002's Sidewalk Safety and Beautification made a name for himself ship with the natural world. in such openness, though. Act—was not easy, in large part because the in his native Mexico City Legend has it the Aztec newspaper industry protested. "There was by eschewing the folkloric Thomas Krens, the ruler Montecuhzoma first Karim Rashid's other recent New York proj• ects Include Nooch, a restaurant in Chelsea. tremendous fear about regulating the news• color-saturated modernism Guggenheim's director, welcomed Cortes because paper industry They tried hiding behind the of Luis Barragan and came up with the idea for he thought the Spaniard STREET CLEANING continued from front page First Amendment, but we can't let a narrow Ricardo Legorretta for a the show last year after might be the legendary god Business Improvement Di.strict to make commercial interest trump the larger public sleek, translucent minimal• seeing the exhibition king QuetzalcoatI returned. the avenue's street furniture as elegant as ihc interest." Moskowitz said she ultimately got ism. His was the kind of Aztecs at London's Royal Will the new vogue in stores that line it. Moskowitz insisted that the the industry's endorsement for the act by "anyplace" architecture Academy of Art. No doubt minimalist architecture arguments against the existing boxes are not bringing them into the discussion. The new then gaining favor as suited needing a box-office draw prove another false god for boxes will accommodate both paid and free purely aesthetic. "I've seen them falling into to the "anywhere" urban to compete with the immi• the Mexicans? It's too soon papers, because while the city can regulate crosswalks, occupying space in bus shelters," conditions of the dawning nent unveiling of the new to say. In the meantime. distribution, it can't make distinctions millennium. (Norton's hip MoMA, he immediately she said. "And if a paper goes out of business New Yorkers should feast based on content. The Madison Avenue glass-wrapped Hotel Habita, contacted Felipe Solis and the box gets abandoned, it becomes a their eyes on the brilliant .security is.sue." BID promises that all publications that want the city's first "design Olgufn, the London show's artifacts of a people who, space will get it. hotel," would look equally co-curator, and director Karim Rashid designed the new model, with rare imagination, at home in Rotterdam.) of the Museo Nacional de which has three or four compartments, Not everyone is on board though. The pageantry, and confidence, Though sinking, choking, Antropologia in Mexico depending on whether publications are free September 22-28 issue of The New York Press, oriented themselves to both teeming, and occasionally City. Within months, Solis or paid. The box is molded out of a durable which is in part distributed via those offend• the earth and the cosmos. quaking, Mexico City had Olgiun put together The high-grade fiberglass and finished with ing plastic boxes, went so far as to name MARISA BARTOLUCCI automotive paint. The boxes will maintain Moskowitz as one of its "50 Most Loath.some their clean appearance by remaining free of New Yorkers," and cited this legislation as advertisements, though they will bear the one of the reasons. Maybe they'll soften up logos of the publications they are dispensing. a little when they see the new Rashid boxes. [email protected]

Rashid's experience in designing mailboxes AG CO 3 o LLI

THE LATEST WTC LIST Last month, the LMDC announced two shortlists of architects to design the 300,000-square-foot museum and 275,000-square-foot performing arts com• plexes planned for Ground Zero. Two firms-Polshek Partnership Architects and < Moshe Safdie and Associates-made it on both lists. Four other teams made it LU on the museum list: Pei Cobb Fried and Partners; Robbrecht en Daem Architects with Pasanella + Klein Stolzman + Berg Architects; Shigeru Ban Architect + Frei Otto with Dean Maltz Architect; and Snahetta. Meanwhile, eight more were picked p, N N I K for the performing arts development: BIng Thom Architects with Meyer/Glfford/ Jones Architects; Gehry Partners; DMA with LMN; Rafael Viholy Architects; Schmidt, Hammer & Lassen with Adamson Associates Architects; Studio Daniel Libeskind; TEN Arguitectos and H3 Hardy Collaboration Architecture; and Tod Williams Billie Tsien Architects. The future tenants-the Drawing Center and the International Freedom Center in the museum and the Joyce Theater International Dance Center and the Signature Theater Center in the performing arts venue- will make their final architect selections early October. THE WTC STORY NEVER ENDS oston The Deutsche Bank Building at 130 Liberty Street is finally coming down. The LMDC finalized its $90-milllon purchase of the 40-story structure in late August, and is preparing for demolition by studying environmental impacts. CLASSICISTS GET FOOTHOLD IN MIDTOWN November 16-18 Earn your continuing The Institute of Classical Architecture & Classical America opened a new, 2,700-square-foot national headquarters at the General Society of Mechanics Seaport World Trade education and AIA/CES and Tradesmen building at 20 West 44"' Street in September. The facility was Center Leaming Units (LUs) renovated pro bono by Robert A. M. Stern Architects. The convention and FREE admission to the PINCHING PENNIES exhibit hall and Brooklyn homeowners are irate, but this time it's not because of another arena tradeshow for design, workshop discounts if you or big-box development. Due to a spike in anonymous tips phoned in to the building and management Buildings Department's hotline, the agency has issued hundreds of Canarsie and register by October 22. East Flatbush residents building code violations, ranging from illegal construction professionals. to improper placement of washers and dryers. 800-544-1898 Sponsored by:

THE CENTER UNDERGROUND www.buildboston.com The Boston Society of Archliects/AIA The Vietnam Veterans Memorial Fund picked Polshek Partnership Architects from AIA New York Chapter a pool of 39 firms In a national competition to design a $40 million Vietnam Veterans Memorial Education Center in Washington, D.C. The facility will be sited McGraw-Hill Construction directly beneath Maya Lin's Vietnam Veterans Memorial. Lin served as an adviser to the jury that selected Polshek's design, a collaboration with exhibition design firm Ralph Applebaum Associates.

On September 11, millions of moths added a sinister spark to Tribute in GOLDEN BEACH HOUSE: CARLOS ZAPATA, DESIGNER, Undergraduate and Light, the Municipal Art Society and Creative Time's annual World Trade PRATT '84 "At Pratt, there was no single, distinct point of view about graduate programs in architecture. architecture. Often the views of different professors were totally opposed Center memorial designed by John Bennett, Gustavo Bonevardi, Richard Pratt also offers programs in to each other, which forced you to develop your own art and design, creative writing, Nash Gould, Julian Laverdiere, Paul Marantz, and Paul Myoda. Swarms voice and form of expression. They constantly cultural studies, art history and of moths left cometlike trails as they dove into the heat of the memorial's challenged us to reassess our preconceived notions the new Graduate Historic Pratt Preservation Program. about what made for good design. skyward spotlights. "There was smoke and a strange smell. Above, birds Draw it. Build it. Make it. For intormation. visit "Through this kind of exploration, Pratt helped guide me towards an www.pratt.edu/admiss/request and bats were feasting on them," said photographer Stefano Giovannini. appreciation of the spirit of Modernism—a fluid approach to architecture or write or call: Pratt Institute that allows design to constantly reinvent itself. Maureen Sullivan of Creative Time said, "The Audubon Society deter• 200 Willoughby Avenue "Pratt taught me that successful design relies just as much on the Brooklyn. NY 11205 mined that the moth and bird influx was due to the absence of the moon. resolution of details as on the overall form. I think you can see that in all of 718-636-3669 or 800-331-0834 The creatures were flocking to the brightest light source." DG my work—from residences and hotels to airports and football stadiums." LU 00 O

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THE ARCHITECT'S NEWSPAPER OCTOBER 5. 2004

