THE ARCH ITECT SN E WSPAPER 04_3.9.2005

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PRESERVATION LEAGUE NAMES CO SHIGERU BAN GOES HEAVY METAL 04 NEW YORK STATE'S MOST I- THREATENED HISTORIC PLACES z MUSEUM OF THE LU PIER DELIGHT MOVING IMAGE Seven to O 08~ O EMERGING Save 2005 VOICES 2005 Hudson Area Library, Hudson (1818) rT Constructed of locally quarried limestone, NOGUCHI

this Federal style building—a former REMEMBERED almshouse—was vacated in June due to unsafe conditions, and is in need of reha• 16 bilitation to be usable as a library again. MOMA'S ANXIOUS

Herkimer County Jail, Herkimer (1834) MUSES This county jail held Chester Gillette, i the real-life murderer who inspired 03 EAVESDROP Theodore Dreiser's An American Tragedy. 12 DIARY The building, designed in the Federal 14 MARKETPLACE On March 5, the architect spaces. Ban uses them here the openings to close the style, closed in 1977. Shigeru Ban's first large-scale as if they are big bricks. building to the weather, and project opened on Pier 54 "1 am not interested in the create a checkered pattern Iron Block, Watertown (1850) along the Hudson River in space inside the containers— of light and shadow inside to This wood- and iron-framed, brick-faced Manhattan. But in June, I don't think it would be complement Colbert's work. structure has anchored the city's public the aptly named Nomadic nice," said Ban. "I wanted Similar sheeting is stretched square since the mid-ig'" century. Museum will be broken to use them as an existing over the roof trusses. For Though structurally sound, it is slated for down and shipped to Los material that can have more Ban fans, the roof and its demolition. Angeles. Designed to hold than one function." structural support will be the large-format photo• Ban chose containers the most familiar element: Todd Shipyard Graving Dock, Brooklyn graphic work of artist and because they are available in they are made out of paper (1864) filmmaker Gregory Colbert, every port city in the world, tubes, his signature materi• A ship repair yard since 1864, the Graving the 45,000-square-foot and have enough structural al. When Colbert's show Dock is slated to be paved over in IKEA's room's massive scale comes integrity to be stacked Ashes and Snow c\oses on plan for a 350,000-square-foot store on in part from its primary several layers high. For the June 6, the sheeting and the Red Hook waterfront. building material—interna• Nomadic Museum, he has trusses will betaken down tional standard shipping arrayed them in two long and packed into 14 of the 149 St. Thomas the Apostle Roman Catholic containers. Unlike many of bars, with staggered open• containers, and the rest of Church, (1889-1907) PROFESSOR OF URBAN POLICY his contemporaries who are ings between each one. the containers will be sent Designed by Thomas H. Poole in a late- AND PLANNING TO LEAD DESIGN exploring the use of contain• Translucent white plastic back home to Newark. Victorian Gothic style, this church in SCHOOL ers as reprogrammable sheets hang diagonally in ANNE GUINEY Harlem has been closed since August 2003. A HUD plan to develop the site as housing for seniors has been withdrawn. HARVARD'S REVISED WTC MEMORIAL On December 16, 2004, Governor Pataki and TO BE SURROUNDED BY STEPS Mayor Bloomberg jointly unveiled a new Old Custom House, Niagara Falls (1863) NEW DEAN model of the World Trade Center Memorial, ON ALL SIDES This limestone building nearthe Canadian which is currently on view in the atrium of border functioned as a customs house at Amidst the furor set off by Harvard the World Financial Center. The key feature an important port in the 19'" century, but University president Lawrence Summers' STEP RIGHT UP of the refined design is the addition of stairs has been abandoned for many years. remark at a January conference that on the perimeter of the entire site, except at the "innate differences" between men the intersection of Fulton and Greenwich, Tile House, Isllp (1912) and women explain why fewer women where Sn0hetta's new museum will face Rafael Guastavino y Esposito, famed dome succeed in science and math, the school Santiago Calatrava's transportation hub. designer and founder of the Guastavino has made another controversial announce• The revised Environmental Impact Fireproof Construction Company, designed ment: Alan Altshuler.an urban planner Statement (EIS), also introduced at the and lived in this Spanish colonial house. who has taught at Harvard University December press conference, describes a It has been on the market for over a year since 1988, is the new dean of the Harvard series of public plazas on surrounding blocks and preservationists are concerned that Design School. Though he has been acting that will also be reached continued on page 6 potential buyers may raze the house and dean since Peter Rowe's departure last rebuild on its desirable waterfront site. summer, his appointment surpri.sed many. Alt.shuler is the Ruth and Frank Stanton Professor of Urban Policy and Planning, a joint appointment at the Design School and the Kennedy School of Government.

Many Design School faculty and alum• ni have voiced concern over the fact that a non-designer will lead the .school, one of the nation's best. Altshuler, whose research focu.ses on urban politics, land Todd Ship use policy, and continued on paqe 3 PvJ 13 O LU

THE ARCHITECT'S NEWSPAPER MARCH 9, 2005

PUBLISHER CO There is a moment in the play Boozy: The Life, Death, and WWW.ARCHPAPER.COM Diana Darling Subsequent Vilification of Le Corbusier and. More Importantly, in a quality paper. Eric Owen Moss won a com• EDITORS O Robert Moses, v^hich had a run at the Ohio Theater until last week, petition with a fine design concept, and saw Cathy Lang Ho h- the museum through a long design process in William Menking when New York's master planner meets the French modernist and M stammers in awe, "I'm not an ideas man myself, sir. No sir, I'm a which the museum's goals and objective were ART DIRECTOR clearly defined and their budget established. Martin Perrin LU doer. And, so it's really inspiring to see your ideas. I'm totally going If you ask anyone involved in the process they to implement them." "Well," sniffs Corb, "at least somebody will." SENIOR EDITOR will affirm the value to the museum of Enc's Anne Guiney Later in the play, Moses presides over a press conference, praising work. The time and money was well spent, not

ASSOCIATE EDITOR the virtues of single-use zoning. He invokes his hero, stating, only on the surveys and code research, but on Deborah Grossberg "It's like Corbusier said: If we had better, more vertical housing, the design process itself. We may have parted ways, but "dump" and "trampled" we have not. DESIGN AND PRODUCTION we could have more parks! Raise them high in the air, apartments Danili Alexandrov in the sky! You and me, we put the citizens of New York on top of Also, to correct two factual errors: the DDC is not "paying for the expansion": nor does it EDITORIAL ASSISTANT other citizens in New York, and then the kids of New York have Gunnar Hand all this room to play. It's called parks!" "own the buildings." Funding comes from the Department of Cultural Affairs and the city of EDITORIAL INTERN New York owns the property. Another error of Stephen Martin Though history has not been kind to Moses (his name has become shorthand for callous urban renewal), the irreverent fact: The OMA competition predated by two MEDIA CONSULTANT years Mayor Bloomberg's announcement of Paul Beatty production by Les Freres Corbusier does well to remind that the planner, who remained in public service from 1924 to 1968, the Design & Construction Excellence Initiative did as much good for the city as bad. Sure, he tried to mold the and thus cannot be seen as "an inauspicious beginning" of that initiative. city to conform to the automobile (he created 35 highways and The "shock and horror" tone continues CONTRIBUTORS 12 bridges), but he also saw to the construction 658 playgrounds MARISA BARTOLUCCI/ALAN 0.BRAKE/ apace in your editorial. But this is hardly the first PHILIPPE BARRIERE / ARIC CHEN / MURRAY FRASER / throughout the five boroughs and left the state with 2 million time a client has changed architects and your RICHARD INGERSOLL/JOE KERR/LIANE LEFAIVRE/ acres of parkland. hyperbole only reinforces the sense that The LUIGI PRESTINEN2A PUGLISI / KESTER RATTENBURY/ Architect's Newspaper \s still very wet behind D.GRAHAME SHANE/PETER SUATIN/ At minimum, Moses had a distinct vision of the shape of the GWEN WRIGHT/ANDREW YANG/PETER ZELLNER city in a modernizing world and the government's responsibility the ears. Great projects rely heavily on a cre• ative relationship between architect and client EDITORIAL ADVISORY BOARD toward realizing it. Most planners today do not seem to believe and when this relationship fails to endure, it is PAOLA ANTONELLI/RAUL A. BARRENECHE/ that urban form shapes life, acquiescing instead to the power sometimes in the interest of the project to M. CHRISTINE BOYER/PETER COOK/ of the marketplace. The results range from the BID approach to make a change. WHITNEY COX/ODILE DECO/TOM HANRAHAN/ SARAH HERDA/CRAIG KONYK/JAYNE MERKEL/ cleansing the city's commercial districts to real estate developers' DDC IS in the business of managing capital LISA NAFTOLIN/SIGNE NIELSEN / penchant for tidy, themed places like South Street Seaport and projects and in furtherance of the Mayor's goal HANS ULRICH OBRIST/ JOAN OCKMAN / to ensure quality public works. In support of our KYONG PARK/ANNE RIESELBACH/ Battery Park City, which historian Richard Sennett described clients like the Queens Museum, we must TERENCE RILEY/KEN SAYLOR/ (using James Salter's phrase) as "'an illustration of life,' rather than life itself." sometime make tough decisions that put the GENERAL INFORMATION: [email protected] interests of the project above those oi the indi• EDITORIAL: EDITOR®ARCHPAPER.COM The importance of master urban plans has come into sharp focus viduals involved. DIARY: DIARYiJARCHPAPER.COM recently given the number of grand schemes now being advanced DAVID BURNEY, COMMISSIONER ADVERTISING: SALESi3>ARCHPAPER.C0M NEW YORK CITY DEPARTMENT OF DESIGN & CONSTRUCTION SUBSCRIPTION: SUBSCRIBECBARCHPAPER.COM in the city. Deputy Mayor of Economic Development Daniel

