THE ARCHITECTSNEWSPAPER 9.7.2004

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In July, an interdisciplinary team called Hoboken residents as well as the words of CO WINNING DESIGNS FOCUS FLOW Group was named winner of the a final phone conversation from the 104" I- VIEWS ON LOWER MANHATTAN Hoboken 9/11 Memorial competition. In floor of one of the towers. The island fea• POMPIDOU June, Manhattan architect Fred Schwartz, tures a pool, the "Tidal Well," in the center, LU PENTHOUSE who was also a finalist in the Hoboken encircled by a cast-glass ring, the "Circle competition, won the New Jersey state of Names," etched with the names of O memorial competition. Hobo-ken's 9/11 victims. Hoboken lost O The Hoboken site, Pier A Park, designed 57 residents in the WTC attack, the largest BRANDING LONG by landscape architects Cassandra Wilday loss for any New Jersey community. ISLAND CITY and Henry Arnold, was a gathering spot for The jury included Emma Amos, Henry Hoboken residents in the days after 9/11. Arnold, Anne Buttenwieser, Ray Gastil, While other competition finalists had pro• Donald Genaro, Monica Ponce de Leon, and posed memorials to be built on Pier A Park, Trevor Smith. DEANS LIST the FLOW Group proposed the construction Further south along the Hudson River, of a modest island, Hoboken Island, to be Schwartz's New Jersey state 9/11 memorial connected by a footbridge to the pier. The will be built in Liberty State Park in Jersey TALL TALES Flow Group's sophisticated design won City, directly opposite lower Manhattan. in part because it does not impede Pier A Schwartz, with landscape architect Ken EAVESDROP Park's open space or block its dramatic Smith, designed a memorial titled Empty REVIEWS views of Manhattan. SkyXo have two stainless steel walls, both CLASSIFIEDS FLOW includes architect Jeanne Gang 30 feet tall and 200 feet wide, that flank a PROTEST of the Chicago firm Studio Gang Architects, 16-foot-wide paved bluestone path pointed 9/11 MEMORIALS artist Janet Echelman, aeronautical engi• in the direction of where the WTC towers neer Peter Heppel, structural engineer Aine had stood. The names of the 710 New TAKE SHAPE IN NJ Jersey residents who died at the World Brazil, and architectural lighting designer PATRON TURNED COLUMBUS, Trade Center, the Pentagon, and on the With the future of the World Trade Center site Domingo Gonzalez. planes that crashed on 9/11 will be etched INDIANA, INTO AN and its proposed memorial still the focus of The memorial begins on the pier with the on the walls. The path will cut a swath ARCHITECTURAL HOTBED intense debate, some other 9/11 memorials are low sloping wall, which designers call the through a gently sloping mound that is taking shape on the New Jersey side of the "Narrative Wall," leading to the bridge, sloped toward the city, continued on page 2 Hudson River, within view of lower Manhattan. inscribed with first-person narratives from J.IRWIN MILLER

NEW TENANTS KNOW WHAT THEY DIES AT 95 PUBLIC ART BRIGHTENS M^fi^. DU.piNG,-OL«MlfC WANT, BUT DOES THE LMDC? J. InA'in Miller, the family was leading a Indiana architecture search for someone patron who passed to design a new For Hire: WTQj away August 16 after church for their con• a reported "brief ill• gregation; they had Cultural Center ness," always under• chosen Saarinen, but stood the funda• the architect declined. mental relationship The young Miller Architects between architec• continued on page 2 ture and community. On August 11 the Lower Manhattan In 1938, a few years Development Corporation (LMDC) held after he returned a conference to announce a Request for home to Columbu, Proposals for "Architectural Services for from college to help the World Trade Center Cultural Program," run his family's busi• which will comprise two buildings—a ness, Cummins performing arts complex to the north, and Engine, he visited a museum complex to the south. The ten• Eliel Saannen at his WHITE OUT ants, selected in June, will be the Drawing Cranbrook School in Center, the Joyce Theater International Michigan. Miller's Dance Center, the continued on page 2

While the bird's-eye view of the Athens Olympics was dominated by Santiago Calatrava's stadium, on the street level visitors were enchanted by a series of interactive art installations NY STATE COUNCIL FOR THE ARTS commissioned by the city of Athens. Of particular note was White Noise White Light, a Julie Fa ' Temporary Landscape ANNOUNCES 2005 DESIGN GRANTS field of white fiberoptic strands sited at the base of the Acropolis, designed by a team led by J.Meejin Yoon, an architecture professor at MIT and founder of Boston-based MY Studio. Equipped with infrared sensors, 400 chest-high end-emitting stalks bent, lit, and whooshed CASH FLOW at the provocationof curious visitors. "Each person wading through left a five-second trail of light and noise," said collaborator Eric Howeler. "It was magical." DEBORAH CROSSBERC Delayed by this year's record-breaking budget hold-up,theNew York State Council on the Axts Architecture, Planning and Design Program (APD) recently announced the recipients of its 2005 Independent Projects Grants, aimed at promoting excellence in design in the public realm. Seven teams of New York residents— Harry Allen, Alex deLooz and Corey Hoelker, Phyllis Ross, Julie Farris, Mike Silver and Peng Chia, Mary Ann Spencer, and Scott Ruff—were awarded a total of $69,750. The projects range from continued on page 2 o