FROM THE BELLY OF THE WHALE

Asymptote conceived of the environmental design for the Metamorph exhibition, which occupies the Corderle dell'Arsenale (top). Renzo Piano Building Workshop's 2002 Parco della Musica in Rome (left) resembles three beetles. Foster and Partner's The Sage Gateshead in Northern England (above), slated to open in December, looks like a giant sea slug. LU ON

founded Oppos/f/ons magazine WITH THE THEME METAMORPH^ in the 1970s and commissioned a project for an unbuilt house, THE 9'" INTERNATIONAL ARCHITECTURE Eleven-A, and Frank 0.Gehry, for EXHIBITION OF THE VENICE BIENNALE whom he has often acted as an intermediary or glossator. While IS AN AQUARIUM OF EXOTIC ARCHITECTURAL recently the architectural styles of CREATURES. RICHARD INGERSOLL ATTEMPTS Eisenman and Gehry seem to be converging toward an organicist TO MAKE SENSE OF THE MELANGE. mode, their approaches to archi• tecture are diametrically opposed. Eisenman's methods celebrate the It probably all began with a fish. no place in this hallucinogenic autonomous capacity of geometry Not Gunter Grass' tale of the purview. And even the third and computation to signify, while world-weary flounder, but Frank canonical objective, delight, is Gehry relies on artistic intuition 0. Gehry's love of wiggly marine much abused. Those who visit the and metaphor. Eisenman's line of life. The hundreds of models that main exhibition of the Biennale thought has led to computer mor• recently washed up for the central will come away with a clear sense phing, while Gehry's has led to an 2] exhibition of the 9"' International of a style—vaguely organic, appreciation of zoomorphic and Architecture Exhibition of the neo-picturesque, and sublimely crystalline iconography requiring Venice Biennale, installed in homely. Most of the projects computer modeling to be realized. the half-kilometer-long Corderie also seem technically dubious The formal results of each are dell'Arsenale, appear like partially and extremely expensive to build intentionally monstrous with digested morsels of underwater because of their awkward respect to architectural conven• creatures clinging to a series of geometries. While there is an tions and urban contexts, appeal• undercurrent of concern for the colossal, stark white plaster ribs. ing to the aesthetic theory of the environment and many designs Snack food for the Leviathan. The sublime. trend in architecture, privileged by consciously simulate natural forms, Gehry is well represented at the the Biennale's mercurial director, there is no attempt to justify the THE GOLDEN LION Biennale with the show's largest Kurt Forster, oscillates between works from a social, technical, or model, of the recently completed the desire to represent natural ecological point of view. Thus the Walt Disney Concert Hall in Los forms that have metamorphosed show concentrates almost com• Angeles, a stainless steel-clad GOES TO AFRICA, from the conventional notion pletely on a current taste—a new sibling of the Guggenheim in of building and the desire not to version of expressionism—^that ••••••••••••••••••••••••••IHBHBHHI Bilbao. Eisenman, meanwhile, represent at all, but to create ran• appeals to some of the cultural was given an entire room to make dom shapes through the accidents elite of advanced capitalism. VIA BELGIUM of computer "morphing." Thus an installation about his work. the exhibition's syncretic theme, Forster, a Swiss-born art histo• The most interesting projects, Metamorph. The ribbed installa• rian, the founding director of the both currently under construction, Older generations have observed that in the early days of the Venice tion, designed by the digitally Getty Center, and for two years seem like ventures into land art: Architecture Biennale, one looked to the general exhibition in the endowed New York office the director of the Canadian the City of Culture in Santiago Arsenale for the field's best emerging ideas while the national pavilions Asymptote, breaks down the Center for Architecture, came to de Compostela and the Memorial scattered throughout the Giardini usually represented their countries' interminable axis of the column- the job with a formidable intellec• to the Murdered Jews of Europe official status quo. But this idea has been gradually turned around, begin• lined hall by placing each exhibi• tual and institutional background. in Berlin. In addition, Eisenman ning with the Architecture Biennale, themed Next (2002), directed tion platform laterally, forcing the While one may take issue with was honored with the Biennale's by Deyan Sudjic, and continued by this year's Metamorph, directed by visitor to meander in picturesque the content of the Biennale, its Lifetime Achievement Award. His Kurt Forster. circuits. Each of the three dozen concept has been convincingly built works, so often instant ruins, Several intentional curatorial strategies made Metamorph more a podia has an irregular stream• displayed and given an excellent such as House VI or the Wexner didactic retrospective of an era than a place to preview new directions and pedagogical armature in the lined shape that is different from Center at Ohio State, should serve approaches in architecture. Many of the projects that crowd the Arsenale three-volume catalogue. In some but related to the ones nearest it. as a parable for the Metamorph are already well known from the pages of magazines or previous exhibi• ways, the basis of the show These sinuous ribbons are fasci• style: You can fantasize and digi• tions—including some earlier Biennales. Those dating to the 1980s and was prepared by writer Marina nating as sculpture, work fairly tize all you like, but that won't stop 1990s serve to inscribe a few unifying evolutionary narratives. (In the Warner, who curated an art exhi• well for exhibiting the displays a building from leaking. Fall issue of Log, Forster cites 1980 as the "starting condition" of recent (though the flat bases of each of bition with a similar theme at the To give substance to the trend architectural transformations.) Forster goes back even further to flesh the models had to be adjusted to Science Museum in London in toward a new expressionist taste, out Metamorph's history, including, for example, the overlooked the platforms' irregular surfaces), 2002. In her view, the taste for Forster assembled a separate Uruguayan architect Eladio Dieste who created undulating structures and invest the space with a metamorphosis accompanies exhibition on contemporary con• nearly half a century ago. The exhibition design by Asymptote reinforces resounding metaphoric unity. the anxious desire for self-trans• cert halls. The peculiar demands the show's retrospective feel. A dominant display structure—a series of Like most of the projects in the formation in an advanced techno• of acoustical engineering and twisting and torquing podia—successfiilly assimilates the occasionally show, however. Asymptote's ribs logical society. Historian Juan the monumental imagery often distinct and new voices within one grand narrative. demonstrate a lack of interest in Antonio Ramirez sees the trend attached to these projects give It was in the national pavilions, then, where one could enjoy discover• constructional or structural deter• in a more political light, especially them a particular iconic power in ing alternative voices. Of particular note was the exhibition in the minants, approaching form as after the events of September 11 an urban setting. Like the muse• Belgium Pavilion and its accompanying catalogue, something that could be grown in New York and March 11 in Kinshasa: Tales of rather than built. Madrid, declaring that "the um, concert halls serve as a kind the Invisible City, which presented original and extensive research on nascent 21st century's love affair of scapegoat for the demise of the capital city of the former Belgian colony. The compelling project— with pulverized ruins, relies on civic life. To see so many together, a gesture that would be akin to the American or British Pavilion aspiring As Hani Rashid, principal of the demolition of democratic one has little doubt that they to understand the cities of Iraq—earned the Golden Lion prize for best Asymptote and spokesman for institutions.... Any analysis of adhere to the underlying taste pavilion. The project's curators, Filip de Boeck and Koen Van Synghel, a new generation of digital our social political reality would of Metamorph. Starting with Jprn state that the exhibition displays "a specific urban reality which invites us designers put it, "With the aid of define the sides of the triangle in Utzon's Sydney Opera House to question and rethink classical urban paradigms." Theirs was a cross- computing ... a newly evolved which we move as: lies, usurpa• and Hans Scharoun's Berlin disciplinary attempt, exploring the contribution of anthropology and architecture is emerging.... tion, and ruin." Philharmonic, both designed in documentary-filmmaking to understanding architecture—and ulti• It is within the grasp of architects the 1950s, the 40 models of recent mately challenging its prominent values. The book critically reviews the and artists today to discover and Unfortunately the critical and solutions demonstrate that the official history of the Belgium government's domesticating policies of evoke a digitally induced spatial skeptical insights of the catalogue type has yielded some of the colonial space. Instead of focusing on the built forms of this colonial delirium, where a merging of sim• are unable to shape the experience weirdest forms in architectural legacy, it directs attention to an invisible city that exists in the imagination ulation and effect with physical of the exhibition, which is by history. Acoustical engineering of its citizens. With interviews with local writers and intellectuaLs, photo• reality creates the possibility of a nature an endorsement of style. seems to have bestowed a func• graphs by Marie-Francoise Plissart of local residents, street scenes, and the sublime morphing from thought Forster has pursued a personal tionalist precept for irregular city's temporary architecture, and documentary films that treat the human to actualization." Let us agree theoretical agenda that revolves forms that struggle against the body as die main"infrastructural unit"of the urbanscape,the exhibition that the Vitruvian categories of around two of his close friends: orthogonality of most urban fulfills its goal, to "interpret the city beyond its architecture and to transcend commodity and firmness have Peter Eisenman, with whom he contexts. The continued on page 10 the prevailing narcissistic architectural critique." continued on page 10 UJ O on ^ ZD