PLEASE NOTIFY US IF YOU ARE RECEIVING Doctoroff (who seems to harbor Moses fantasies) clearly believes EDITORS RESPOND: DUPLICATE COPIES. that the marketplace should determine the future of the city, as he We applaud the work of the DDC and of David pushes ahead banal plans for an overscaled West Side. Meanwhile, THE VIEWS OF OUR REVICWCRS AND COLUMNISTS 00 NOT Burney in particular. We apologize for misstating NCCESIARILV REFLECT THOSE OF THE STAFF OR ADVISORS OF THE ARCHITECT'S NEWSPAPER, the development of the World Trade Center site is suffering from in the editorial that the DDC owns the land

VOLUME 03 ISSUE 4, MARCH 9, 200S the lack of a sweeping vision, which was Moses' strong suit. Both occupied by the QMA and is funding the expan• THC AlKHITtCrs NtWSPAPlR IISSN ISS2-S0SI) IS PUBLISHED 20 TIMES A YEAR. BV THC AKCHITECrs HCWSPAPER. LLC. P.O. BOX 937, NEW YORK. are examples of public land being turned over for private gain. For sion project. Also, it seems that our comments NY 10013. PRESORT-STANDARD POSTAGE PAID IN NEW YORK, NY. about the Design Excellence program demand POSTMASTER; SEND ADDRESS CHANGES TO: THE ARCHITECrs NEWSPAPER, all of Moses' sins, he remained focused on the long-term public CIRCULATION DEPARTMENT. P.O. BOX 937, NEW YORK, NY 10013, FOR clarification. We state, correctly, that the OMA's SUBSCRIBER SERVICE: CALL 2I2-«M-0«30. FAX 2I2-966-0&33. good as opposed to short-term economic gain. $3.93 A COPY. $39.00 ONE YEAR, INTERNATIONAL $160.00 ONE YEAR. renewed search for an architect is part of the INSTITUTIONAL $149,00 ONE YEAR. ENTIRE CONTENTS COPYRIGHT J0O3 BY THE ARCHITECTS NEWSPAPER, LLC. ALL RIGHTS RESERVED. CATHY LANG HO AND WILLIAM MENKING city's new Design Excellence program, but did not mean to imply that the original competition was a part of this promising new effort.

Due to an editing error, our article, "Trampled Moss." mistakenly states that "the new CO FROM PROUV^'S COLLECTOR ed what he could build on his premises. to live in an urban environment. Lincoln Your article "Pre-fab Prouv6" (AN Keep up the good work. Square, anchored by Lincoln Center for the process |of finding an architect] will be just like LUl 2_2.2.2005) notes, "Three prototypes were ROBERT RUBIN , NEW YORK Performing Arts and the Time Warner the first." In fact, the opposite is true. Museum constructed in 1951, but only one remains Center, is a bustling, vibrant part of New director Tom Finkelpearl told us that the second in Africa in the Republic of the Congo." In BIDS NOT TO BLAHE York City that combines a thriving commer• search, distinctly unlike the first, would not be LU fact, the first prototype went up in Niamey I read with interest Deborah Grossberg's cial and retail presence, world renowned "a lengthy 'What are you going to be?'" The in 1949 after being erected on the banks article entitled "Mall City" WA/2_2.2.2005) cultural and entertainment facilities, and original competition called for architectural of the Seine in as a publicity stunt. and commend her thorough analysis of a large residential community in one neigh• solutions that addressed several broad issues The second and third were erected as urban malls and their success, or lack there• borhood. BIDs promote individual neigh• concerning the museum's identity and direc• related pavilions, joined by a walkway, in of. I don't necessanly agree, however, that borhoods and insure that they retain their tion. As we reported, Burney and Finkelpearl Brazzaville in 1951. The structure at Yale Business Improvement Districts (BIDs) are identities. Cleaning up the "jumble" does emphasized the enduring value of—and the (the smaller of the Brazzaville structures), "often the culprits in emerging street-as- not rob a neighborhood of its character. city's investment in—Moss' first scheme. which is 10-by-14 meters, was the office mall phenomenon in New York." To hold MONICA BLUM, PRESIDENT We agree that a client has the right to work of a French aluminum marketing executive. us responsible for inducing "mall-like situa• with whatever architect they want, and that The larger, which was 10-by-18, was his tions" IS to minimize the important role that LINCOLN SQUARE BUSINESS IMPROVEMENT DISTRICT winning competitions has never guaranteed an residence. The Niamey and Brazzaville struc• BIDs play in revitalizing neighborhoods and architect the chance to realize his work. However, tures remain disassembled and unrestored making them attractive to everyone includ• SHOCKED AND NOT AWED this case brings to light the fickleness with which in . ing large and small retailers. Clean, safe and institutions regard architects. Museum directors While I am happy to see DDC's projects attractive neighborhoods with helpful sig• and trustees come and go, but buildings embody The next destination of the house, in the reported in your publication, there are sev• nage, beautifully maintained public spaces, long-term visions and investments. In the case latter part of 2005, is an as-yet-undecided eral errors in your lead article, "Trampled and other amenities, are just as important of the QMA, a public institution, the issue seems location in . After that, we hope Moss" and in your editorial in the same issue to small shop keepers as to large big box sharper than the case of the Whitney, for exam• to take it to . Then, who knows? [AN 2_2.2.2005) that cannot go uncorrected. stores; moreover, the services and programs ple. We are all in favor of advancing higher archi• To begin with, the title of the article and its On a related topic, I found Bill Menking's offered by BIDs benefit the entire neighbor• tectural values and are nothing but encouraged sub-headline, "Queens Museum Dumps article "Back to the Future" (AA/1_1.19.2005) hood, including residents who choose by the DDC and its Design Excellence program. highly evocative of Prouv6, who only design- Eric Owen Moss," is the kind of crude headline-writing one would hope not to see 00 tn o UJ