THE ARCHITECrS NEWSPAPER SEPTEMBER 7, 2004

CO While preparing this issue's feature on architectural education, more Diana Darling continued from front page Signature o than one of the eleven deans we interviewed commented that it's an Theater Center, and the International Cathy Lanq Ho exciting time for schools right now. "All the schools are evolving in Freedom Center. The RFP requested that William Menking I—I Interested architects submit a proposal their own way," said Mark Wigley, recently named dean at Columbia detailing both their qualifications and a LU University. "There are important issues to face and schools are rising Martin Perrin rough idea of how they would ultimately to face them. It feels like we're on a threshold." tackle the design. During the meeting at the LMDC offices, planners, developers, Anne Guiney New York enjoys an unusually high concentration of schools offer• and representatives from each tenant ing architecture degrees, and there's no lack of talent which they can Deborah Grossberg organization outlined the plans to a gath• tap into for faculty, critics, and lecturers. Though the deans may jos• ering of architects and Interested parties. The comparatively forthright nature Jonathan Chaffin tle each other over hires, they're confident enough of their programs' of this RFP comes In contrast to the tenor unique identities that they don't seem overtly competitive. Each of the redevelopment process to date. Keith James school's distinctions are an outgrowth of its particular context. For Daniel Libeskind's crowd-pleasing master example, Anthony Vidler sees Cooper Union's Utopian aspirations plan, which included a fairly developed Paul Beatty and his students' "gritty sense of responsibility" as extensions of the concept for the Freedom Tower was quickly shunted aside in favor of the school's history of experimentation and its context in New York. By vision of developer and lease-holder Larry contrast, Princeton, led by Stan Allen, is a small professional school Silversteln's go-to corporate architects seated within a larger humanities context, which gives it its intellec• SOM, who designed 7 World Trade tual character. Peter Wheelwright, chair of the Department of Center. Memorial designer Michael Arad was chosen In a public process, but it was Architecture, Interior Design, and Lighting at Parsons where Paul one that was ultimately overshadowed by Goldberger recently became dean, attributes his department's agility PHILIPPE BARRIERE/ARIC CHEN/ the general disappointment the public MURRAY FRASER/RICHARD INGERSOLL / and irreverence to the hands-on, non-doctrinaire nature of the larg• expressed with all the finalist schemes. JOE KERR/LIANE LEFAIVRE/JAMES PETO/ er school of which it is part—and the fact that it's "not encumbered Perhaps It Is this new openness that LUIGI PRESTINEN2A PUGLISI/KESTER RATTENBURY/ is giving hope to architects who had D.GRAHAME SHANE/PETER SLATIN / by the institutional mantle of a university." GWEN WRIGHT / ANDREW YANG/PETER ZELLNER previously avoided getting Involved In Whatever one's pedagogical position, the distinctions among the the redevelopment. Among the firms that sent representatives to the meeting schools can only be healthy for the profession. Alan Balfour, dean of PAOLA ANTONELLI/RAUL A. BARRENECHE/ were Miami-based Arquitectonica (of the M. CHRISTINE BOYER/PETER COOK/ Rensselaer Polytechnic Institute, argued,"Schools must be increas• kitschy-surfer Westin Hotel on 42"" Street), WHITNEY COX / ODILE DECO / TOM HANRAHAN / SARAH HERDA/CRAIG KONYK/JAYNE MERKEL/ ingly different because architectural products are looking so much Rem Koolhaas (who had earlier boy• USA NAFTOLIN / SIGNE NIELSEN / the same and there are so many more issues that must be dealt with." cotted the Innovative Design Study In a HANS ULRICH OBRIST/ JOAN OCKMAN / calculated political move, after losing the KYONG PARK/ANNE RIESELBACH/ The WTC rebuilding effort has only magnified the multiplicity of first planning RFP), and Santiago CaJatrava TERENCE RILEY/KEN SAYLOR / MICHAEL SORKIN issues that demand architects' attention. As Grahame Shane notes in (whose PATH station will sit to the east of

GENERAL INFORMATION: INFOISARCHPAPER.COM our Protest column (page 16), the myriad conflicting interests and the cultural plaza). Daniel LIbeskind was EDITORIAL: EDITORiSARCHPAPER.COM conspicuously absent from the meeting. plans behind the site's reconstruction add up sloppily—despite the DIARY: D1ARY®ARCHPAPER.C0M During their presentations, representa• ADVERTISING: SALESdaARCHPAPER.COM availability of time, money, and intelligence. tives from the four cultural Institutions SUBSCRIPTION: SUBSCRIBEi?iARCHPAPER.COM It was heartening to hear so many of the deans in our feature story spoke about their understanding of the PLEASE NOTIFY US IF YOU ARE RECEIVING charged nature of the site, and their Ideas DUPLICATE COPIES. emphasize the need for architectural education to connect its future for what should replace Its emptiness. practitioners to other disciplines and the rest of the world. We THr VIEWS OF OUR REVICWCR5 AND COLUMNISTS 00 NOT Daniel TIshman, whose construction NCCtSSARILY REFLECT THOSE OF THE STAFF OR ADVISORS OF THE ARCHITECTS NEWSPAPER. detected a socialistic twinge—reflective, perhaps, of a desire to leave company is currently building 7 World Trade and Is slated to build the Freedom VOLUME 02 ISSUE 14, SEPTEMBER 7, 2004 behind the narcissism and isolationism that has characterized the THE ARCHITECT'S NEWSPAPER IS PUBLISHED 20 TIMES A YEAR. BY Tower, spoke "not as a builder" but as THE ARCHITECT'S NEWSPAPER, LLC. P.O. BOX 937, NEW YORK. NY lOOU. field more recently. The schools are changing, just as the figure of the PRESORT-STANDARD POSTAGE PAID IN NEW YORK, NY. POSTMASTER; a board member of the International SEND ADDRESS CHANGES TO: THE ARCHITECTS NEWSPAPER, CIRCULATION DEPARTMENT, P.O. BOX 937. HEW YORK. NY 10013. FOR SUBSCRIBER architect is. Who are they? What can they do? A lot more than they Freedom Center. He described the Ideal SERVICE: CALL 2I2-9M-O430. FAX 2l2-966-0e33. S3.95 A COPY, S39,00 ONE YEAR, INTERNATIONAL $160,00 ONE YEAR, INSTITUTIONAL have been, these educators seem to be saying. cultural space as one that is not "New $149.00 ONE YEAR. ENTIRE CONTENTS COPYRIGHT 2003 BY THE ARCHITECT'S NEWSPAPER, LLC. ALL RIGHTS RESERVED. York-centric, or even U.S.-centric" but WILLIAM MENKING AND CATHY LANG HO more broad in scope. Peter Kunhardt, also representing the IFC, spoke of his ambi• tion for the project to be "above politics," and for the center to include "freedom Miller's legacy lives on in his son Will, who sits FLOW continued from front page stories from around the world." Andrea continued from front page wanted a chance on the board of the Cummins Foundation and Silver and Chia's Automason Ver. l.O, a Woodner of the Drawing Center spoke to change his mind. is a trustee for the National Building Museum. computer program for creating intricate of her organization's desire for a space " He sat around the octagonal table in CLAY RISEN patterns in load-bearing ma.sonry, to Julie that is at once a "monument to a national Saarinen's house." said Will Miller, Irwin Farris' Temporary Landscape, a rural terrain tragedy" and a "center of anti-gravity... Miller's son, who lives in Columbus and directs 9/11 MEMORIALS TAKE SHAPE IN NJ created by video projections on empty lots. Irwin Financial, a local bank. "He pitched the in which the architect's role cannot be continued from front page Simple in plan According to APD's director and founder idea that the congregation was committed overstated." and massing, the beauty of Empty Sky Anne Van Ingen, New York is the only state to a rich inner spiritual life and a simple exter• And while the tenants seemed to have a is how It focuses attention toward lower in which a government-funded arts councU nal life, and that set of values appealed clear Idea of what they wanted, the LMDC Manhattan. The memorial is not just the gives grants to architecture and design pro• enough to Saarinen for him to change mind." hasn't nailed everything down. The con• structure but a melancholy view of the fessionals. Van Ingen claims that, though tract awarded at the end of the request for This understanding of architecture and downtown skyline. the program has been around since 1986, proposals would be "for schematic design community inspired Miller, to establish Schwartz, who was a partner with many architects don't know it exists."Artists only," giving the LMDC an open window a program soon after WW II to help local Rafael Viholy in the THINK team that was in other fields operate under the assumption to bring In someone new at any point. In public projects hire high-quality architects. a finalist for the WTC masterplan, was that there's grant money available, but other words. It's business as usual. Columbus soon became a who's-who of selected from a pool of 320 New Jersey in design that's not a part of standard EVA HACBERG modern architecture: Both Saarinens, Cesar competition entries. Jurors were Stan thinking,"said Van Ingen. APD funds about Pelli. I.M.Pei, Robert Venturi, and Robert Allen, Mikyoung Kim, Nikki Stern, Tom 20 percent of its applicant pool, which this Stern have ail built there. As a trustee for the Finkelpearl, Penny Balkin Back, Ric Bell, year was down to 30 from last year's 72. Museum of Modem Art, Miller was a tireless Eiyn Zimmerman, and Frank Gallagher. "Numbers of applications to APD tend to advocate of architecture as an art form. track opposite to the economy," said Van No timeframe has been set for the SUBSCRIBE i.»ARCHPAPER.COM And he sat on the first judges panel for the completion of either memorial. Ingen."My hopefiil reasoning is that people Pritzker Prize, in 1979. JOHN E. CZARNECKI are going back to worL" oc o