THE ARCHITECT'S NEWSPAPER OCTOBER 5, 2004

FROM THE BELLY OF THE WHALE continued from page 9 prize-winner in this part of the show, an unbuilt project for a two Otimic4amSMoKt part concert hall in Stavanger, Norway, by the Danish office PLOT, is an ingenious solution that unites two monolithic paral- lelipeds with steps that wrap around the base of the buildings and then continue as a louvered facade to the roof. The risers are translucent, allowing slats of daylight into the structure and at night creating a magical light box effect, like a Noguchi lantern. One can still recognize a humanist bias in the approach, especially when compared to other projects such as the Dutch office NOX's recently completed installation Son-O-House, which looks like guts spilled on a sidewalk. The trend in zoomorphic transforma• I tions and picturesque planning is evident even among the most technologically astute offices. Norman Foster's The Sage Gateshead music hall rests like a giant sea slug on the banks of the RiverTyne and Renzo Piano's Parco della Musica in Rome resembles three beetles. Despite being the largest inter• national exhibition for architec• ture, the Biennale this year cannot be said to represent the world's architecture. And while there is no hierarchy or singling out of any particular nation, the curator• LA BONNE SEM ial concentration on the quirks of WE,VT£.^WPi;'TS:-BfTAIwS m&£L. Mir. fHum ki VOUIU a particular aspect of high style is unavoidably discriminatory. The TOURTEAUX Biennale has always compensated SON DE BLE for its elitism in the dozens of national pavilions, where each ET DIVERS country assigns a curator to assemble a show. The pavilion prize went to Belgium, which pre• sented an artist's and anthropol• pavilion, which relies on private Top to bottom: Stavanger Concert ogist's vision of Kinshasha, a mod• sponsors, showed the work of six Hall by PLOT; Walt Disney est consideration of Congolese offices, three of which are very Concert Hall by Frank Gehry; and The Belgium Pavilion, featuring photographs by Marie-Franqoise Plissart Peter Eisenman's City of Culture vernacular adaptations in a situa• morphy and three that are not. of life in Kinshasa, shows that traditional strategies and typologies of in Santiago de Compostela. architecture might not be the best answer to the challenges of the world. tion far removed from the patron• The Biennale's juried prizes age necessary for the projects of went to SANAA (Kazuyo Sejima Metamorph opens a perennial Metamorph. A work of postcolo- and Ryue Nishizawa) for two problem, notjust of technique and THE GOLDEN LION continued from page 9 At the same time, the project nial guilt, it stood out from the rest works, the Contemporary Art social program but of aesthetics. in the Belgium Pavilion rai.sed questions about the politics of repre• of the Biennale as a reminder of Museum in Kanazawa, Japan, and Hybrid works such as many of sentation. In the exhibition, Kinshasa was viewed through the lens of architecture's misplaced priorities. the Valencia Institute of Modern those presented in the Biennale its ex-coloni/,er. As de Boeck acknowledges in the catalogue, this project The Japanese pavilion was Art in Valencia. Other awards were are misfits—linguistically closed, runs the risk of being patronizing. In response, he withdraws any claims exceptional in its conceptualism, given to Foreign Office Architects impractical to construct, and diffi• (Alejandro Zaera-Polo and Farshid of representing an objective reality, and perceives Kinshasa as a city that bringing together a myriad of cult to adapt to. Their meaning Moussavi) for its terraced, undu• is circumscribed by their unique• "constantly remains out of focus." However, this insightful approach images from pop culture surround• lating hanging garden scheme ness of form, which greatly limits was not sufficiently explored in the exhibition design. The display ctmld ing the figure of the eternally ado• for a car park at the Novartis their chances to be understood. have taken more creative steps in reminding the audience that whatever lescent and aimless computer campus in Basel, and Martinez- They are doomed to extinction as they were observing was mediated by a Western author s gaze. nerd, christened Otaku. The Lapeha and Torres for its design they are unable to cooperate with The Belgium Pavilion's strongest asset was its attempt to expand chaotic but repetitious assembly of an exhibition platform and reality. Will we someday find our• borders of representation. There are no countries east of Greece until of plastic toys and bright colored photovoltaic tower at the new selves rallying to save the archi• Singapore (except Israel) or south of Italy (except Egypt) represented in posters creates a convincing idea convention center area of Forum tectural whales? the Biennale, which claims to be international. Similar attempts to rope of how the trivial products, games, 2004, which covers Barcelona's in unrepresented parts of the world were undertaken by the Foreign and junk of consumerism have water treatment plant. RICHARD INCERSOLL IS A CRITIC program organized by the Institut fiir Auslandsbeziehungen (IFA) as become elements of contempo• BASED IN ITALY. HIS LATEST BOOK IS part of the German Pavilion, and the Greek Pavilion, which exhibited the rary urbanism. The other pavilion The new expressionism of SPRAHTLTOWNCMELTEHI, 2004). resiilts of a workshop on the "green line" dividing the Turkish and Greek that caught my attention was zones of (Cyprus. The curatorial decisions of these pavilions will be Germany's, a fascinating pho• consequential, however, only if they can stimulate the future inclu.sion tomontage mural that undulated of the many excluded nations and architects, allowing them to speak from room to room, seamlessly Those who visit the Biennale will come away for themselves. blending 37 contemporary works with a clear sense of a style-vaguely organic, ESRA AKCAN, AN ARCHITECT AND SCHOLAR, IS A PH.D CANDIDATE AT COLUMBIA of architecture into the landscape UNIVERSITY AND VISITING FACULTY AT PARSONS SCHOOL OF DESIGN AND PRATT of sprawl. Has sprawl finally neo-picturesque, and sublimely homely. INSTITUTE. become beautiful? Finally, the U.S. CO