2: STUDENTS TO COOPER: WE'RE MAD >FAO SCHWEETZ Last month, architecture dean Anthony Vidler had his hands full < 767 Fifth Avenue. Telephone: 212 644-9400 with a strange wave of student unrest. First, disgruntled seniors drafted an open Designer: David Rockwell Z letter outlining the 19 gualities they wanted to see in a dean, which ranged from Z) 4t practical ("a dean who is present") to ideological ("a dean who addresses differ• o < ent worldviews in architecture"). Meanwhile, students stormed out of an under• graduate studio after a classmate was placed under disciplinary review. And < CL motley malcontents were plotting a range of other actions. But as we prepared O for torch-bearing mobs, Molotov cocktails, and the din of theses being nailed to o doors, the rebellion fizzled faster than small talk at an architecture party. The uprising appears to have unraveled at an official school gathering after the stu• A CO dent council presented Vidler with a bizarre document that, among other things, LU listed gripes about the high price of Mylar while also guoting theorist Leon LU > 0- Krier, whose Nazi sympathies Vidler guickly pointed out to the embarrassment < O LU of the unknowing students. It seems the dean then won protesters over with his address, and a rumored walkout failed to materialize. We're still not sure what got the students so riled up to begin with and, apparently, neither are they. "Their reasons seem muddled and some have told me they've regretted getting involved," reports our Anna Holtzman. As for Vidler? "I'm excited that the stu• dents feel empowered to speak," he said. We just wish we knew about what. BASEL INCIDENT AVERTED When Fred Schwartz and Daniel LIbeskind were invited to speak at a recent Walk past a real doorman dressed as a tin soldier, stuffed Shar-Peis,and Ground Zero conference in Basel, Switzerland, it was clear they'd have to be a $15,000 toy elephant, and you will arrive at FAO Schweetz, a cafe that kept apart. The former Ground Zero design competitors last butted heads over is a dream come true for every seven-year-old on a sugar bender. It is Libeskind's claim, in his recent autobiography, that Schwartz shook him by the the centerpiece of David Rockwell's wonderfully expansive three-story collar at the 2002 and barked "I'm a New Yorker, damn it! Don't renovation of the legendary FAO Schwartz store on Fifth Avenue. Below tell me how to build my city!" (Schwartz has called the account "inaccurate and a frieze of ice cream scoops, the backJit resin counter embedded with defamatory.") Either way, when conference organizers extended their last minute invitation to Schwartz, they asked him not to show up until the day of his talk more than 100,000 marbles is a great spot to sit and eat an ice cream float, for fear that Libeskind, who was speaking the next morning, would cancel if he a double banana split, or, for the intrepid, a 12-scoop sundae called the got wind of Schwartz's presence. "Luckily, they didn't cross paths," reports a Volcano ($100, serves four.) Later, join fellow exhausted parents on the Schwartz confidante. over-scaled couches in the Rec Room downstairs while Junior ricochets DIG THIS HOTEL around and works through all that candy, WILLIAM MENKING We thought we'd heard it all. Then we learned about Bulldozer Camp, a proposed resort designed by the Seattle firm Olsen Sundberg Kundig Allen. Set along the [email protected] Snake River in Washington, the development, which is in early schematics, will cater to upscale clients who will fly in on a helicopter for a few days of playing on bulldozers. Yes, you heard right. "I suppose rich guys will be into it," says someone close to the project. "They'll be able to lift dirt. Put it down. Move it around." The complex will include a lodge, cabins and a spa where manly men can get French manicures after a hard day dirtying their nails. OPEN OFFICE CLOSES Open Office, best known for its design of Dia:Beacon, is no more. Partners Lyn Rice and Galia Solomonoff parted ways after five years, though both say the split was amicable. Rice, now working as Lyn Rice Architects, will take over the firm's work on a ground floor renovation to link Parsons School of Design's four downtown build• ings, while Galia Solomonoff Architecture is designing several artists' residences. LET SLIP: ACHEN .*ARCHPAPER.COM

HARVARD NAMES NEW DEAN continued from ture program, as it has at other schools. front page transportation, believes his long Tim Love, a Boston-based architect and association with the Design School will urban designer who has taught at the Design mitigate any reservations about his ability School, is pleased that urban planners are to lead it."This school has tremendous back in the fold. "Their return is good for the momentum and I don'l have plans for dra• school and for urban design," he said."But matic changes," he said. "But we must never the pure designers are not so happy about it, be self-satisfied. It is important to retain and nor about Altshuler." He went on to say, how• extend the school's preeminence in a way ever, that "AJtshuler seems smart, tlioughtfiil, that is highly equitable for students." and fully equipped to think about the Summers led the search with advisory contemporary American city." assistance from senior faculty, including Bryan Boyer, who is in his first year at architecture chair Toshiko Mori. The list the Design School, says that students seem of others who were considered is rumored curious and hopeful that Altshuler will be a to have included SOM's Marilyn Taylor, stabilizing influence. He attributes negative MoMAs Terence Riley, and architecture reactions to a misunderstanding of the insti• professor Antoine Picon. tution. "Having a dean with an urban plan• Mori doesn't mind having a planner, rather ning background might be an asset at a time than a designer, at the helm. "In the Harvard when the profession is grappling with how structure, the dean's work is higlily adminis• to address the general population," he said. trative," she said."This Is a very different job If Altshuler decides to be an activist dean, than at Princeton or Columbia." She suggest• it might prompt some realignment at the ed that Altshuler's relationship with Harvard school. Already slight shifts are detectable. As entities beyond the Design School is an asset. Love pointed out, "The neo-Marxist critical During the 1970s, urban planning was theory that dominated the architectural and pushed from the department to the school schools for ten years may have played its of government, a nationwide trend. Planning course." There is a sense that designers are has since been reunited with the architec• looking for what's next, KIRA L. COULD 00 O

THE ARCHITECT'S NEWSPAPER MARCH 9, 2005

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THE ARCHITECT'S NEWSPAPER MARCH 9. 2005 STEP RIGHT UP continued from front page moved across Liberty Street into the pro• NEW DEP HEAD Foundation of Switzerland's $2 million by steps. The SOM-designed Inland Steel posed Liberty Park, where it is masked by international awards program for sus• On February 1, Mayor Michael R. tower on Liberty Street between Broadway a grassy knoll. This revision improves the tainable design and construction. As Bloomberg appointed Emily Lloyd to and Church (now occupied on the ground memorial's interface with surrounding many as nine projects will be awarded replace Christopher 0. Ward as the floor by Brooks Brothers) shows what such streets, but is not without complications. On cash prizes in each of five geographic < Commissioner of the Department of regions: North America, Europe, Latin a plaza might be like. The WTC's sloped site January 30, David Dunlap of The New York LU Environmental Protection (DEP). Ward means that large sets of stairs will mar the Times reported that Verizon, the telecom• America, Africa/Middle East, and left DEP in October 2004. Lloyd has approach to the Wedge of Light plaza and munication giant that supplies voice and Asia/Pacific. Entries can be submitted served as the commissioner of the the plazas surrounding Calatrava's station, data systems to the New York Stock online at www.holcimawards.org. New York Department of Sanitation, Frank Gehry's theater, and SOM's Freedom Exchange and surrounding area, has the executive vice-president for gov• Tower. The scale of the risers for these protested the Revised EIS. In particular, ernment and community affairs at plazas can be enormous. The model of the Verizon estimated it would have to spend YUNG-HO CHANG , the director of WTC Memorial shows 10 or 12 steps up 550 million on new infrastructure because TRADES BEIJING business development at the Port from West Street, with the Route 9A under• the new location of the ramps on Liberty Authority, and the commissioner of FOR CAMBRIDGE pass beginning at Liberty Street and contin• Street cuts through the underground ducts traffic and parking for the City of Boston. Beijing architect Yung-ho Chang has uing beyond Vesey. The only secondary the company installed after 9/11. been named Head of the Department level approach to the plaza appears to be Enormous uncertainty also surrounds of Architecture at MIT. He replaces via a small building outlined as a transpar• the Route 9A underpass at its junction with CALATRAVA Stanford Anderson, who held the post ent pavilion in the middle of the West Street Liberty Street and beyond. Governor Pataki from 1991 through 2004. Chang was steps, where elevators will presumably pro• promised to bury the through traffic in a CUBES GET selected by MIT's newly named dean, vide handicapped access from the sidewalk bypass tunnel and then said it might be too GO-AHEAD Adele Naude Santos. Chang starts his and the underground parking garage prom• expensive. Dunlap noted on December 2 in On February 9, developer Frank new job in the Fall. ised in the revised EIS. The New York Timesthat Goldman Sachs Sciame received the go-ahead from The Port Authority's relocation of the wanted the underpass extended to the the Department of Buildings for his truck and bus entry ramps to the under• north, so it would not emerge in front of $35 million residential tower project CAFESJIAN ground garage constitutes the other signifi• their new headquarters in Battery Park City. at 80 South Street, designed by MUSEUM cant design revision unveiled in December. The gritty realism of the Memorial Plaza Santiago Calatrava. The building's The pedestrian entry ramps to the memori• model is a relief after the smooth rhetoric 12 cubic homes in the sky will be APPROVED On February 21, New York architect al have also sensibly been moved toward of the EIS. With these latest revisions, suspended above an eight-story base David Hotson's design for the the center of the plaza and reduced in num• the awkward reality of the future pedes• of commercial and cultural spaces. Cafesjian Museum of Contemporary ber. The truck ramp, previously located at trian experience around the WTC site is Sales of units will begin in April. the south edge of the site, creating an emerging. Art In Yerevan, Armenia, was approved unsightly barrier to the memorial, has been D. CRAHAME SHANE by the City of Yerevan. Hotson was NEW AWARDS selected to design the museum over Coop Himmelb(l)au, the firm that won FOR SUSTAINABLE the competition for the project WWW.ARCHPAPER.COM DESIGN ("Hotson Bests Himmeiblau," AN March 31 is the deadline to enter 03_2.16.2005). Construction is slated projects in the first annual Holcim to begin this spring.