EGOS OVERBOARD! SHIGERU BAN PLANTS TEMPORARY STUDIO ON POMPIDOU ROOF We shudder to think what could have happened at a recent photo shoot for Vanity Fair's November issue, where photographer Robert Polidori was talking a Ground Zero group portrait of Governor George Pataki, developer Larry Silverstein, his architects David Childs and T. J. Gottesdiener of SOM, and their archrivals Daniel and Nina Libeskind. Seeing as how they've collectively shown more mutual animosity and self-serving hubris than a throng of unmedicated stage moms-not to mention the Libeskinds' pending lawsuit against Silverstein O for a $843,750 in allegedly unpaid fees-nervous onlookers braced for a catfight worthy of a horde of, well, developers, star architects, and politicians. (Add the CO shoot's location on the 26'" floor of 7 World Trade Center, which is still under LU construction and open to the air, and there was the potential for a horrible > "accident." "Everyone was afraid someone would get 'pushed,'" half-jokes one < sweaty-palmed witness, "and not just out of the picture frame.") Luckily, we're LU told the bilious bunch behaved for the camera-proving once again that nothing brings these people together like a good photo op. BIENNALE HONOR ROLL POMPID It's nice when people help each other out. Take the American pavilion at the Venice Architecture Biennale, which opens this weekend. Earlier this spring, with PENTHOUSE almost no funding, no exhibition, and no organizer to put one together, things weren't looking good. But in April, at the State Department's reguest, Temporality has been one of designed a temporary struc• tunnel that attaches to and Architectural Records editors saved the day and, with their donated time and the hallmarks of Shigeru Ban's ture for his own office to be expands the infrastructural in a short five months, they got together six firms-including locally based work. His use of cardboard built in the sixth-floor terrace of morphology of its host struc• Kolatan/MacDonald, Reiser + Umemoto, and Lewis.Tsurumaki.Lewis-who'll and prefabricated elements as the Centre Georges ture. In turning the mechanistic be presenting conceptual proposals in the pavilion for building archetypes like primary structural components Pompidou. After winning the open frame of Pompidou into parking garages and stadiums. But what truly touches us are the other firms who (for example, his Furniture competition to design the new the site for his small 140-square- donated $5,000 to $10,000 each to help fund the project and support their House projects are shaped by Pompidou in Metz, France, foot office. Ban does what he younger peers. So, great big gold stars go to: Beyer Blinder Belle, Fox & Fowie, prefab storage cabinets) tease Ban successfully negotiated does best—convert a seeming• Gensler, Kaplan McLaughlin Diaz, Kohn Pedersen Fox, Murphy/Jahn, NBBJ, notions of permanence and with his clients to build a field ly obvious strategy into an instance of poetic engineering. Pei Cobb Freed, Cesar Pelli, and Perkins Eastman, as well as Miami developer durability. office in Paris. Craig Robbins (who's giving substantially more) and Chicago philanthropist In a new project that has His temporary office design The structure is currently Leah Zeil Wanger. been largely under the radar. exhibits a curious kinship with being built by Ban's students Ban demonstrates his creativi• the Renzo Piano and Richard from Japan and France and will ty with light construction in an Rogers original. The structure be completed early this month, iGME entirely new context. Ban has is a 33-meter-long paper tube MURALIRAMASWAMI We actually feel a certain fondness for Robert A. M. Stern. But apparently he doesn't think much of some of our colleagues. This summer, as the A/VTwas switching architecture critics, our snoops overheard someone asking the his- 606 Universal Shelving System toricizing-er, "sense of place"-making-architect, former Disney board member Designed by Dieter Rams m 1960 for Vitsce and and Yale dean if any of his students were interested in pursuing criticism. VITSCE produced continuously ever since. Add more "Criticism? What a lowly profession," we're told Stern sniffed with Howard when you need. Take it with you when you move. Roarkian conviction. "My students want to build!" Through his rep. Stern tells www.vitsoe.com us he doesn't recall saying anything of the sort. FRANKIE GOES TO SPRINGFIELD. ., These days, when he's not hanging out with Brad Pitt or posing for American Express ads (give the guy a break; he deserves a little fun now and then), Frank Gehry might be practicing to sound more like, well, Frank Gehry We hear the architect is set to make a cameo appearance, as himself, on an episode of The Simpsons this upcoming season. While Gehry's rep could not provide specifics, we understand that, despite that institution's interest in the location (as well as everywhere else), Gehry will not be designing a Guggenheim for Springfield.

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NY STATE BUDGET ELIMINATES BROWNFIELD CLEANUP TAX BETTER LATE THAN NEVER

On August 12, New York legislators passed the state's most overdue budget ever, relinquishing a $101.6 billion behemoth to Governor George E. Pataki that increased spending and rejected Pataki s proposed healthcare and welfare reforms. The budget overspends by $669 million for the 2004 to 2005 fiscal year, and creates a $6.3 billion shortfall for the following year. One welcome addition approved by the legislature was Pataki's proposal to do away with a number of punitive fees imposed on brownfield site clean-ups under the 2003 Brownfield Act. Oirics of the fees argued that they needlessly impeded clean-up efforts. Tlie budget also incorporated a total of $57 million in additional funds for affordable housing programs, including $20 million for the Affordable Housing Corporation, $20 million for the Housing Trust Fund, and $7.5 million for Homes for Working Families. Pataki vetoed $235 million of spending and $ 1.6 billion in borrowing from the legislature's 146 Greene Street Distributed exclusively In North America mossdna New York, IMY 10012 by moss dna, a division of moss. budget on August 20, arguing that the budget "spends too much and reforms too little." The T 212.204.7105 legislature now has the chance to override the governor's vetoes if it achieves a three-quarters vitsoottmossdna com www.mossdna.com majority in both tlie house and the senate by December 31. DEBORAH GROSSBERG o

THE ARCHITECT'S NEWSPAPER SEPTEMBER 7, 2004

SYRACUSE UNIVERSITY LAUNCHES SPRAWLING AND INDISTINCT, LONG ISLAND CITY GETS A NEW GRAPHIC IDENTITY ARTS JOURNALISM PROGRAM Critical Curricula

With public interest in architecture skyrocketing and magazines and newspapers are beefing up design coverage, Syracuse University's launch of a new masters program In arts journalism Is timely. The Goldring Arts Journalism Program (GAJP), a one-year, 36-credlt program with a tuition of $31,392, will be the first program of its kind offered at an accredited journalism school— the 8.1. Newhouse School of Public Communications. According to Johanna Keller, Goldring's director, "There are a lot of mid- career journalism enhancement programs, like the National Arts Journalism Program at Columbia, but there's nothing available at the entry level."