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colorful attorney Ed Hayes adds a referee in the active sense of chair• torn Tower (rendered by dash of big-city grit to the tale. Two ing the meetings, and basically say• i has brought out the worst almost everyone involved. relatives of victims provide emo• ing to David Childs, stop it. Grow tional weight, throwing the archi- up." Libeskind appears wounded, Holy Battle squabbles into an unflattering light. even childlike, in need of protection The film's drama centers on Childs' from a surprisingly earnest refusal to work with Libeskind and Governor Pataki. At the last minute to stay within the confines of the Betts called in Pataki who, like a unconventional master plan—^which school principal, delivers discipline, delineates building heights and forcing Childs to play nice and Frontline: Sacred Ground make some quick concessions. Nick Rosen, producer, (PBS, 2004) certain formal elements—in spite of Tapes and transcripts available at www.pbs.org repeated public statements to the Frontline wisely chose to focus contrary.The documentary includes only on the struggle over the design a rendering for a 2,100-foot high of the Freedom Tower. Certainly Those who have been watching of Daniel Libeskind's master plan. heroes column are Daniel and Nina tower Childs and Nordensen with all the other buildings, the development at Ground Zero Now, thanks to a somewhat soapy Libeskind, Governor George Pataki, designed leering over Manhattan constituencies, and personalities closely know that the design forthe documentary by PBS' Frontline, and LMDC board member Roland like Frankenstein. involved in the various projects Freedom Tower is a colossal com• we know just how unfortunate and Betts, while the villains are repre• But the story is more about per• now adding up to the World Trade promise. While the building has unnecessary that compromise was, sented by WTC leaseholder sonalities than architecture. Nina Center site, "Sacred Ground" been heralded for its structural and and how unlikely improvement Larry Silverstein, engineer Guy Libeskind seethes with anger, call• could be the first in a series. But if ecological innovations, as well as seems to be. Nordensen, and chiefly Childs. ing Silverstein, Childs, and SOM the petulant behavior seen here is its form to some degree, there is The episode, "Sacred Ground," The city—almost always shown at "liars" at least four times. Betts any indication, the reputation of something awkward about the way aired nationwide in September and night, in fog, or through dark sub• has the best lines of all: "1 thought architects would be better served it reconciles the rational ideas of will be rebroadcast (check local PBS way tunnels—is itself depicted as they [Silverstein et al.] would have if the rest of the proceedings hap• David Childs and his team at listings). The one-hour episode a treacherous character. Critic Paul behaved better, too. But they've pened behind closed doors.

Skidmore, Owings, and Merrill is pretty evenly split along the Goldberger serves as a referee for behaved like assholes. Okay? I wish ALAN C. BRAKE IS A DESIGN CRITIC AND (SOM) with the dramatic narrative lines of heroes and villains. In the the lay viewer, and the Libeskinds' I had stayed in there and been a A FREQUENT CONTRIBUTOR TO AM.

the desert, then subject• simulation of a real bomb, ed to actual blasts, to be which he claims anyone THE BOMB studied after weapons can create from plans on were exploded. These the Internet and parts A TOWERING tests left vast tracts of the from children's toys. IS BACK West radioactive and off Music emanating from limits to visitors. In this the rear of the gallery is exhibition, the Center a video opera by com• Building the Unthinkable for Land Use Interpreta• COMIC poser Steve Reich and apexart, 291 Church Street tion (CLUI), a California artist Beryl Korot, Act2 Through October 9 research organization, In the Shadow of No Towers, Art Spiegelman Bikini of Three Tales (Pantheon Books, 2004), $19.95 continues its valuable (2002). Both the music documentation of the and images loop, layer, impact of humans on the and manipulate text "I never loved those arrogant strips that obsessed and influenced land with an interactive taken from an online boxes," cartoonist Art Spiegelman the author after 9/11. map of the restricted database about the writes of the World Trade Center in While the form of the book is 860,000-acre Nevada history of the A-bomb, his new book. In the Shadow of No striking and unique, Spiegelman's Test Site. The land is www.atomicarchive.com. Towers, which chronicles his expe• ideas will seem familiar to many of controlled, owned, and Here Reich's serial music riences on and after 9/11. "If not for his readers. In one panel. Bush and operated by the and Korot's numbered all the tragedy and death, I could Cheney ride a bald eagle, crying Department of Energy though it becomes images count down the think of the attack as some sort out "Let's Roll" while slitting the accessible through this Bikini island bomb test of radical architectural criticism. bird's throat with a box cutter. It is that rendered the island It's not like I love the way my nose an unusually potent expression of In A Death Wish Generation (2002), Dominic McGIII project. One can navigate created a diorama of a South Pacific atoll inside through this eerily beau• radioactive. In a similar looks. ..I just don't want somebody a political opinion fairly common an early model of an atomic bomb. tiful landscape of haz• vein, Young-Hae Chang ramming a damn plane into it!" among liberal New Yorkers. But ardous waste storage, of Heavy Industries has No Towers is iconoclastic and the book is really more a personal Today, military comput• bomb as a public works conventional explosives created the video NU KO• challenging, a soul-baring inner object than a public one. ers in Florida pilot air• project, akin to the inter• testing, bomb craters, REA, a graphically pow• search and pungent rant that Spiegelman, with his uncompro• planes to take out state highway system or abandoned villages, erful description of an pulls no punches, especially when mising introspection, has produced perceived enemies in Hoover Dam, though it's and Plutonium dispersal imagined nuclear war aimed at the Bush administration. a cathartic work that, while not Afghanistan. Cyberspace true, they were all created test sites. between North and Spiegelman, who lives downtown coherent or beautiful, is raw, pow• has transformed our to serve the public and South Korea. Text scrolls and watched the towers burn erful, and fresh. GREGORY KATZ IS A sense of distance and they function to mediate The most powerful down the screen accom• and fall, has extracted his painful NEW YORK-BASED FREELANCE WRITER. space—just as the atom• "conflicts between objects in the exhibition panied by a trancelike memories of the event and his ic bomb did in the 1950s. city and country." This are two small boxes score, describing a hor• anger and worry about its aftermath The exhibition Building take on public service that are as stylish as rific event in which peo• to create huge, chaotic comic strip the Unthinkable at establishes a curatorial the modern designs ple expire from radiation panels that are barely contained by apexart argues that the framework to examine that emerged during the but automobile motors the book's oversize cardboard pages. A-bomb was "less the the important spatial and atomic age, which makes continue to purr. The ten main panels, first pub• result of a war between cultural shifts wrought their sinister purposes These projects and lished in 2002 as a serial in the ideologies in the East by the bomb. Stayner all the more jarring. The images are all reflections German paper D/eZe/fandthe and West than a conflict has gathered the work first. Model #47 (Trinity of an earlier atomic Jewish magazine The Forward, between the city and of nine artists and archi• Diorama), by the artist age but since the U.S. cascade chaotically down the page. the landscape, between tects that focuses on its known as World Power just ripped up the If comic composition is like archi• In TtiE »,M/,oowor NO towers the center and the "ability to transform" the Systems, is a seductively Comprehensive Test Ban tecture, as Spiegelman claims in periphery." In fact, the physical, geopolitical, creepy device with tubes, Treaty and is about to an essay in No Towers, then the show, curated by and cultural landscape. wires, plastic dials, and begin testing a new type artist built these panels as struc• Christian Stayner, posits meters, that replicates The A-bomb's devel• of nuclear "bunker tures in mid-destruction. Even the the weapon as America's a bomb detonator. The opment included years buster," this show could narrative collapses after these most important public second box is a bright of testing on the land• not be more timely or works, ending abruptly and giving works project. toylike object by artist scape of American West. horrific. WILLIAM MENKING way to an essay about old comics Gregory Green that is a It is odd to think of a Fake towns were built in IS AN EDITOR AT AN. and reproductions of some classic >- <