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THE ARCHITECT'S NEWSPAPER MARCH 9, 2005

CHRISTOFF:FINIO ARCHITECTURE MANHATTAN

Taryn Christoff and Martin Finio founded their joint practice in 1999. The firm has since completed many New York- area projects at an intimate scale, including the Catherine Maiandrino store (2004>, the headquarters of the Heckscher Foundation for Children on the Upper East Side (2005), and a beach house in New Jersey (pictured below). Their CLAUDL CUKMlbK AKLHl SAGISTES FREECELL design for an aquaculture center in Aalborg, Denmark MONTREAL BROOKLYN (above), was included in the National Building Museum show Liquid Stone: New Architecture in Concrete. Claude Cormier established his five-member landscape John Hartmann and Lauren Crahan founded Freecell in architecture firm in 1995. His work includes large-scale 1998 and were joined by associate Corey Yurkovich in While Taryn and I come from the culture of craft—it is part master plans for Montreal landmarks such as Place-des-Arts 2002. Recent projects include MOISTscape, an installation of our makeup—the practice is evolving to the point where (2002) and Old Port (2000), urban plazas like Place Youville at Henry Urbach Architecture (2004), Reconfiguring Space we want to test and even antagonize this sense of our• (pictured below), and small gardens such Blue Tree (above), at Art in General (2003, pictured above, right), and Type A selves. Emerging technology interests us, but In the sense an installation at the Cornerstone Festival of Architectural Studio (2004). The firm is working on a roof deck on the that we can use the formal possibilities of new modeling Gardens in Sonoma, . Cormier is currently work• Lower East Side, a house in Florida, and a brownstone technologies to let us explore ways to make the world ing on a project for the University of Quebec and an urban renovation in Brooklyn. Both Hartmann and Crahan teach around us less familiar. It can make you question anew beach for Toronto. design studio at the New Jersey Institute of Technology. how buildings are built and how we live in them. We're interested in the way it compresses the line between draw• Three elements we think are important: that each project Photography, painting, and drawing are important parts ing and the realities of fabrication, and while we haven't make good, logical sense; that it is visually interesting; of the background of our work. We're fascinated with the done as much of that yet, the promise is definitely there. and that it has a sense of humor. Everything is so serious! lure of cities, even if we can't explain the appeal of certain We don't put much focus on form-driven architecture There is never a break anywhere, ever. Sometimes it's not objects in them. Taking hundreds or thousands of photo• but are looking for an architecture that works, solves the bad to surprise people and show a touch of one's sensibility. graphs of things we are drawn to is a way of discovering problems of the program, and looks good. We've also been We use a lot of color, since there is room for it in the public, what those things are and why we like them; the pictures called "emerging" for a long time and are still evolving, so urban landscapes we typically work in. Of course, it must reveal color and form, or density and sparseness, and next year maybe our processes and work will be different. be done with an understanding of the space around it, and those qualities inevitably inform the architecture created. Martin Finio that is where the logical common sense comes in. Sometimes When people ask how we choose the colors in our proj• there is a furor—people say "A tree is not blue!"—but ects, I think of pictures of the incredible saturation of the conflict is not always bad. It can challenge one's sense of orange-yellow glow of sodium halide lights on the street. perception. Art does this, and so why can't landscapes? We wouldn't mimic the light, but we can draw on that Claude Cormier atmosphere and Its quality for a project. The repetition of vent pipes on a building is also appealing, so the same type of repetition shows up in the book cave we did for Shortwave Bookstore [pictured above, left]. With drawing and painting, it is as simple as strength• ening your ability to observe and concentrate. Something about forced concentration leads to a much more detailed knowledge of a thing, and that knowledge then becomes a part of you and the way you think and work. John Hartmann

THE ARCHITECTURAL LEAGUE OF NEW YORK HAS NAMED ITS NEWEST CROP OF EMERGING VOICES. SINCE ITS INCEPTION IN 1982, THE PROGRAM emerging HAS SERVED AS A COMING OUT FOR ARCHITECTS AND DESIGNERS, GIVING PROMISING NEW TALENTS A PLATFORM TO SHARE THEIR IDEAS AND WORK. 2005'S FEATURED FIRMS TALK ABOUT BEAUTY, VENT PIPES, BLUE TREES, AND ASKING WHETHER voices OR NOT A CLIENT ACTUALLY NEEDS A BUILDING. UJ Os on O ID

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PREDOCK_FRANE ARCHITECT.S MANHATTAN SANTA MONICA

Pablo Castro and Jennifer Lee left Steven Holl Architects in Hadrian Predock left his father Antoine Predock's firm in 2000 to found OBRA. Recent projects include an exhibition 2000 to start a practice with John Frane. The duo's work at the Rhode Island School of Design entitled Architettura was included in the 2004 Venice Biennale, and current Povera (2004, pictured above) and the Tittot Glass Art projects include the Central California Museum of History REED HILDERBRAND LANDSCAPI ARCHITECTURE Museum in Taipei, (below). The firm is currently in Fresno, and two projects for Zen Buddhist groups: BOSTON working on three projects in New York: Rockvilie Center the Desert Hot Springs Zen Retreat in California (pictured Apartments, Motion Technology Manufacturing Facility above) and the Center of Gravity Foundation in northern Douglas Reed founded his landscape architecture practice and Offices, and a residence in Long Island designed with New Mexico (below). They are also collaborating with the in 1993, and was joined by principal Gary Hilderbrand in Steven Holl Architects. A house in San Juan, Argentina, elder Predock on an inn at the French Laundry in Napa. 1997. Recent projects include the Children's Therapeutic will finish construction in late 2005. garden in Wellesley, Massachusetts (pictured above) and We don't like the word contextualism, because it is such a Hither Lane, a private garden in East Hampton (below). For us, competitions are the engines that propel us for• codified and constrained term. So often, when people use The firm is currently working on several projects in the ward. While we try not to do the same thing each time, it, they are just referring to other architectures. You have Boston and Somerville area, such as the waterfront near we are always interested in things like trees, running to ask "What is context?" It can be the culture of the people the New England Aquarium, a commission from Harvard water, and people, which can take either metaphorical or or an artificial, imposed landscape as much as anything University, and, with Tadao Ando, the Sterling and actual form. original. At the French Laundry, there is both the culture of Francine Clark Art Institute in Williamstown. We all live in a technological age, and sometimes design Napa, and also [chef] Thomas Keller's conceptual approach seems to come down to choosing from a series of prod• and set of tools. In the Mojave Desert [Zen retreat], we are We are increasingly working in brownfield sites, but while ucts. We try to address, subvert, and finally transcend dealing with a set of positive and negative environmental the term is a relatively new one, the idea is not. In the 19"' that. We're interested in laser-cutting, but not as an objec• forces. There is always wind and usually people try to block century, Olmsted took abused parts of the city and made tive in itself. We want to use it in a way that looks beyond that force or funnel it away—it is a negative. But you can something extraordinary. We see ourselves as engaging the limitations of the technology itself, and towards its also use it to elaborate the spatial sequences you are creat• in a long tradition, but in contemporary terms and with unpredictability. Since so many things can be homoge• ing. We think you find deeper meanings and more intricacy contemporary expression. nized by technology, we want to look at the potential of when you start to think about all of these relationships and In our work, we look for clarity, brevity, and simplicity. architecture to bring back a sense of identity. interactions. It is a process of reducing a complex series of elements Architecture is a living thing, a strange mirror that can As for our process, there are two parallel tracks, the to something apparently simple and serene, but not sim• bring us back to our own forgotten condition. pragmatic and the conceptual. You have to know how plistic. To endow an urban site with those qualities is a big Pablo Castro many bathrooms there should be, but you can also question challenge, but I think a great thing. Some of these charac• the program—do they even need a building? teristics are really ancient things, and we aren't afraid of John Frane and Hadrian Predock gestures that are emotive or mysterious. We have always celebrated the richness of vegetation, and are interested in the expressive use of plants and grading as a medium to convey ideas. Gary Hilderbrand