The program developed out of a $1 million gift to Syracuse from Lola Goldring, a patron of the fine arts with a desire to see more well-trained How is Long Island City these African Art, Socrates Sculpture Design Trust fellows developed a graphic identity system to appear on young art critics. "Few trained journalists write days? If you ask Nina Park, Thalia Spanish Theatre, as billboards throughout Long Island City, as envisioned above. about architecture and design In this country," Rappaport, a scholor and fellow well as MoMA QNS and PS. I. said Mark Robbins,the university's newly of the Design Trust for Public In the course of their research, group to "draw on things that ment of the new "Long Is City" appointed architecture dean. "That's a problem Space, she will tell you that the the fellows found that the insti• were already there." In addition brand resembles the Pepsi-Cola because journalism Is an Important liaison city is Long—"Long Is City," tutions were too far apart—and to positing Long Island City as sign that overlooks the East River. between architects and the public." that is. Like SoHo and DUMBO the geography of Long Island an art district, the team wanted "It's not easy to find your way GAJP will offer specialized curriculum in five before, Rappaport, along with City not easily navigable—for a solution that would resonate around," said Rappaport "You've categories: architecture, film, fine arts, theater, other fellows, graphic designer visitors to think of the area as with the place, which is still got eight or ten arts institutions, and music. Each discipline will be advised by a David Reinfurt, and architect an art district, not to mention fairly industrial. Their solution and they've tried loops and faculty member from the corresponding gradu• Colin Cathcart, is trying to using it as one. makes prominent use of its shutde buses and nothing has ate school at Syracuse. capture a latent quality of Long Instead of investing their abundant billboards and signs. really worked." Keller expects students to come from a Island City—with its disparate energies on designing wayfind- Rappaport, Reinfurt, and Even though the expression wide variety of backgrounds. Ten students will urban geographies and myriad ing systems or putting signs and Cathcart decided that these "Long Is City" seems strange at be accepted in the first year of the program, and top-tier art institutions—and maps around town, the team visual indicators would be both first, so did DUMBO, reminds the number will grow to 20 over the next four distill it into a name and idea instead decided on an approach consistent with a gritty context Rappaport."It's a kind of years. To meet their diverse needs, the pro• that is easily digestible, visually that capitalized on the city's and effective in helping people declarative statement," she said, gram's faculty will tailor individual curricula for cohesive, and catchy to visitors. unique character. "Long Island know where they are. Reinfurt, noting that it emphasizes the each student to accompany their core courses. Part of the Design Trust for City is one subway ride away of ORG, a graphic design firm, town's sprawling, horizontal Mark Linder, Goldring's architecture subject from Manhattan," said Public Space's Long Island City created various logos that visu• nature. "It answers the question adviser, sees the program as essential to the Deborah Marton, the Design Cultural Initiatives and coordi• ally echoed those found on of who we are." field. "Most architects wouldn't consider writing Trust's director. "It has incred• nated with the Long Island City highway signs. One font treat• ANDREW YANG for a newspaper because we wouldn't know what Cultural Alliance (LICCA), the ible views, cool buildings with to do," said Linder. "That means there's a big gap branding initiative, "Long Is a mix of styles and incredible between academic discourse and the way things City," attempts to reinforce the historic signs." get covered in magazines and newspapers." collective identities of the cul• The moniker, based on the Linder cited the press coverage at Ground Zero tural institutions that make up abbreviation already in use on Even though the as an example. "It's been mostly about finances, the alliance to create a larger highway and bus signs as well politics, and the intrigue of the Libeskind-Chllds sense of place. The alliance as the post office, can be found expression "Long Is City" drama. There's been remarkably little written includes the Sculpture Center, this fall on billboards and about what's going on from an architectural point American Museum of the subway-entrance marquees as seems strange at first, of view, even though the public is hungry for Moving Image, Isamu Noguchi a donation by Clear Channel. a real critical assessment." When the GAJP's Museum, Fisher Landau According to Reinfurt, this SO did DUMBO. first graduates venture into the field, they will no Center for Art, Museum for "found identity" allowed the doubt still be able to add to the WTC debate. DG

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In the heart of London's The Royal Parks began square meters of unique Hyde Park, a new shrine to opening portions of the surface effects in 3D, result• a quasl-divinity—the Diana, memorial in August, though ing in a set of complex RE OPEN HOUSE 8 Princess of Wales Memorial— access is now strictly con• drawings that accurately was unveiled on July 6 with trolled. How this will pan described the precise shape great fanfare only to close out, only time will tell. But and surface texture of each NOUEMBER 2004 again after a mere two let us not mock this stone in the memorial. weeks of glory. Much hype latest example of quixotic I'm not sure whether VOU ARE CORDIALLVINUITED TO ATTEND AN OPEN HOUSE was followed by much British design. (Hey, Foster's Diana would have been ON MONDAY. NOUEMBER B. 2Q04, FROM 10:00 AM TO 5:0Q huffing and talk of leaves, Millennium Bridge wobbled horrified or amused that pumps, mud baths, and pub• before It triumphed.) There her monument should PM IN THE ARCHITECTURE BUILDING AT PRINCETON UNIU lic injury. Unnervingly, the Is every reason to suppose have been cut with such ERSITV TO MEET THE FACULTY AND LEARN MORE ABOUT fountain seemed to reflect the Diana memorial may yet exactitude from the granite the erratic behavior of the merit more than a mere 15 quarries of the Duchy of OUR PROGRAMS IN ARCHITECTURE. THE OPEN HOUSE WILL late Princess more uncom• minutes of fame. Cornwall, the estate of her fortably than the designers BE FOLLOWED AT6:Q0 PM BV A PUBLIC LECTURE BV PAUL The work of the London ex-husband. While the could have Intended. The office of landscape design scheme—through the vari• LEWIS, DIRECTOR OF GRADUATE STUDIES, M.ARCH. PROG fountain immediately firm Gustafson Porter, the ety of aqueous textures— RAMS AT THE SOA AND PRINCIPAL OF THE NEW VORK-BAS attracted thousands of monument takes the form of uncannily conjures Diana's worshippers of all ages an elegant elliptical ring whimsical spirit, there is ED ARCHITECTURAL FIRM OF LEWIS.TSURUMAKI.LEWIS who came, stripped, pad• of granite snaking over the a strong feeling of contain• CLTL]. PLEASE CHECK THE SCHOOL'S WEBSITE AT WWW. dled, and in a few cases, fell undulating ground leading ment, all too appropriate and were hospitalized. (A PRINCETON.EDU/~SOA FOR A COMPLETE SCHEDULE OF THE down to Serpentine Lake. given the stifling claustro• half-dozen first-aid-trained Within the ring, water phobia she experienced DAV SEUENTS. IFVOU ARE PLANNING TO ATTEND, PLEASE Royal Parks staff are now on flows In two directions at a within the royal powerhouse. permanent standby.) REGISTER AT WWW.PRINCETON.EDU/-SOA/OH/FORM.HTML rate of 100 litres per second. What is striking about the In a public response not Time to 'fess up: Neil memorial Is the clear empa• OR TELEPHONE 609 258 3641. dissimilar to the extraordi• Porter, Gustafson's partner, thy on the part of the design• nary fest following Diana's is a friend of mine. I recall ers for their subject matter. death seven years ago, chatting in his kitchen It's a quality that surely con• children and their parents some two years back as he tributed to their recent win came to dangle their feet in putthe finishing touches on of the international compe• the circular channel as if the first clay model. The ini• tition to design the Garden performing some cleansing tial concept has survived of Forgiveness In Beirut, ritual, calling to mind the the rigors of committees the Hadiqat as-SamSh. bathing ghat at Varanasi and planning meetings With the goal of creating where devout Hindus team remarkably well. a calm environment that reflects an emergent sense www.modernlca.net in the thousands down Key to the design Is the of civic pride, the design stone steps to the River computer-aided techniques displays a deep respect for Ganges. Except here, we're that create a mesmerizing the archaeological treas• talking about a monument repertoire of watery surfaces ures on the site. The garden to a deeply troubled woman. contained by the granite will begin construction at Why her memory should ring. Barron Gould-Texxus, the end of this year and is prompt such mawkish dis• a British company specializ• 1950 Fiberglass Shell Chair. plays of communal celebrity- due for completion in 2007. ing in the design of textured Made by the original craftsmen on worship remains a mystery. surfaces, modeled 230 ROBERT TORDAY the original press Manufactured and distributed throughout the world exclusively by Modernica.