THE ARCHITECT'S NEWSPAPER OCTOBER 5, 2004

Maxinne Leighton, o The fifth annual National Design Awards will be announced at a gala dinner Michele Renda, et al. o Working with the SF 330: (\J in the Arthur Ross Terrace and Garden at the Cooper-Hewitt, National Design An Update 0^1 Museum on October 19. This year, lifetime achievement honors go to graphic 5:30 p.m. LU Center for Architecture CD designer Milton Glaser, creator of the "I Love NY" logo as well as hundreds 536 LaGuardIa PI. o of other logos, ads, posters, album covers, and corporate identities. Other www.smpsny.org I- o honorees include chair of the New York City Planning Commission Amanda Monica Ponce de Leon o Rguring Configurations Burden (Design Patron Award), and the Aveda Corporation (Corporate 6:15 p.m. Achievement Award). Four finalists—Rick Joy, Polshek Partnership, Joseph Yale School of Architecture E. Spear, and Rafael Vinoly—are up for the architecture prize. Other award 180 York St., New Haven MORE www.archltecture.yale.edu categories include communications, environment, fashion, and product design. THAN Besides the nominees, expect to see honorary patron Laura Bush at the gala, SYMPOSIA along with chairman Richard Meier and vice-chairmen Beth Rudin DeWoody, OCTOBER 12-13 EVER 4th Annual Empire Energy Reed Krakoff, Murray Moss, and Deedie Rose. If the price of the gala tickets— and Environmental $1,000 to $5,000 per person—scares you, go to the after-party instead. Exposition: Clean and Green Gideon Putnam Cooper Hewitt National Design Awards Gala Dinner and After-Party 24 Gideon Putnam Rd., October 19 Saratoga Springs Cooper-Hewitt, National Design Museum, 2 East 91st Street www.eba-nys.org Gala: 6:30 p.m,-9:00 p.m.. $1,000 to $5,000 After-party: 9:00 p.m.-12:00 a.m. $75 for museum members In advance; OCTOBER 13-15 $100 for nonmembers In advance; $125 at the door. Building Together: Go to www.natlonaldesignawards.org. Partnerships for Successful Community Development Mayor Michael Bloomberg, David Shipler, et al. OCTOBER 7 OCTOBER 14 OCTOBER 16 Jan Kaplicky Marriott Marquis LECTURES Cesar Pelli Peter Schaudt, Max Protetch, otherworldly 1535 Broadway www.enterprlsefoundatlon.org OCTOBER 5 The Architect's Vision Michael Stepner Barbara Bloemink 6:30 p.m. Brent Brolin, Steven Semes, 6:00 p.m. Landscape and Urban Design Design + Art in the Urban Center Books David Flaherty, et ai. City College 8:00 a.m. Hudson Valley 457 Madison Ave. OCTOBER 14 But is rt Modern? 95 Shepherd Hall Center for Architecture 8:00 a.m. www.mas.org Globalizing Cities and Contemporary Classicism Convent Ave. and 138th St. 536 LaGuardIa PI. Visit website for details, Urban Imaginaries: Urban 6:00 p.m. 212-650-7118 www.aiany.org/clvlcsplrit www.cooperhewltt.org Brent Brolin Africa, Cairo, and Istanbul Bard Graduate Center The Designer's Eye: A New Andreas Huyssen, 18 West 86th St. OCTOBER 8 Gene Russianoff, et al. OCTOBER 18 Way of Seeing Architecture Abdoumaliq Simone, et al. 2:00 p.m.-7:00 p.m. www.bgc.bard.edu Phillip Lopate MTA: Five-Year Capital Plan Nader Tehran! of Office d'A 6:30 p.m. The Enigma of Waterfront 8:30 a.m. 6:00 p.m. Center for Architecture Columbia GSAPP Wood Auditorium OCTOBER 5, 7, 12, 13, Development Municipal Art Society Pratt School of Architecture 536 LaGuardia PI. 113 Avery Hall 19, 21 12:30 p.m. 457 Madison Ave. 115 HIgglns Hall South wvm.alany.org www.arch.columbla.edu Thomas A. Hines Columbia GSAPP 212-935-3960 200 Willoughby Ave., Modernism and Regionalism: Buell Center Brooklyn Colson Whitehad Los Angeles Architectural 114 Avery Hall Leslie Gill www.pratt.edu The Colossus of New York OCTOBER 16 Culture, 1900-1970 www.arch.columbia.edu/buell 12:00 p.m. 6:30 p.m. Of Our Time: 6:30 p.m. Pratt School of Architecture Michael Manfredi, Cooper Union Changing Attitudes in Columbia GSAPP OCTOBER 11 302 HIgglns Hall North Marion Weiss Great Hall Historic Preservation Buell Center Brian McGrath, et al. 200 Willoughby Ave.. Site Construction 7 East 7th St. Robert A. M. Stern, Nina Rappaport, 114 Avery Hall The New Urban Ecology? Brooklyn 6:15 p.m. www.cooper.edu Frances Morrone, et al. www.arch.columbia.edu/buell 6:30 p.m. www.pratt.edu Parsons School of Design Columbia GSAPP Glass Corner OCTOBER 20 9:00 a.m.-5:00 p.m. New York School Of OCTOBER 6 Wood Auditorium Lars Spuybroek of NOX 25 East 13th St., 2nd Fl. Diana Mendes, et al. Interior Design Keller Easterling 113 Avery Hall 6:00 p.m. www.parsons.edu Transportation Forum: Lower 170 East 70th St. Believers and Cheaters www.arch.columbla.edu Pratt School of Architecture Manhattan Redevelopment www.classlclst.org 6:00 p.m. 115 HIgglns Hall South Thom Mayne 8:00 a.m. Columbia GSAPP OCTOBER 13 200 Wllloughby Ave., Are There Any Questions? General Society of Wood Auditorium Gilbert Delgado Brooklyn 6:15 p.m. Mechanics and Tradesmen OCTOBER 18-22 113 Avery Hall Crossing the Frontier www.pratt.edu Yale School of Architecture 20 West 40th St. Design 101 www.arch.columbia.edu 6:00 p.m. 180 York St., New Haven wvm.pwcusa.org Steve Kroeter, Center for Architecture Thom Mayne www.architecture.yale.edu Barry Bergdoll, et al. Gisela Baurmann, 536 LaGuardIa PI. Phase II Hugh Hardy NYU Woolworth Building Jonas Coersmeier of Biiro www.alanyorg/clvlcsplrit 6:00 p.m. Jean Gardner, Brian McGrath, 6:00 p.m. 15 Barclay St. 6:00 p.m. City College Michael Sorkin, et al. New York School Of www.deslgn101.lnfo Pratt School of Architecture Elias Torres 95 Shepherd Hall Can Cities Be Sustainable? Interior Design Openspace Architecture Convent Ave. and 138th St. 6:30 p.m. Arthur King Satz Hall 115 HIgglns Hall South EXHIBITIONS 200 Wllloughby Ave., 6:30 p.m. 212-650-7118 CUNY Graduate Center 170 East 70th St. Brooklyn Cooper Union 365 5th Ave., 9th Fl. www.nysld.edu OCTOBER 8- www.pratt.edu 7 East 7th St. web.gc.cuny.edu/cepp NOVEMBER 15 Jiiergen Mayer H. The Voting Booth Project Jeff Kipnis, Activators Parsons School of Design Herbert Muschamp 6:30 p.m. 2 West 13th St. The Use and Abuse of Columbia GSAPP www.parsons.edu/votingbooth NEW FROM PRINCETON ARCHITECTURAL PRESS Criticism, part 1 Wood Auditorium 6:30 p.m. 113 Avery Hall OCTOBER 13- Columbia GSAPP www.arch.columbla.edu NOVEMBER 13 The organization ot letters on a blank THINKING Wood Auditorium Place for the Self thinking sheet is the most basic challenge facing WITH TYPE 113 Avery Hall OCTOBER 21 apexart with anyone who practices design. What type of A CRITICAL GUIDE FOR www.arch.columbla.edu Edward Feiner, font to use? How big? How should letters, 291 Church St. DESIGNERS. WRITERS. M. Gensler, Jr., Robert Peck words, and paragraphs be aligned, spaced, www.apexart.org EDITORS. & STUDENTS OCTOBER 19 First Impressions Program ordered, sfiaped? In this new primer, type ELLEN LUPTON Bernardo Fort Brescia, James 8:00 a.m. OCTOBER 13-JANUARY 2 7 X 8.5. 176 PAGES, design educator Ellen Lupton provides Carpenter, Thomas Phifer William Caine, Christo and Jeanne-Claude: 100 COLOR clear guidance for anyone learning or Miami: The Courthouse Jennifer Gibson, et al. The Wiirth Museum Collection $19.95 PAPERBACK brushing up on their typographic skills. as Urban Catalyst Art in Architecture Program National Academy of • u- 6:00 p.m. 12:00 p.m. Design Museum TO ORDER, 1.800.722.6657 Center for Architecture Center for Architecture 1083 5th Ave. nil OR WWW.PAPRESS.COM 536 LaGuardIa PI. 536 LaGuardIa PI. www.natlonalacademy.org www.aiany.org/clvlcsplrit www.alany.org/clvlcsplrit >- m on< ^