MARCH 17 MARCH 24 MARCH 31 APRIL 7

Taryn Christoff, Claude Cormier, Pablo Castro, John Hartmann, Martin Rnio, Douglas Reed, Jennifer Lee, Lauren Crahan, Hadrian Predock, Gary Hilderbrand John Ronan Zoltan Pali John Frane 6:30 p.m. 6:30 p.m. 6:30 p.m. 6:30 p.m. Urban Center Urban Center Urban Center Scholastic Auditorium 457 Madison Ave. 457 Madison Ave. 457 Madison Ave. 557 Broadway o

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THE ARCHITECT'S NEWSPAPER MARCH 9, 2005

JOHN RONAN ARCHITECT CHICAGO LOS ANGELES

John Ronan founded his solo practice in 1997. In 2004, he won the competition to design Zoltan E. Pali established Pali and Associates in 1988, and in 1996 Jeffrey Stenfors and a 472,000-square-foot high school for Perth Amboy, New Jersey (pictured above, left), and Judit Fekete joined Pali to found Stenfors, Pali, Fekete:architects, or SPF:a. The firm's recent completed an addition to the Akiba-Schechter Jewish Day School in Chicago's Hyde Park work includes barn at the Sharpe House in Somis, California (2004, pictured above, left), neighborhood. Current projects include a youth center for the South Shore Drill Team in and the Bluejay Way Residence in Los Angeles (2005, above, right). SPFia is working with Chicago (above, right), houses in Chicago and on Lake Michigan, and a residential conver• the Nederlander Organization on a project to restore Los Angeles' Greek Theater in Griffith sion of the Yale Steam Laundry in Washington, DC. Park and is transforming a warehouse into a charter school, also in L.A.

I tend to work from reality backwards—I start off by asking "what can I do with this?" Some people want to wake up and reinvent architecture every Monday morning, but instead of developing a notion, and then making that idea conform to what is already on many of the results disappear pretty quickly. I'm not interested in being a formalist. Playing the ground. That is a part of my interest in programmatic sustainability, or how buildings around with form is an un-objective way of going about design. I try to be as clear, concise, change and evolve over time. That often means designing spaces that can be manipulated and objective as I can, so that it is not just my ideas that define a project, but what is there. by their users; the focus is on space over form. I start with spatial exploration, but material 1 also enjoy the interaction with creative clients, and finding out what is in their heads. investigation also comes in very early in the process, and can have a truly generative role. I am much more interested in new materials and technologies and how you incorporate I think that one forges meaning through the interdependency of structure, materials, and them into built structures for the betterment of the environment. That process is what space. At a certain point, the three come together, and you can't change one without generates the form—it comes from the way you choose to solve a problem. I always want changing the others. to find beauty along the way. If I had to make a choice, I would sacrifice the new for beauty, John Ronan since architecture is not about being the next new thing. Zoltan Pali

The Alliance for Downtown New York presents an extraordinary new lecture series Downtown Third Thursdays

Prominent authors and historians explore themes and issues of particular relevance to Lower Manhattan.

All in architecturally significant Downtown locations.

Date: Thursday, March 17 Date: Thursday, May 19 Speaker: Sarah Bradford Landau Speakei: Kenneth R. Cobb Co-author with Carl W. Condit of Rise of the New Vor/c Author of the Downtown Alliance's history of ticker-tape 5l

Illustration by Philippe Lechien/Moigan Gaynln CO

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Martha Grofiam and May O'Donnell umey, Yorlko and Glen Tetley Noguchi with Nequchi set for Horodiale, 1944-45 battled Garden, 1958

Remembered

Isamu Noguchi: Master Sculptor Whitney Museum of American Art 945 Madison Avenue Closed January 19

Noguchi and Graham: Selected Works for Dance Noguchi Museum 9-01 33rd Road, Queens Through May 1

Perhaps best known for his Akari light Noguchi's darker and less known work, by dancers as costumes, like the Head of Christ alogue is left out of the show entirely. The sculptures, Isamu Noguchi is the subject of such as Death (LynchedFigure)(^93A) and mask from El Penitente{^9A2), or furniture, dancers who worked around, in, and on top two recent exhibitions that shed light on the Hanging A/fan (1945). The exhibition touches like the red dancers' barre in Acrobats of God of Noguchi's sets often found them extreme• breadth of his work and depth of his creative on Noguchi's provocative political works, (1960) and Jocasta's bed from Night Journey ly physically challenging. For instance, the process. Marking the centennial of his birth, inspired by his experiences as a Japanese- (1947). The Death Cart used in ElPenitente slippery, angled surface of Jocasta's bed made Isamu Noguchi: Master Sculptor at the American who, in 1941, was a voluntary intern was a hybrid, functioning as furniture when it difficult for dancers to stay on it. Former Whitney Museum of American Art is a good at the Colorado River Relocation Camp in lying crumpled on the stage and as costume dancer Janet Eilber claims in the catalogue primer, with 60 sculptures and 20 drawings Arizona. (A legal resident of New York living when draped over a dancer. that these challenges were appropriate for that convey the diversity of forms and mate• in California, Noguchi hoped to improve Noguchi and Graham asserts the impor• Graham's elemental, dramatic choreogra• rials with which Noguchi worked through• camp living conditions through design, but tance of set design to the rest of Noguchi's phy. Eilber writes, "Our need to incorporate out his career. Meanwhile, the Noguchi left after six months of frustrated attempts.) artistic practice. For example, designing the sets into our performance—by clinging, Museum's Noguchi and Graham: Selected Though the Whitney is comprehensive sets—which require easy and rapid assembly, balancing, twisting, grasping, and pushing— Works for Dance focuses on the set designs in showing Noguchi's masterful sculpture, it transportation, and disassembly—may have eventually aligns with the intention of he created for dancer and choreographer neglects the artist's more architectural proj• led to Noguchi's interest in interlocking Graham's famed physical vocabulary to Martha Graham over the course of 40 years. ects like the sculpture plaza at the Beinecke sculptures. Unfortunately, the organization of reveal the emotional heart of the dance." The Whitney's show presents some never- Library at Yale University or the gardens at the exhibition leaves something to be desired. Downplaying this aspect of Noguchi's work before-seen works, and highlights his inter• Manhattan's Lever House. The sets and costumes are shown alongside strips it of a layer of complexity. locking sculptures, which were constructed The Noguchi Museum's exhibition is smaller Noguchi's stage plans, but his remarkable Both shows demonstrate the inventiveness using "worksheets," templates drawn on and more in-depth than the Whitney's. Set studies on paper are isolated in a corner and rigor of Noguchi's working methods and graph paper, exhibited in the same room. in the sculptor's former workshop in Long room. Films of the dances on small flat-screen formal language. The omission of his archi• The installation conveys how Noguchi, who Island City (which on its own deserves a visit), monitors are also relegated to a separate tectural collaborations is disappointing, but was lauded for his use of direct carving as the show presents 9 of the 19 sets that room, making it difficult to match dance the breadth of the work on view paints a pic• opposed to casting, managed to infuse the Noguchi created with Graham during their with set. ture of an artist and designer who, like many handmade with an industrial technique. long collaboration. More than merely back• Another misstep is that one of the most architects, tried his hand at everything. The show also includes examples of drops, Noguchi's set pieces were often used interesting points made in the exhibition cat• SARA MOSS IS A WRITER BASED IN NEW YORK CITY.