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THE ARCHITECT'S NEWSPAPER SEPTEMBER 7, 2004

PENSION FUND AIMED AT PROVIDING doesn't include archi• promise of one), the SMALL FIRMS FORM ALTERNATIVE ARCHITECTURE SOFTBALL SECURITY FOR ARTISTS tects, at least not yet. fund counts on its even• LEAGUE; SEEKS MORE TEAMS "I guess they could give tual cachet as a lender us architectural draw• to the growing number ings, but we haven't of Kunsthalle-sty\e con• A LEAGUE OF Art Futures asked any to participate." temporary art centers Skeptics doubt the around the world. It may be cold comfort, of American Art and the lasting appeal of such Holding any business THEIR OWN but there's always one San Francisco Museum a quantity of contempo• together for five, let group that will earn less of Modern Art. Ross rary art and any manag• alone 20, years is ambi• It was supposed to be a classic rate offices and was founded money than architects: noted that art invest• er's ability to sustain it. tious enough. Betting match-up: architects versus engi• during postmodernism's heyday, artists. ment funds had existed Some dealers simply on peddling what's hot neers. On a recent rainy Friday night, as evidenced by the name (Softball Could that change? before, "but never to don't want artists whom in today's art market 20 architects from SHoP and Buro League Apres Moderne)," said With the contemporary benefit artists." they represent to part years from now is even Happold, who had hoped to be SHoP's Gregg Pasquarelli. "We're market soaring, a part• Not all artists will with two works per more of a reach. Yet the playing softball in Lower Manhattan, just about having a good time." nership of entrepreneurs make out, however. year—a big chunk for artists and investors were instead having beers at a And crushing their opponents; has launched a fund to Plenty, as always, will be those who work slowly. seem to like the sales neighborhood bar. There was SHoP went on to beat Buro pitch. Chapters of the provide retirement left to tread water. Each "These artists would• some trash-talk from the Happold a week later. income for artists, using Artist Pension Trust are weather-thwarted players: SHoP, trust (organized by city) n't be doing it unless Architects and softball in New their art as equity. being formed in Los said Matthew Napolitan of Buro will have a limit of 250 there was a need," said York have had a rich history: Peter Angeles, London, and Happold, escaped certain defeat: The Artist Pension participants chosen by Lea Freid, of Lombard Eisenman'steam had famously Berlin, DAVID D'ARCY "They're the luckiest architects I've Trust is a closed invest• a board of dealers and Freid Fine Art in Chelsea. long winning runs, while Riley seen this side of the Mississippi." ment fund, into which advisors. Ross and The 50 who've already recounts that she managed to bring Kehinde Wiley's artists will donate two company are concen• signed up in New York While fiercely competitive, this on Philip Johnson in 1982 by Passing/Posing (2003) paintings a year for 20 trating on young talent, include Adam architectural softball "non-league" "agreeing to play in front of the years. After a period of sometimes fresh out of Pendleton, Kehinde is quite informal, and was started Glass House." S.L.A.M. plays in at least 20 years, the art school. "We are Wiley, and Zak Smith, by Rogers Marvel Architects as an Central Park and accepts new works will be sold, and looking for sustainable and lots of other names alternative to S.L.A.M., the better- teams, though they must bring a revenues will be shared talent that will go forth you've never heard. known New York City architects' field with them. SHoP et al. play by three parties: the in the art world and be Besides accumulating league. So far, SHoP Steven Holl closer to their offices downtown. creator of the works recognized by enough value for artists lucky Architects, and Tod Williams Billie Pasquarelli is looking for more sold, the other artists in collectors to result in enough to be selected, Tsien have been playing. By con• teams to play. "It's a great way for the fund, and the fund's appreciable values," said the fund can build trast, S.L.A.M. is made up of larger everyone in the office to come investors. Pamela Auchincloss, a recognition, the crucial firms such as Gensler and Perkins together," he said. "And obviously Eastman (or several firms forming The project began former dealer who directs currency in the media- the most important part is beer on one team, such as Davis Brody with an idea from David the New York trust. driven market. As a the partners afterwards." Bond/Ronnette Riley/Resolution Ross, its president, who "You could think of it repository of work by Interested firms should contact for Architecture). was formerly director as a farm system," artists with an existing John Mallie at SHoP: 212-889-9005, of the Whitney Museum Ross said, but one that market (or with the "S.L.A.M. is about the big corpo• ext. 216. SARA MOSS

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LU PENN PICKS HIGH LINE BALMOND Field Operations and Diller Scofidio + Renfro's design What will grow The University of Pennsylvania here? won the competition for New School of Design recently appointed < York's High Line. The sponsoring LU the Sri Lankan designer and struc• organization Friends of the High tural engineer Cecil Balmond to the Line's Robert Hammond stresses 5-year role of Paul Phillipe Cret that the design is still in its prelim• Professor of Architecture at Penn. inary stages and will be followed Balmond, famous for his writings on by a master plan, anticipated to be the relationship between science and completed in Spring 2005. art, will teach geometry along with advanced design studio this fall.