OCTOBER 19- MARCH 6 THROUGH OCTOBER 24 Freedom of Expression FILM & THEATER Romare Bearden at the Met War! Protest in America National Monument Metropolitan Museum of Art 1965-2004 Foley Square OCTOBER 8 1000 5th Ave. Memorials of War www.creativetime.org Movie Marathon www.metmuseum.org Whitney Museum of 6:00 p.m. American Art THROUGH NOVEMBER 19 Center for Architecture CONTINUING 945 Madison Ave. Variable City: Fox Square 536 LaGuardia PI. EXHIBITIONS www.whitney.org Van Alen Institute www.aiany.org 30 West 22nd St. THROUGH OCTOBER 8 David W. Dunlap www.vanalen.org OCTOBER 8-9 Beyond Koreatown: ^^^^^ New Visions of 32nd St. From Abyssinian to Zion: Recent Films by Peter Hutton THROUGH NOVEMBER 28 in Manhattan Photographs of Manhattan's on The Floating Cinema Houses of Worship Ant Farm Gallery Korea 6:00 p.m.-10:00 p.m. New-York Historical Society Media Burn, Waterfront Park, Hudson 460 Park Ave., 6th Fl. 2 West 77th St. The Eternal Flame Waryas Park, Poughkeepsie www.koreanculture.org www.nyhistory.org International Center www.minettabrook.org of Photography Investigating Where We Live: THROUGH OCTOBER 29 1133 6th Ave. From Grit to Glamour Doug Michels: Life and Work www.icp.org Urban Center Gallery 457 Madison Ave. Pratt Schafler Gallery OCTOBER 5 THROUGH NOVEMBER 29 www.mas.org 200 Willoughby Ave., Design-in Marathon Rita McBride Brooklyn 8:30 a.m.-10:00 p.m. Exhibition THROUGH OCTOBER 9 www.pratt.edu Center for Architecture SculptureCenter Building the Unthinlcable 536 LaGuardia PI. Variable City: Fox Square 44-19 Purves St., Queens apexart www.aiany.org/architecture Van Alen Institute www. scu I ptu re-center.o rg 291 Church St. week/designin.html www.apexart.org 30 West 22nd St., 6th Fl. THROUGH NOVEMBER 30 www.vanalen.org Freshkills Master Plan Vibrant Communities: THROUGH OCTOBER 10 Public Meeting Green Maps of New York Illustrated Throughout: THROUGH OCTOBER 30 7:00 p.m.-9:30 p.m. and the World Reconsidering the Role of Architecture and Revolution Rocco Laurie School in Cuba,1959-1969 Urban Center Gallery Photography in the Survey 33 Ferndale Ave., 457 Madison Ave. of Modern Architecture Storefront for Art Staten Island www.mas.org Columbia GSAPP and Architecture www.nyc.gov/freshkills 100 Avery Gallery 97 Kenmare St. www.storefrontnews.org THROUGH DECEMBER 4 www.arch.columbia.edu OCTOBER 7 Tracing Tony Smith's Tau Heritage Ball 2004 Reiser + Umemoto Hunter College Solos: Future Shack 6:00 p.m. Bertha and Karl Leubsdorf DESIGN-IN MARATHON Cooper-Hewitt, Flux Room Chelsea Piers, Pier 60 Art Gallery Center for Architecture, 536 LaGuardia PI. National Design Museum Artists Space www.aiany.org Lexington Ave. and 68th St. October 5, 8:30 a.m.-10:00 p.m. Arthur Ross Terrace 38 Greene St., 3rd Fl. www.artistsspace.org www.hunter.cuny.edu and Garden Party ©theCenter 2004 PLAY BY DESIGN 2 East 91sl Si. 9:30 p.m. Center for Architecture, 536 LaGuardia PI. The Riders and the Bob the Roman: ndm.si.edu Center for Architecture October 6, 10:00 a.m.-3:00 p.m. Rebirth of City Transit: Heroic Antiquity and the 536 LaGuardia PI. 25 Years of Transit Advocacy Architecture of Robert Adam THROUGH OCTOBER 11 www.aiany.org New York School Of HERITAGE BALL 2004 Matthew Baird and by the NYPIRG Straphangers Campaign Interior Design Chelsea Piers, Pier 60 Parsons Graduate OCTOBER 9-10 October 7, 6:00 p.m. Urban Center Gallery 69th Street Gallery Architecture Students Open House New York 457 Madison Ave. 161 East 69th St. Design Build 2004: Weekend 2004 PARTYSTHECENTER 2004 www.mas.org www.nysid.edu Common Ground Various locations Center for Architecture, 536 LaGuardia PI. Parsons School of Design THROUGH JANUARY 9 www.ohny.org October 7, 9:30 p.m. Glass Corner Austria West: New Alpine Architecture Faster, Cheaper, Newer, More: 25 East 13th St., 2nd Fl. OCTOBER 13 OPEN HOUSE NEW YORK WEEKEND 2004 Austrian Cultural Forum Revolutions of 1848 www.parsons.edu Industry Forecast Breakfast: Various locations around the city. 11 East 52nd St. Cooper-Hewitt, National Design Museum Housing and Designing for See website for details: www.ohny.org THROUGH OCTOBER 19 www.acfny.org 2 East 91st St. the Marketplace October 9-10 Joan Firestone, Jan Lowrie 8:00 a.m. Candida Hofer ndm.si.edu Fusion Prints: Club 101 As part of AIA New York chapter's second annual Architecture The Gotham Series Sonnabend Gallery THROUGH JANUARY 31 101 Park Ave. Week (through October 10), the non-profit organization open- Cooper Union 536 West 22nd St. Vanessa Beecroft, www.smpsny.org housenewyork (OHNY) is opening 100 architectural sites in the Great Hall Gallery www.artnet.com Dan Graham, et al. five boroughs for public perusal on October 9 and 10 for OHNY 7 East 7th St. Rare and Historic Weekend 2004. THROUGH OCTOBER 31 Terminal 5: www.cooper.edu Greenwich Village Maps Though many OHNY sites, like the Center for Architecture, Andy Goldsworthy A Project for Air Travel 6:00 p.m. the Austrian Cultural Forum, and the Bohen Foundation, are on the Roof John F Kennedy Terminal 5 THROUGH OCTOBER 20 New York Public Library always open to the public, there are also a fair number of private Metropolitan Museum of Art www.terminalfive.com Massimo Catalan! 476 5th Ave. destinations, like fashion designer Narciso Rodriguez's studio, My Urbanity 1000 5th Ave. THROUGH FEBRUARY 27 www.gvshp.org the last townhouse designed by Paul Rudolph, and the midtown Gallery Qui www.metmuseum.org Design » Art: Functional offices of TEK architects. Highlights include anderson architects' 601 West 26th St. OCTOBER 14 rooftop tent offices in Chelsea (pictured above); the Old Quaker THROUGH NOVEMBER 5 Objects from Donald Judd 212-343-8986 lALD 35th Anniversary Meeting House built in 1694 and still in use in Flushing, Queens; PSFS: Nothing More Modern to Rachel Whiteread Josef and Anni Albers: 11:00 a.m. a three-hour cruise exploring New York's maritime and industrial THROUGH OCTOBER 22 Yale School of Architecture Designs For Living Center for Architecture infrastructure; the newly completed and award-winning Little Teresa Hubbard and 180 York St., New Haven Cooper-Hewitt, National 536 LaGuardia PI. Sisters of the Assumption Family Health Service in East Harlem Alexander Birchler: www.architecture.yale.edu Design Museum www.iald.org designed by Peter L. Gluck and Partners, Architects; and the Single Wide 2 East 91st St. Pratt Institute Power Plant, the longest-maintained electrical pro• Whitney Museum of THROUGH NOVEMBER 7 ndm.si.edu OCTOBER 19 duction station in the city (also pictured above). American Art at Altria Around Town Underground Cooper Hewitt National Architecture Week also includes an event for the whole 120 Park Ave. New-York Historical Society Design Awards Gala family—the October 6 session with Parks Department officials www.whitney.org 2 West 77th St. TRADE SHOWS 6:30 p.m., 9:00 p.m. that gives elementary and high-school students the opportunity www.nyhistory.org Cooper-Hewitt, National to design and build models of their ideal playgrounds (Play By THROUGH OCTOBER 23 OCTOBER 21 Design Museum Design). For those with as much stamina as curiosity, there's the Lebbeus Woods, Kiki Smith THROUGH NOVEMBER 10 Queens & Bronx Building 2 East 91st St. 12-hour design dialogue at the Center for Architecture (Design- Firmament Civic Spirit: Changing the Association Trade Show ndm.si.edu In Marathon) or the October 7 party double-header, beginning Henry Urbach Architecture Course of Federal Design 5:30 p.m.-9:00 p.m. with the AIA NY and the New York Foundation for Architecture's 526 West 26th St., 10th Fl. Center for Architecture Terrace on the Park annual gala at Pier 60, honoring, among others, Edward Feiner of www.huagallery.com 536 LaGuardia PI. 111th St. and 52nd Ave., WITH THE KIDS the GSA and Bruce FowIe of Fox & FowIe Architects (Heritage www.aiany.org/civicspirii Queens Ball), and ending with a deejayed dance party that will transform The Emergence of www.qbba.org OCTOBER 6 the Center for Architecture into an "urban circus" for the evening Industriearchrtektur in Berlin THROUGH NOVEMBER 13 Play by Design (Party (g)theCenter). 1840-1910 Wijnanda Deroo 10:00 a.m.-3:00 p.m. Columbia GSAPP Robert Mann Gallery Center for Architecture 100 Avery Gallery 210 11th Ave., 10th Fl. 536 LaGuardia PI. FOR COMPETITIONS LISTINGS SEE WWW.ARCHPAPER.COM www.arch.columbia.edu www.robertmann.com www.aiany.org CO