A I / !A in various locations around his not be said for Christo and Jeanne- Massachussetts house at a cost of Claude's other projects, like the SATES GOh ^IILC $3.50. "If the coverage hadn't been exquisite wrapping projects which so massive, there wouldn't have have a contemporary sensibility. been an opportunity for my parody The upside is that the project to work," he explained of his piece, has brought newfound attention to Chnsto and Jeanne-Claude which can be seen at www.not- the park. New Yorkers who either The Gates. Central Park, New York City, 1979-2005 rocket-science.com/gates.htm. don't visit it often or use it only to Closed February 27 Other snickering bloggers, run around the reservoir saw a I I I'i'^ ifi lit ^ who identify themselves on their familiar landscape with fresh eyes. website as "Chris et Jane," created At the same time, the project The Crackers, a domino chain of "makes the park disappear," as bright orange crackers that took one precocious 7-year-old was them 26 minutes to create, overheard saying. For all the criti• according to their site, www.smil- cal rhetoric, for their part, Christo inggoat.com/crackers.html. and Jeanne-Claude kept things At the heart of these parodies, honest and simple when they said however, is a critique of the facile that the project is just for their own execution of the original, which pleasure. Everyone else's enjoy• is its greatest weakness. While ment is just an added bonus.

Christo and Jeanne-Claude's other EVA HAGBERC IS A NEW YORK-BASED projects possessed a sleight-of- WRITER. hand magic—in particular, the Pont Neuf and Reichstag projects (1985 and 1995, respectively)—the Lego-like snap-and-go construction The media flurry surrounding weighed in, volunteer workers' porarily dubbed himself Hargo, of the heavy (and plasticky) Gates Christo and Jeanne-Claude's The accounts have been narrated, cer• was inspired by the crazed level of feels easy and clunky. And while Gates, Central Park, New York City, tain parodying projects have been media coverage to construct his it's tempting to dismiss The Gates 1979-2005 hasn't stopped. eaten, and still, no one's bored. own version of the artwork— as simply old (it was designed in Newspapers around the world have Geoff Hargadon, who tem• The Somerville Gates, produced the 1970s, after all), the same can• <

THE ARCHITECT'S NEWSPAPER MARCH 9, 2005

U••^ Caleb Crawford Taryn Christoff, Martin Rnio, Ernie Gher CONTINUING o Form + Narrative: Hadrian Predock, John Frane 6:00 p.m. EXHIBITIONS o The Complexity of Simplicity Emerging Voices Cooper Union THROUGH MARCH 13 6:00 p.m. 6:30 p.m. Great Hall Wild: Fashion Untamed Pratt School of Architecture Scholastic Auditorium 7 East 7th St. x: Metropolitan Museum of Art 557 Broadway www.cooper.edu o 115 Higgins Hall South 1000 5th Ave. 200 Willoughby Ave., www.archleague.org www.metmuseum.org Brooklyn < MARCH 21 SYMPOSIA " ' Is www.pratt.edu THROUGH MARCH 14 Mark Wigley MARCH 10-11 Mark Dion Black Screens: the Architect's MARCH 11 Building Security Symposium Project 82: Vision in a Digital Age mm Philip Gould McGraw-Hill Conference Rescue Archaeology, 6:00 p.m. Architectural Polarities Center A Project for The Museum Princeton School of 6:00 p.m. 1221 6th Ave. of Modern Art Architecture Municipal Art Society www.aeinstitute.org MoMA Betts Auditorium 457 Madison Ave. 11 West 53rd St. www.princeton.edu/~soa www.mas.org MARCH 18 - 19 www.moma.org New Design Japan: Mario Gooden MARCH 13 Cool Ideas & Hot Products THROUGH MARCH 15 un|spoken [SPACES] Changing Tides: The Robert Tracy Teuro Kurosaki, Karim Rashid, 6:30 p.m. Landscape of the East River A former New Croton Aqueduct gatehouse Designs for Dance Julie Lasky, Holly Hotchner, Yale School of Architecture Celebrating Central Park's on 135th Street in Harlem is receiving 3:00 p.m. Paola Antonelli, et al. 180 York St., New Haven 25-Year Transformation Noguchi Museum Japan Society a makeover this year, and an exhibition www.architecture.yale.edu Urban Center Gallery 9-01 33rd Rd., Queens 333 East 47th St. 457 Madison Ave. at the Museum of the City of New York www.noguchi.org www.japansociety.org Benjamin Edwards, www.mas.org this spring documents its adaptive reuse. MARCH 14 Andrea Kahn, Laura Kurgan The renovation, designed by Ohlhausen James Carpenter Electronic Landscapes EXHIBITIONS THROUGH MARCH 17 Constructing the Ephemeral 6:30 p.m. Matthew Baird Design Dubois Architects and Wank Adams Slavin MARCH 9-APRIL 2 6:15 p.m. Columbia GSAPP New Material/Recent Work Thomas Ruff Associates and slated for completion in Parsons School of Design Wood Auditorium Parsons School of Design JPEGS Glass Corner 113 Avery Hall Glass Corner 2006, will transform Frederick S. Cook's www.arch.columbia.edu David Zwirner Gallery 25 East 13th St., 2nd Fl. 25 East 13th St., 2nd Fl. 525 West 19th St. 1980 Romanesque Revival-style building www.parsons.edu www.parsons.edu into a theater. The exhibition, designed by Henry J. Stern, John J. www.davidzwirner.com MARCH 16 Doherty, Jessica Lappin, et al. THROUGH MARCH 18 Boym Farmers, showcases the building's MARCH 9-APRIL 23 Mike Davis Sanitation and the 91st Tom Otterness nARCHITECTS, Parul Vora history as well as that of its surrounding Planet of Slums Street Transfer Station On Broadway Party Wall Broadway Mali Associations 6:00 p.m. 6:30 p.m. neighborhood. Artists Space Various venues of Broadway City College Museum of the City of New York 38 Greene St. and Upper Manhattan Great Hall of Shepard Hall 1220 5th Ave. www.artistsspace.org www.parks.nyc.gov The Gatehouse Convent Ave. and 138th St. www.mcny.org Museum of the City of New York, 1220 5th Avenue 212-650-7118 MARCH 10- APRIL 23 THROUGH MARCH 20 Through June 7 MARCH 23 Aneta Grzeszykowska, Radicals in the Bronx Charlotte Moss Daniel Ubeskind, Max Protetch Jan Smaga Museum of the Dialogues on Design 6:30 p.m. Plan City of New York 6:00 p.m. Museum of the Robert Mann Gallery 1220 5th Ave. New York School Of Interior MARCH 9, 16, 21, 30 City of New York 210 11th Ave. www.mcny.org LECTURES Design Matthias Neumann 1220 5th Ave. www.robertmanngallery.com 170 East 70th St. MARCH 9 Looking at Architecture www.mcny.org Suspending Beauty: www.nysid.edu Calvin Tsao, Zack McKown with an Architect's Eye MARCH 12-JULY 1 The Verrazano-Narrows Dialogues on Design 6:00 p.m. Alejandro Zaera Polo Michael Elmgreen, Bridge Turns Forty Riken Yamamoto, Urban Center Product and Resonance Ingar Dragset Brooklyn Historical Society 6:00 p.m. Clifford Pearson New York School 457 Madison Ave. 6:30 p.m. End Station 128 Pierrepont St., Brooklyn 6:30 p.m. Of Interior Design www.mas.org Columbia GSAPP Bohen Foundation www.brooklynhistory.org Japan Society 170 East 70th St. Wood Auditorium 415 West 13th St. 333 East 47th St. www.nysid.edu MARCH 10 113 Avery Hall 212-414-4575 THROUGH MARCH 21 www.japansociety.org Gaetano Pesce www.arch.columbia.edu Brian Walker Questions on Architecture MARCH 14-JUNE 30 Lost In Queens: A Natural Lisa Philips MARCH 17 and Design Objects MARCH 24 Changing Streetscapes: History Museum in 7 Parts Rethinking the Museum Diane Horowitz 6:00 p.m. Claude Cormier, Douglas New Architecture and Plus Ultra Gallery in the 21st Century: Cityscapes The New Museum's Building City College Reed, Gary Hilderbrand Open Space in Harlem 235 South 1st St., Brooklyn 12:00 p.m. on the Bowery 95 Shepard Hall Emerging Voices City College www.plusultragallery.com School of Fine Arts 7:00 p.m. Convent Ave. and 138th St. 6:30 p.m. Morris Raphael Cohen Library 5 East 89th St. THROUGH MARCH 24 Neuberger Museum 212-650-7118 Urban Center Convent Ave. and 138th St. www.nationalacademy.org Michael Meredith: Soft Cell 735 Anderson Hill Rd., 457 Madison Ave. www. ccny.cuny.edu Lebbeus Woods, Claude Purchase Andreas Huyssen www.archleague.org Tom Beeby Parent, Joel Sanders, et al. www.neuberger.org 6:00 p.m. MARCH 19-27 Order Vanishing Points: Cooper Union Peter Gluck USCO 6:00 p.m. Architectural Drawings Great Hall Gallery Buildings and Building Anthology Film Archives City College by Hand 7 East 7th St. 6:30 p.m. Courthouse Gallery 95 Shepard Hall www.cooper.edu Yale School of Architecture 32 2nd Ave. Henry Urbach Architecture Convent Ave. and 138th St. 180 York St.. New Haven 212-505-5181 526 West 26th St., 10th Fl. 212-650-7118 www.architecture.yale.edu www.huagallery.com