Van Alen Institute: Projects in Public Architecture, the Architectural Advocates for the preservation of League of New York, and the Hugh Two Columbus Circle, the 1964 L. Carey Battery Park City Authority Edward Durell Stone structure nick• selected four finalists in their design named "the lollipop building" for its competition Civic Exchange, a call distinctive facade, lost a final plea to for expressions of interest to design the Manhattan Borough Board to an installation for Lower Manhattan disallow the sale of the building to that "provides information the Museum of Arts & Design (MAD) and generates interaction" and on August 24. MAD will pay $17 "enhances the appearance, percep• million for the building, and intends tion, and experience of public space." to reskin it according to a renovation Four teams-Antenna Design, Leeser/ plan by Allied Works. StoSS/Levin, Local Networks, GOLDEN BEACH HOUSE: CARLOS ZAPATA, DESIGNER, Undergraduate and and MESH/ORG-will all receive PRATT '84 "At Pratt, there was no single, distinct point of view about graduate programs in architecture. $10,000 to "look beyond the kiosk." architecture. Often the views of different professors were totally opposed LIBERTY BONDS Pratt also offets programs in to each other, which forced you to develop your own an and design, creative wniing, FOR SPORTS voice and form of expression. They constantly cultural studies, art history and challenged us to reassess our preconceived notions the new Graduate Historic & SACHS Pratt Preservation Program. Supporters of the St. Thomas the Draw it. Build it. Make it gbout what made for good design. On August 19, Governor Pataki and For information, visit Apostle on West 118"' Street in "Through this kind of exploration, Pratt helped guide me towards an www.pratt.eduyadmiss/requesl Mayor Bloomberg announced pre• or write or call: Harlem got a brief reprieve last appreciation of the spirit of Modemism—a fluid approach to architecture liminary approval of $52 million in Pratt Institute week as the Buildings Department that allows design to constantly reinvent itself 200 Willoughby Avenue tax-free Liberty Bonds to finance halted demolition a day after it "Pratt taught me that successful design relies just as much on the Brooldyn, NY 11205 the first National Sports Museum, resolution of details as on the overall form. I think you can see that in all of 718-636-3669 01 started. Sadly for those who want 800-331-0834 set to open in the summer of 2006, my work—from residences and hotels to airports and football stadiums." to save the 1907 church building located along the so-called Canyon (which is in a state of disrepair, and of Heroes in Lower Manhattan. was closed last year), the stop-order The $80 million building is to be seems to have been the product of designed by Beyer Blinder Belle confusion over permits, and demoli• and Gallaghers Associates. Goldman tion will soon resume. Sachs also received $1 billion in bonds toward a $1.8 billion, 800- sguare-foot corporate headguarters CITY SEEKS _.lJi ID STONE in Battery Park City The two allot• HIGH-LEVEL ments leave $3.5 billion in bond NEW ARCHITECTURE funds, most of which will be used PLANNER IN CONCRETE for rebuilding the WTC site. The Department of City Planning's Manhattan director, Vishaan Chakrabarti, will soon leave his post GILBERT GONE to become the director of urban BAD planning at Skidmore, Owings and Cass Gilbert's 1913 Austin-Nichols Merrill, where he previously worked. Warehouse at 184 Kent Avenue on Chakrabarti plans to stay with the Williamsburg waterfront could the DCP to see one of his projects, get a drastic makeover if the Board the Hudson Yards Plan, through its June 19, 2004 - January 23, 2005 of Standards and Appeals approves reviews by the Borough Board and the owner's application for a zoning City Planning Commission, sched• at the National Building Museum variance to turn the warehouse into uled for the end of September. luxury penthouses. Those interested The DCP is currently seeking in protesting the reguest should a new director for its Manhattan email Robert Tierney, the chair of borough office. See DCP's page at Landmarks Preservation Commission, www.nyc.gov for a detailed job at commentsdPlpc.nyc.gov. description.

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THE ARCHITECT'S NEWSPAPER SEPTEMBER 7, 2004

Deans List. The New York area has a concentration of arguably the most powerful educators in the country. WeVe assembled eleven deans—four new to their respective institutions, and two new to the post entirely—to ask them about their schools

and the state of architectural education. Photography by Yoko Inoue m iiiiiii liii

Certain architecture schools under certain new building—ourfirst Independent one— Mark Wigley deans have managed to capture the sense which is a tremendous show of institutional Columbia University of their epoch while simultaneously moving support for the program. Graduate School of Architecture, the profession forward. One thinks of Walter George Ranalli There Is still a great tradition of public Planning, and Preservation Gropius at Harvard's GSD, Yale under Paul City College of New York service and Interest In public architecture. We Founded:1881 Rudolph, John Hejduk at Cooper Union, School of Architecture, Urban Design, have the City College Architectural Center # of students: Approx. 600 grad. Alvin Boyarsky at the AA, Bernard Tschumi and Landscape Architecture (CCAC), which allows students and faculty Dean since: Fall 2004 (interim dean since 2003) at Columbia, and Peter Cook at the Bartiett. Founded:1968 to work with community groups on design One cannot imagine these places without # of students: 360 undergrad., 24 grad. and planning. CCAC has done studies in I see the school as an International laboratory the strong leadership of their deans. Dean since: 1994 the Bronx and Yonkers, in addition to more for developing experimental visions of Gropius founded the GSD and helped theoretical surveys. what an architect might be. Not only do bring modernism to the United States, When I came to City College, the school had• There are many ways to theorize about we help every student to be state of the art— while Rudolph encouraged debate among n't had a dean In 10 years—there was clearly architecture and buildings—as objects. In to produce brilliant buildings, plans, and his faculty and never required a party line. some Institutional neglect. City College stu• historical contexts, et cetera—but there policies—we are also continually redefining Hejduk forged a new way of thinking about dents got a strong technical education and are still too many eccentricities from when the state of the art. That's what the school and representing architecture. Each set a had a sense of public service—many ended architecture started grave-robbing other dis• has done so well, and that's what students course for architecture with which every up doing public work, at the Government ciplines for ideas. When the primary starting from 55 different countries come here for. subsequent generation has had to contend. Services Administration or the New York point Is one of juxtaposition and not amelio• In the last 15 years, many celebrated City Housing Authority, for example—but As architecture regains cultural currency, ration, you end up with something that is experiments were developed here but now not so strong in design. I have been working its protagonists are being asked again to indifferent to site, weather, culture, and so is the time to complete the test by moving to reintroduce design by building up the imagine how our surroundings might look, on. So much theory Is still shrouded in a our Innovations into the world, engaging It senior faculty, hiring a junior faculty of prac• work, and grow. Architectural educators have premise of juxtaposition and surrounded by technically, politically, and socially. This titioners making their mark, and starting immense potential to influence the shape the aura of the archltect-as-artlst, without any doesn't mean the school becomes less exper• an annual lecture series. We also have new of the world to come. Here's how they are concern for the ability to connect. We need imental. On the contrary. A whole new possi• graduate programs, like the Master in rising to the challenge. a re-formation of architecture as an amelio• bility of conversation opens up with clients, Urban Design. And we are moving Into a rative force. Anne Guiney, Cathy Lang Ho, William Menking politicians, artists, the public, the profession. o