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THE ARCHITECT'S NEWSPAPER OCTOBER 5, 2004

minutely detailed models— a preference brought into sharp relief by a beautifully MARKETPLACE FEDERAL abstracted model of Mies van der Robe's Federal Plaza in Chicago, displayed in the first room. Well organized and prominently displayed, ARCHITECTSNEWSPAPER CASES models of the GSA's proud• est accomplishments form The Architect's Newspaper Marketplace the heart of the exhibition. showcases products and services. Formatted 1/16 page, 1/8 page, But a show like Civic Spirit or 1/4 page, black and white ads are available as at right. has the potential to raise Civic Spirit: Changing the Course of Federal Design more fundamental ques• CONTACT Center for Architecture, 536 La Guardia Place tions of how decisions Jonathan Chaffin Through November 10 about public architecture Advertising Sales P. 0. Box 937 New York NY 10013 are made, and the individual TEL 212-966-0630 projects only provide an FAX 212-966-0633 indirect answer. A fuller jchaffin(i>archpaper.com discussion of GSA's own program would have con• tributed immensely to the DOME'L SKYLIGHTS debate. Instead, issues such Manufacturer of Quality Standard & Custom Skylights as the problems that initially compelled the GSA to cre• ate the Design Excellence Program or the direction ^^^^^ of its future growth are condemned to obscurity in lengthy, poorly structured Hip Vent Ridge Polygon Barrel Vaiill wall texts that litter the show in a disjointed manner. With Mayor Michael address the crippling effects Ultimately the texts, and Bloomberg's recent of the government's intimi• with them the broader dis• announcement that New dating qualification and cussion of the how we as York City will soon overhaul submission process and an a society choose our public its procurement processes unflinching allegiance to the architecture, simply disap• for design services, the lowest bid without regard pear, overshadowed by the Curb Mount Dome Circular RIdge/Gable Ends Center for Architecture's for the quality of design, celebration of the architec• Dome'l Inc. 1-800-603-6635 973-614-1800 Fax 973-614-8011 latest exhibition. Civic Spirit: the program has been fairly ture itself. www.domelinc.com 3 (BnATwaki Street, Cffton, New Jeisey 07013 Changing The Course of successful. Initially limited The GSA and the Center Federal Design, could hardly to federal courthouses. for Architecture have be timelier. The exhibition Design Excellence has been planned a number of related celebrates the first ten expanding its reach. Civic public events (www.aiany. years of the GSA's Design Spirit also showcases office org/civicspirit) and hopeful• Now in New York Excellence Program, featur• buildings, border crossings, ly these will address some Digital Reprographics 1 Document Management I Facilities Management ing renderings, intricate and research facilities. of the exhibition's short• models, and photographs of Perhaps more importantly, comings. Civic Spirit Large Format • Electronic Document 19 of the most notable proj• smaller, younger firms like deserves to be seen, but the Bond Printing Management Services ects commissioned through Lake/Flato, Morphosis, and GSA has done itself, and the program. Smith-Miller + Hawkinson its audience, a disservice by CAD Plotting • Fast, Professional Since the initiating the are prominently featured not showing—and telling— Service Copying Services Design Excellence Program alongside more established us more. in 1994, the GSA has made names like Richard Meier JASON ANDERSON IS AN On-Site Services working for the government and SOM. ARCHITECTURE STUDENT AT somewhat fashionable The agency clearly has a PRINCETON UNIVERSITY. again. Formulated to predilection for exquisitely. Service Point

Sandra Day O'Connor U.S. Courthouse, 11 E. 26th St., 10th R. I New York, NY I (212)213-5105 I www.servicepointusa.com Phoenix, Richard Meier, 2002 (top), and Boston I Providence I New Haven I New York I PfilladelpWa I Washinoton DC National Oceanic and Atmospheric Administration building, Sultland, Maryland, Morphosis, 2005 (below).