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THROUGH MARCH 25 THROUGH APRIL 18 THROUGH MAY 30 THROUGH MAY 5 Srdjan Normal Agnes Martin Amy Chan, Soo^y; The Life, Death, and Stadium Culture ...going forward into Yvonne Estrada, et al. Subsequent Vilification of Raccoon Prostor unknown territory... Out of Bounds Le Corbusier, and /Wore 43-32 22nd St., #301, Queens Dia: Beacon Wave Hill Importantly, Robert /Woses www.balkansnet.org/ 3 Beekman St., Beacon Glyndor Gallery Ohio Theater srdjannormal.html www.diaart.org 675 West 252nd St., Bronx 66 Wooster St. www.wavehill.org www.lesfreres.org/boozy THROUGH MARCH 26 THROUGH APRIL 30 Cut and Construction: Paul Rudolph: THROUGH JUNE 6 The Foundations of Fashion An Interior Perspective Wendy Fok EVENTS Pratt Manhattan Gallery New York School of Dualism in America MARCH 15 144 West 14th St. Interior Design Lower East Side Construction Leadership www.pratt.edu 170 East 70th St. Tenement Museum Awards Ceremony www.nysid.edu 90 Orchard St. 5:30 p.m. Sol LeWitt, Dan Flavin, www.tenement.org Club 101 Donald Judd, Andrea Zittel, THROUGH MAY 1 101 Park Ave. etal. Noguchi and Graham: THROUGH JUNE 7 www. pwcusa.org Logical Conclusions: Selected Works for Dance The Gatehouse 40 Years of Rule-Based Art Noguchi Museum Museum of the PaceWildenstein 9-01 33rd Rd., Queens City of New York BEYOND 534 West 25th St. www.noguchi.org 1220 5th Ave. www.pacewildenstein.com www.mcny.org MARCH 17 - 18 THROUGH MAY 6 Barry Le Va, Chrissie lies, Wim Delvoye Jean Prouve: THROUGH SEPTEMBER 4 Alexander Eisnschmidt, et al. Drawings and Scale Models A Tropical House Hella Jongerius Selects: Spiegel Symposium 2005: Sperone Westwater Yale School of Architecture Works from the Resistance 415 West 13th St. 180 York St., New Haven Permanent Collection University of Pennsylvania www.speronewestwater.com www.architecture.yale.edu Cooper-Hewitt, School of Design National Design Museum B1 Meyerson Hall, THROUGH MARCH 28 THROUGH MAY 7 2 East 91st St. Philidelphia Ed Ruscha: Paintings and Aptilon and Nurko, ndm.si.edu www.design.upenn.edu/ Works on Paper from arquitectura 911sc, et al. arch/index.htm 1964-2002 Mexico City Dialogues THROUGH OCTOBER 14 Fisher Landau Center for Art Center for Architecture Julian Opie THROUGH APRIL 17 38-27 30th St., Queens 536 LaGuardia PI. Animals, Buildings, Huyghe + Corbusier: www.flcart.org www.aiany.org Cars, and People Harvard Project nARCHITECTS, PARUL VORA City Hall Park Carpenter Center PARTY WALL THROUGH APRIL 2 THROUGH MAY 8 www.publicartfund.org 24 Quincy St., Cambridge, MA Artists Space, 38 Greene Street Mapping Sitting: Cy Twombly www.peabody.harvard.edu March 9 through April 23 On Portraiture and Fifty Years of Work on Paper Photography Whitney Museum of FILM & THEATER THROUGH MAY 1 New York University American Art Landscape Confection Voyeurs beware! An installation of an interactive wall prototype MARCH 11 at Artists Space this month could expose any Peeping Toms Grey Art Gallery 945 Madison Ave. Wexner Center for the Arts Lustron: The House if it were to go into production. Party Wall, designed by 100 Washington Sq. East www.whitney.org America's Been Waiting For nARCHITECTS, the New York-based firm founded by Eric Bunge www.nYu.edu/greyart 1871 North High St., (Bill Ferehawk, Bill Kubota, Columbus, OH and Mimi Hoang, and MIT Media Lab graduate Parul Vora, is a THROUGH MAY 11 2002), 60 min. www.wexarts.org 9-by-9-by-1-foot bunch of 2-inch-thick foam slats engineered to THROUGH APRIL 3 Rirkrit Tiravanija Mr Blandings Builds react to passersby. Sensors drive tiny servo motors that tense Ruth Duckworth, Solomon R. Guggenheim His Dream House up or relax synchromesh pulley cables threaded through foam Modernist Sculptor Museum THROUGH MAY 8 (H.C. Potter, 1948), 94 min. strips, creating unexpected apertures and, according to the Museum of Arts and Design 1071 5th Ave. unjspoken [SPACES] 6:30 p.m. artists, "opportunities for exchange". The $7,500 installation is 40 West 53rd St. www.guggenheim.org Inside and Outside the Center for Architecture part of Artists Space's Architecture and Design Project Series. www.madmuseum.org Boundaries of Class, Race, 536 LaGuardia PI. and Space THROUGH MAY 16 www.aiany.org THROUGH APRIL 9 Groundswell: Gibbes Museum of Art Marjetica Potrc Constructing the 135 Meeting St., MIKE DAVIS MARCH 22 Drawing Cities Contemporary Landscape Charleston, SC PLANET OF SLUMS 17 Short Films by Yves Klein Max Protetch Gallery MoMA www. h uff g ooden.com City College, Great Hall of Shepard Hall, Convent Avenue 7:00 p.m. 511 West 22nd St. 11 West 53rd St. and 138th Street Anthology Film Archives www.maxprotetch.com www.moma.org THROUGH MAY 15 March 16, 6:00 p.m. 32 2nd Ave. OPEN: New Designs for www.storefrontnews.org Public Space The Graduate Program in Urban Design at the School of Yves Klein: Air Architecture THROUGH MAY 20 Architecture, Urban Design, and Landscape Architecture at Storefront for Art and Harlem is...Downtown National Building Museum CONTINUING City College hosts Mike Davis, a history professor at UC Irvine, Architecture South Street Seaport Museum 401 F St. NW, Washington, DC FILM & THEATER for its second annual Lewis Mumford Lecture on Urbanism on 97 Kenmare St. 207 Front St. www.nbm.org THROUGH APRIL 22 March 16. Jane Jacobs inaugurated the series last year, draw• www.storefrontnews.org www.southstseaport.org Das War Die BRD THROUGH JUNE 12 ing a standing-room-only crowd. Davis will discuss the discon• New York University Michael Maitzan nection of urbanization from industrialization and economic THROUGH APRIL 15 THROUGH MAY 29 Deutsches Haus growth in slums such as the barricadas of Lima or the garbage Sowon Kwon City of Change: Alternate Ground hills of Manila, arguing that "the rise of this informal urban Something New Downtown New York 42 Washington Mews Carnegie Museum of Art proletariat is a wholly original development unforeseen by Skyscraper Museum www.nyu.edu/deutscheshaus 4400 Forbes Ave., 6:00 p.m. classical urban theory or political economy." Davis' book 39 Battery PI. The Kitchen Planet of Slums be available from Verso in June. 512 West 19th St. www.skyscraper.org WWW.ARCHPAPER.COM www.thekitchen.org