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engineers, and the construction industry. Mohsen Mostafavi history and theory courses and have hired The school will therefore spend a lot Cornell University Bryan Bryce Taylor to oversee this part of more time out in the streets and bring more College of Architecture, Art, and Planning the curriculum. And to broaden our stu• of the outside in. We brought in over 200 Founded: 1871 dents' horizons, I have Instituted a Berlin I'd rather produce a powerfully speakers last spring alone. A more fluid form # of students: 320 undergrad., 60 grad. study program in addition to our Rome and responsible citizen of the world, of organization is already emerging within the Dean since: Fall 2004 Spain programs. an architect who has school, allowing it to keep changing shape as the demands facing the profession change. Cornell's architecture school has had a long knowledge and skills but is still What I'm trying to do is encourage a and fascinating history. I am especially Paul Goldberger inquiring how to best apply them, fertile biodiversity of people and positions, Intrigued by the tension, dating to the 1960s Parsons School of Design than someone who knows what a lively ecology that allows the whole and '70s, between the objectivity of 0. M. Founded: School in 1896; Department of school to operate as an intelligent organism, Ungers, who was dean here, and the his• Architecture, Interior Design, and Lighting a building should "look like." adjusting itself in order to think through each toricity of Colin Rowe, who taught here for (previously Environmental Design), 1984 Anthony Vidler new Issue. If you only gave students what 30 years. This is the kind of positive, produc• # of students: 140 undergrad., 102 grad. you thought was the right set of skills and tive competition of ideas that makes Cornell Dean since: Fall 2004 interesting. The world around us continually concepts, our discipline would be dead in a few years. To serve the profession, we The AA [where I was head] was an archi• As someone who's spent his life as a critic reinvents architecture's need to give students what the profession tecture center but here I find myself working seeking and establishing bridges between mandates and these mandates architecture and the rest of the world, I took doesn't yet want or understand. with not only the three departments of the must be constantly placed before The real purpose of a school like ours is College but potentially almost any other this job In part because I think education is supposed to do the same thing. Architec• not to cultivate a certain type of architec• part of the surrounding university. Since I students. Thomas Hanrahan tural education is much more than profes• ture but a certain evolution In architectural believe that architecture must Interact with sional training. It is also about examining intelligence. the world I am excited about the collabora• tive possibilities with other departments. the role of architect In culture. challenge on a basic level was "What can we I can imagine our students working with the Parsons is emphatically not a vocational draw?" We're now in the second wave of in• molecular biology department on tissue formation architecture, with much more Anthony Vidler school. Nor is It the art department of a liber• research or with the City and Regional complex structural implications. We have to The Cooper Union al arts school. It's an intellectually rigorous Planning Department whose new chair, ask what comes after the elaborate render• Irwin S. Chanin School of Architecture version of an art and design school. One of Kenneth Reardon, leads a program that is our distinctions is that we are one of the few ings and models, and find the next steps. It Founded: Degree in Architecture, 1964; politically Inclined and working in many architecture programs with an Interior goes back to the Bauhaus model of rethink• School of Architecture, 1975 underserved communities. design program. Also, we are trying to take ing disciplinary boundaries. When Sybil # of students: Approx. 150 undergrad. advantage of the New School as much as Moholy-Nagy from the Bauhaus lectured Dean since: 2002 I am interested in making our students here in the 1960s, she urged students "to global practitioners. We've had a strong possible. For example, we are talking to the Actor's Studio and the Mannes College of think and live experimentally." If I'm attempting anything as dean. It is to Rome program for many years and I am Music about developing a Stage Design encourage the community of teachers and investigating links with both India and South One of the broader questions is how program together. students to come at problems from a critical America. Presently, I am looking for space in architecture can reinvent itself, and make point of view, approaching them as starting New York City to open a Cornell outpost. There's a need for architectural education itself continually relevant? It cannot be under• points for research. We have a common I am not supportive of studios that teach to go in several directions simultaneously stood as just competent on a basic level; it approach to all studios, always beginning a the same projects year after year. I want proj• that might appear contradictory but are must be relevant as well. The world around design problem with historical, formal, and ects that anticipate future political possibili• not. There's a need for greater connection us continually reinvents architecture's man• technological analysis. So the students' work ties as well as the formal art of architecture, to other disciplines and to the real worlds dates and these mandates must be con• Is not about imitation but rather about reveal• balancing traditional education with emerg• of politics, economics, and culture. There's stantly placed before students. ing the hidden complexities, paradoxes, and ing applications of practice and design. also a need internally for architectural edu• disjunctions within a problem. Cooper Union cation to focus more proactively on issues of Is, on every level, a design research institution. pure professional practice, on the things you Stan Allen need to know In order to practice. What ties Everything we do is geared at understand• Judith DiMaio Princeton University School of Architecture these two ideas together is that, different ing the limits of problems and pushing those New York institute of Technology Founded: 1919 though they seem, both are ways of breaking limits, raising questions about how we live in School of Architecture and Design # of students: 50 undergrad., 70 grad. away from a hermetic, self-theoretical idea the world today. Understanding globalism Founded: 1973 Dean since: 2002 of architecture. Is not a question of sensitivity-training but # of Students: 726 undergrad., 14 grad. rather of serious research Into questions of Dean since: 2001 The School of Architecture at Princeton is cultural, social, economic, and ecological a small program—we only accept 8 percent difference as they imply the need for inven• This is a different school in that it operates Thomas Hanrahan of those who apply. The size Is good for stu• tive architectural solutions. Our challenge in three different campuses and each with Pratt Institute dents who thrive In an intense, competitive now is how to integrate these questions into its own student culture. The Old Westbury School of Architecture atmosphere. Our graduate programs are a teaching framework, how to restructure campus is a commuter school with digital Founded: 1887 well known for their active faculty and the traditional disciplinary divisions so that studios but most students work at home on # of students: 500 undergrad., 100 grad. graduates. And the undergraduate program, though less visible, turns out really fantastic they naturally embody a global reach—the their own computers. The Manhattan cam• Dean since: 1996 type of study that Spiro Kostof tried to devel• pus is the most technologically advanced students. This is a product of the university's emphasis on rigorous teaching standards op for many years at U.C. Berkeley. and has a large proportion of foreign stu• From the beginning, Pratt Institute has in its undergraduate programs. There has been a tendency from the pro• dents who bring an international perspec• worked along the model of the European fessionally oriented sector to question the tive to the school. Finally, the Central Isllp polytechnic school, trying for a horizontal In the 1990s history and theory seemed to validity of theory. But this is a result, I think, campus has fewer commuting students integration in the education of designers, drive design schools and even practice. It Is of the fact that the very Idea of "Theory" has since It has dormitories. Studios there still builders, engineers, artists, and inventors. my Intention to recuperate a design culture become isolated as a subject in and of itself, tend to emphasize free-hand drawing over As architecture schools everywhere grew for the school—one that builds on our histo• an example of academia's need to divide its computer rendering. towards a more professional focus, there was ry/theory expertise but rethinks the relation• subjects into courses. The best "theory" of The kind of education I had at Cornell— a narrower definition of what architecture is, ship to practice. I believe the old dichotomy architecture is no more or less than thinking prescriptive and formulaic—no longer but to a large extent, we have maintained between academia and practice needs to deeply about architecture. Any design has works in the global world. It's not what that identity and goal. change. In fact, the world seems to be com• a theoretical construction embedded in It, students need today and It's not what the Pratt is a large school, and we draw on all ing back to architecture with a new apprecia• whether you like it or not. marketplace demands from them. I don't its strengths. Critical thinking skills are para• tion of its value to culture and the city. Cooper has always joined Its intellectual believe you can teach architecture. You mount—the ability to define the activity of This dichotomy comes together around investigations to a deep, tactile sense of can only teach students how to see and be architecture as research and not just the the city. I want Princeton not to remain urban responsibility. For us, the question Is self-critical. Using the eye, the mind, and more narrow approach of problem-solving. above the fray but to enter it by utilizing how to activate that sensibility so that it's the hand Is a precarious balance. We're try• As students gain more diverse ideas about our students' tremendous visual, verbal, socially and culturally effective. I'd rather ing to achieve this, in part, by introducing a architecture and its sources, the entrenched and organizational skills and begin imagin• produce a powerfully responsible citizen of curriculum that embraces a range of repre• boundaries of professionalism start to give ing possible urban futures. New Jersey is the world, an architect who has knowledge sentation techniques, including free-hand way. At Pratt, we are building on the legacy the most densely populated state in the and skills but is still Inquiring how to best drawing, watercolor, sketchbook drawing, of the polytechnic, and looking at how things country so we are situated in an incredible apply them, than someone who automatical• perspective, and advanced visualization. are made in the information age. laboratory of emerging 21"-century ly knows what a building should "look like." I am also attempting to strengthen our When computer software showed up, the urbanism. < LU