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ARCHITECTS Ruth Hirsch Associates Inc. Ruth Hirsch has been serving the profes• Pratt Institute, an independent college bunded in 1887, is located on a 25-acrc campus Midsize Westchester Firm seeks all levels sional Architecture and Design Community in die historic landmark Clinton Hill neighborhood of Brooklyn, New York. for diversified types of projects. for many years. She provides executive The Institute enrolls over 4200 students from 47 states and 80 foreign countries. search services for mid- and senior-level At this time we are seeking a key leadership position. Design sensitivity, good communication Architects, Interior Designers, Construction skills and desire to advance. Auto-CAD Managers and Facilities Personnel in the required. tri-state area. She refers candidates only Chairperson for the after a personal interview, and continues Openings include senior architect with to provide personal attention to all of her Graduate Architecture and technical expertise and intermediate level clients throughout the search process. architect with experience or desire to learn Please call, fax or E-Mail us: Urban Design Department 3.D renderings. Medical and/or Criminal Phone: 212-396-0200 Fax: 212-396-0679 Justice experience desired. E-Mail: [email protected] The School of Architecture at Ptatt Institute invites nominations and applications for the position of Chairperson for the Graduate Architeaurc and Urban Design Department. Please E-mail resume to With more than 25 ftill and part-time faculty members, the Graduate Architectute and [email protected] Business and Marketing Director Urban Design ptogram serves a student body of 1.30 and awards the Masters of Nationally-known landscape architecture Afchitccturc I degree (firsr-profcssion), Master of Architecture II degree (posi-profcssion) or fax to Lothrop Associates (914) 741-1116 firm in Midtown South seeks individual to and the Masters of Science in Urban Design. att.: Lee Bendett. manage the business (not the office) and direct all marketing activities: The Chairperson provides academic and administrative leadership of the department, recruits students and faculty. dc%'elops curriculum, advises students, develops Grants and Boutique high-end residential 8t retail • Supervise bookkeeper/office manager, Fundraising initiatives, and teprescnts the dcpatimcnt within the Institute and to the w/offices in NYC & Amagansett looking marketing/graphics assistant, and IT profession. Master's degree required in architecture or a related field. Applicants should for architect with MIN 5 years exp. & person have administrative experience, preferably in higher education; college-level teaching ability to run all phases of the project. • Handle financial planning and projections experience; demonstrated leadership ability; and recognized standing in the field. Exciting opp. with room for growth. • Communicate with pension planners and For more information, please visit our employment website at www.pratt.edu/jobs. E-mail resume and salary requirements: accountant [email protected] • Act as Human Resources department Please submit your cv., cover letter 2nd the contact information and three references • Identify and pursue new marketing by December 15, 2004 to: Dean's Office, School of Architeaure, Search GA/UD, oppotunities, including speaking and Higgins Hall North 105, Pratt Institute, 200 Willoughby Avenue, BrooUyn, NY 11205 publicityactivities for principal BUSINESS SERVICES • Coordinate responses to RFQs/RFPs as Prail Insliiuie is an equal opponunity employer. both the prime and subconsultant, using 254/255/330 forms • Draft and manage all proposals and The contracts PLACE A CLASSIFIED AD SURVEYCorp. • Develop and maintain client relationships • Attend conventions and seminars Professional Surveyors of Building Structures We'll measure your building with laser equipment Candidates must be highly organized, com• REACH OVER 20,000 ARCHITECTS AND DESIGNERS IN & [hen create accurate CADD Drawings in Plan. fortable multi-tasking in fast-paced office, Section & Elevation views. We've measured Millions and have at least five years experience in an THE TRI-STATE AREA FOR ONLY $50 PER COLUMN INCH ofSq.Fr for Industry Prof«slonals. Since 1984 architecture, landscape architecture, lighting Call us today for a FREE ESTIMATE CONTACT JONATHAN CHAFFIN AT 212-966-0630 OR or graphic design office. Benefits include pension and healthcare plans 100% funded 212-727-7282 JCHAFFINaARCHPAPER.COM by principal. Proficiency with Word and www.buildingsurvey. net Excel a must. Salary commensurate with experience. E-mail [email protected] with a cover letter and resume. No calls, please. TAX PROBLEMS? IRS Liens, Wage Levy, Non-Filer, All NY/NJ/CT Taxes

Bruce D. Kowal, CPA/MS Taxation 325 West 33rd Street #100, New York City WWW.ARCHPAPER.COM email: [email protected] HOTELS www.kowalcpa.com VICE PRESIDENT, DESIGN FALL ADVERTISING SCHEDULE

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THE ARCHITECT'S NEWSPAPER OCTOBER 5. 2004

employees, agents, servants, bility insurance coverage in our independent contractors, or Professional Practice class, let o subcontractors of Consultant alone this, but my narrow read• or its Subconsultants, and shall ing of this indemnification clause INDEMNIFY assume all liability for injuries. seems to require architects to n Including death, that may insure their clients against knife < occur to said persons due to attacks too! Now, I do not know the negligence, fault or default when this indemnification mania of Consultant, Its became such a standard practice, Subconsultants, ortheir but I find it amusing that my large respective agents, employees, institutional clients think that I MY SOUL! servants, independent con• am an insurance company on tractors or subcontractors...." par with Lloyds of London. (Boy CL are they in for a wicked sur• O I was recently sent two con• 5.2 INDEMNIFICATION. by Consultant pursuant to this And my favorite clause of the prise... just let them try to make X tracts by clients which had Notwithstanding anything to Agreement. Consultant agrees entire contract: a claim against my immensely CO Indemnification clauses in them the contrary contained herein. to defend, indemnify and hold leveraged corporate assets!) that had to be negotiated. Or Consultant shall be responsi• the Indemnitees harmless from This Article shall survive the I always believe that the best rather I tried to negotiate out the ble for all Injuries to persons, any and all claims, judgments expiration or earlier termina• contract language is language indemnification clauses in them. including death, or damage to and liabilities, including but not tion of this Agreement. that allows both parties of a This indemnification thing Is property sustained while limited to, claims, judgments contract to have mutual benefit. new to me. For those of you for• performing or resulting from and liabilities for injuries to Now I might be misreading the In other words, if you want me to tunate enough not to know what the worl< under this Agreement, persons (including death) and subtle nuances of the finely craft• indemnify you, I would at least Indemnification is, it means to if and to the extent the same damage to property, if and to ed legal language of the contract, expect you to similarly indemnify secure against harm or loss, results from any act, omission, the extent the same results but doesn't this language suggest me. I mean, at least there is the or in other words, to act as an negligence, fault or default of from any act, omission, that if someone enters my com• possibility that our mutual insurance for a second party Consultant or Subconsultants, negligence, fault or default pleted project at any time in the indemnification clauses would against a third. I submit this or their employees, agents, of Consultant or its future (forever, in fact) and dies cancel each other out. sample clause for your indemni• servants, independent contrac• Subconsultants, or their of a natural heart attack, I have I do not know when some fication reading pleasure: tors or subcontractors retained agents, employees, servants, assumed full liability fortheir common sense will prevail in independent contractors and death (even when the contract the broad acceptance of the stan• subcontractors and from any itself dies of an early termination)? dard AIA architectural contract claims against, or liability Call me old fashioned, but I used language, but until that day I am incurred by the Indemnitees by to think that acts of God were contacting Lloyds of London Doesn't this language suggest reason of claims against uninsurable...but I suppose it is about taking out some additional Consultant or its my own fault...we architects insurance against lighting striking that if someone enters my Subconsultants, or their have been playing God for so my clients twice (just to be safe). employees, agents, servants, long, finally our clients believe us. independent contractors and CRAiC KONYK IS AN UNDERINSURED completed project at any time When I was in school we didn't ARCHITECT AND PRINCIPAL OF subcontracts for any matter even discuss the necessity of lia• KONYK ARCHITECTURE. in the future (forever in fact) whatsoever in connection with the services performed under this Agreement, including, and dies of a natural heart attack, but not limited to, claims for www.arts.qov/pub/desiqn_pub.html CO I have assumed full liability for compensation, injury or death, www.yhchanq.com and agree to reimburse the wps.com/projects/index.html Indemnitees for reasonable www.clui.orq/clui_4_1/lotl/index.html their death (even when the attorneys' fees incurred in connection with the above. www.arcspace.com contract itself dies of an early Consultant shall be solely www.architecturecafe.com responsible for the safety and www.ohny.orq termination)? protection of all its Subconsultants, or the www.badarchitecture.orq

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