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THE ARCHITECT'S NEWSPAPER MARCH 9, 2005

voids, is a multifarious, occasionally frivolous MOMA'S UNQUIET MUSES assortment of "good designs" interspersed with CO On February 2, Santiago Calatrava was chosen by < architectural artifacts too unruly for the other Od MIT to receive the $70,000 McDermott Award for Now that the has gallery. These solicit the viewer differently: as O innovation in the arts. 0:^ reopened with all due fanfare, it's worth asking a hyperactive landscape of fetish objects, mod• 0 o to what extent has it succeeded in overcoming ernism's equivalent of the shopping arcade and On February 8, the AIA named ten honorary 2: its long-standing ambivalence about whether its cabinet of curiosities. Thus we're confronted on members to its ranks: Barbaralee Dlamonstein- mission is to be a modern (i.e., historical) museum the third floor with the dialectic of temple and Spielvogel, the longest-serving commissioner of the 0< "-"3 or a postmodern (contemporary) one. MoMA showroom. The only hint that there is something New York City Landmarks Preservation Commission possesses an unrivaled collection of modernist neither paradigm can contain is the displacement (1972 to 1987); Sally Ann Fly, executive director of LU art, of course, and played a central role in shaping of Rem Koolhaas' 1972 Exodus, or the Voluntary AIA-Austin; Jeremy Harris, former mayor of Honolulu; Z) the modernist canon. Yet in foregrounding its Prisoners of Architecture down to the contempo• David E. Hollowell, former president of the Society t 1 weaker post-1960s holdings now, the renovation rary galleries, where, though somewhat dwarfed for College and University Planning; Suzanne Koonce, 1- challenges the museum to come up with a differ• by the ceiling height and large-scale sculpture, this executive vice president and CEO of the AIA; • • ent curatorial narrative from Alfred Barr's famous commentary on the late 20"'-century city enters into Pamela L. Kortan, director of governance affairs at Od diagram of 20"'-century "isms." This won't be easy. a less parochial dialogue with other art of its time. the AIA; Ulrich M. Lindner, engineer and educator; 0 In a recent lecture, Hal Foster diagnosed the Perhaps the reason the reinstallation of the Lynn J. Osmond, president of the Chicago malaise of today's pluralistic, amorphous, market- architecture collection is a non-event is that Architecture Foundation; Richard L. Tomasetti, driven art culture as an "anxiety of reference." In everyone was preoccupied with getting the build• principal atThornton-Tomasetti Group; and this context, Yoshio Taniguchi's monumental atri• ing open and didn't want to upstage Taniguchi. Richard S. Vosko, an advocate for design excellence um— a space de rigueur in contemporary muse• It's a shame, though, to have missed the opportu• in religious architecture. um architecture, and at MoMA an abstract white nity to reflect more deeply on the department's box filtering into overscaled contemporary gal• history, especially as the chief architecture and Rem Koolhaas was awarded H/Zred magazine's leries around its perimeter—is a veritable empty design curator, Terence Riley, was responsible, 2005 Rave Award in Architecture. center. Another disquieting symptom of post• before coming to MoMA, for a brilliant exhibition modern restructuring, as another art critic, Yves- reexamining the museum's seminal International Diane Lewis will receive the Cooper Union Alumni Alain Bois, sharply pointed out in February's Style show on its 60"' anniversary. Of course, Association's John Hejduk Award on April 18. Artforum, is the supplanting of the artist's name nothing precludes such a careful rethinking in by a new corporate nominalism of donors and future. One hopes Taniguchi's new envelope, with James Dyson and the Industrial Designers Society patrons. Instead of the Matisse Room, we now its vaunted anti-Bilbao virtues, will be sufficient of America (IDSA) selected seven winning projects have the Florene Schoenborn Gallery. (and sufficiently inspiring) for Riley to do so with for the Eye for Why Student Design Competition, Apparently the identity crisis of the postmodern comparable intensity to the rehanging of the core a contest challenging design students to reinvent art museum hasn't troubled the reinstallation of collection upstairs, thereby expanding on the household objects. First place went to Brandon the architecture collection much, however. More provocative and engaging exhibitions he has Warren of the California College of Arts (CCA); beholden to Harold Bloom's "anxiety of influence," orchestrated at the museum over the last decade. second place went to Isamu Yoda, also of CCA. architecture at MoMA remains insular and iconic. One thing sure is that in the absence of a com• Third place was shared by Christine Miller of It is ironic that one of the most conventional (and pelling contemporary stories to tell the new CCA, Jennifer Olson of CCA, Arthur Hamling of claustrophobic) spaces in the new building has MoMA will be haunted by the ghosts of the old. the Cleveland Institute of Art, and Josh Aukema, been allotted to the Philip C. Johnson Architecture Meanwhile, amid the ongoing hype surround• Matt Cavalier, and Joe McCurry of Philadelphia Gallery, fittingly named for its primary progenitor. ing the reopening and mixed (more positive than University; and an honorable mention went to This space is separated from its more vivacious negative) reception in the media. The New York Brad Jolitz of Notre Dame University. sister, the design collection, also named for T7mes architecture critic Nicolai Ouroussoff Johnson, to one side of a bifurcated landing on weighed in last month with a misdirected attack on Jean Nouvel will be presented with the 2005 Wolf the third floor. The inaugural show, comprising Riley and his department for "lack of leadership" Foundation Prize in the Arts, an award of $100,000, drawings and small-scale models, and including and "loss of edge." Angered by Ouroussoff's pre• at a ceremony in Jerusalem on May 22. some of the most consecrated and most exquisite mature pique, Riley responded with a personal expressions of 20"'-century architecture, leads off letter, copied to his friends, challenging the critic For the first time in the 52-year history of with a disparate group of contemporary acquisi• to a public debate on his record. Ouroussoff may Architecture magazine's Progressive Architecture tions, by UN Studio, Neil Denari, Lebbeus Woods, already be back-pedaling. Two weeks ago, (P/A) Award, only one project won: the UCLA Preston Scott Cohen, Diller + Scofidio, Lauretta Groundswell, a show of contemporary urban Department of Architecture and Design's L.A. Now: Vinciarelli, et cetera. It then makes an even more landscape design curated by Peter Reed, opened Volume 3. The urban design scheme for 35,000 jarring segue to the father figures: an 1896 bridge on the sixth floor. Ouroussoff took the opportuni• housing units in downtown Los Angeles, was led drawing by Otto Wagner, Mies van der Rohe's ty to praise it warmly in the Times, writing that by UCLA professor and principal of Morphosis visionary rendering of the Friedrichstrasse Glass the show "signals the refreshing debate that is Architects, Thom Mayne. Six other projects received Skyscraper, Le Corbusier's model of Villa Savoye, a emerging over how best to deal with the legacy of citations. Mendelsohn sketch from the 1930s, and so on, ." One looks forward to a construc• leapfrogging through two more generations, blur• tively engaged continuation of this debate, in both On April 13, the Harvard University Graduate School ring the lines from agitprop to pop, construc• the new spaces of MoMA and the press. of Design will award the City of Aleppo in Northern Syria with the Veronica Rudge Green Prize in Urban tivism to deconstructivism, Hejduk to Hadid. JOAN OCKMAN IS AN ARCHITECTURAL CRITIC AND Design for its project with German Technical As for the design collection, across the landing HISTORIAN. SHE DIRECTS THE TEMPLE HOYNE BUELL and beyond the green Bell-47D1 helicopter shoe- CENTER FOR THE STUDY OF AMERICAN ARCHITECTURE Cooperation to rehabilitate its 5,000-year-old center. horned into one of Taniguchi's finely calibrated AT COLUMBIA UNIVERSITY.

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