THE ARCHITECT'S NEWSPAPER SEPTEMBER 7, 2004

hardly needs a shake-up, but one of the Degree Programs The Cooper Union Parsons School of Design Rensselaer Polytechnic things I can bring—as an architect, artist, BArch BFA in Architectural Institute and with my experience in policy from the National Endowment for the Arts—is an MArch II (launching 2005) Design BArch interest in and ability to bridge communities. City College of New York BFA in Interior Design BS in Product Design and The new chancellor has a mandate to devel• BArch Cornell University MArch I Innovation op a "creative campus," one in which we MArch I BArch MArch II BS in Building Science think about the university in relation to the MArch II BFA in Architecture MFA in Design and Technology MArch I city. It's not just about making adjacencies Master in Landscape MArch I MArch II between deans and departments, but break• Architecture MArch II Pratt Institute MS and PhD in Architectural ing down the wall to the city. In some cities, Master in Urban Design MS in Architecture in BArch Acoustics it might be less critical to make a connection, Computer Graphics BS Construction Management MS and PhD in Building but here, we have the potential to bring Columbia University MA and PhD in History MArch I Systems Research people into the campus through art, archi• Undergraduate major, through MA and PhD in Architecture MArch II MS and PhD in Computation in tecture, site installations, and other things— Columbia/Barnard and Urbanism MS in Facilities Management Design and get them thinking, "Hey, there's some• MArch I MS in Historic Preservation MS and PhD in Lighting thing going on there." The city of Syracuse MS in Advanced New York Institute of MS in City & Regional Planning is small enough that we can help energize Architectural Design Technology Syracuse University and impact it. MS in Architecture and BArch Princeton University BArch Urban Design BFA in Interior Design Undergraduate major in MArch I The proof is not just in the city's accept• MS in Urban Planning BS in Architectural Technology Architecture MArch II ance, though; we have to develop certain MS in Historic Preservation AAS (Associate in Applied MArch I things in the students: The sense that they have the techniques of their discipline in MS in Real Estate Development Science) in Architectural PhD in Architecture Yale University problem-solving, theoretical expansiveness, PhD in Architecture Technology MArch I and the ability to communicate exceptional PhD in Urban Planning MArch in Urban and Regional MArch II ideas to a non-specific audience. Most of the Planning MArch/MBA students feel an intellectual responsibility MArch/MED to practice in some way. Above all, I want to instill a creative engagement in the students. Their five years here is just the beginning, and a curiosity that leads in many directions will compel them for the rest of their lives.

And by the way—it doesn't snow here Alan Balfour When I arrived, the school almost self• Massie, Andrew Saunders, and Anna Dyson. 365 days a year! Rensselaer Polytechnic Institute consciously avoided big-name architects, I loved the AA—the graduate school, in Department of Architecture perhaps out of distrust of the type of archi• fact, was created by me while I was head of Founded: tecture that's personality-driven. I'm not the school (from 1990 to 19961. But what I Robert A. M. Stern # of students: 260 undergrad., 65 grad. necessarily against the prima donna card; love about RPI is that I see the students Yale University School of Architecture Dean since: 1996 my own mentoring came from Kahn and graduating from all the programs with an Founded: 1916 Eisenman. The real influence is the experi• immense confidence in what they know. # of students: 192 grad. ence of a strong will. Look at Zaha Hadid. At Rensselaer, I created a program that's The AA was the reverse. We didn't give them Dean since 1998 categorically different from many other She is driven by sensuality. Her work is felt; competence in what they knew as much as it's not about theory. The infinite promise of architecture schools. At the graduate level openness to immense mysteries. The Yale School of Architecture has histori• the computer somehow makes the idea of I built a series of masters programs in a cally been open to all ideas, and while not critical theory a minor irritation. The tools of spectrum of fields, including a Ph.D. in overtly ideological, it has emphasized theo• the architect have moved work beyond any architectural sciences. As part of the archi• Mark Robbins retical rather than practical matters. The simplistic issues of semantic order. These tecture school I inherited the Lighting Syracuse University School of Architecture fundamental philosophical breadth of our tools allow us to explore more broadly the Research Center, which was funded by Founded:1873 approach is not only curricular and geographi• NYSERDAwhen it was founded in 1991 and nature of natural and manmade order. # of students: 383 undergrad., 80 grad. cal but also artistic; we refuse to promote a adopted by the lighting industry for estab• The main challenge is looking for faculty. Dean since: Fall 2004 single conception of what architecture is or lishing standards. The industry invests In order to sustain the research, two-thirds might become. It is never about one thing— $800,000 a year in its research. I don't think of our recent hires have advanced research Even the most successful schools need a it is a constellation of possibilities. A univer• a lot of architecture schools have a strong backgrounds. At the same time, I've brought shake up periodically because architecture sity is about open questions, not definitive research center built into the degrees. in some talented designers, like William is not static, and schools can't be. Syracuse answers. The first obligation of an architecture school should be to its own discipline. But that does not mean that architecture can be studied in a vacuum. We reach outside our If you only gave students what field in many ways. We ask critics, artists, you thought was the right environmentalists, sociologists, and others to share their ideas with us. To succeed in his set of skills and concepts, our or her art, an architect must be a thinker and discipline would be dead in a a maker, empowered by knowledge and a few years. Markwigicy certain sense of humility. At Yale, we believe that architecture is construction, context, and so much more: It is a culture, a commit• Even the most successful schools ment, and a lifelong path to discovery. need a shake up periodically We have a very active public lecture because architecture is not static, series and the best exhibition schedule of any American university. But the thing that and schools can't be. Mark Robbins makes the school truly special is our endowed chairs. We have five fully endowed visiting chairs, which bring the world's leading To succeed in his or her art, practitioners to the school to teach a studio an architect must be a thinker for a semester. We have also just instituted and a maker, empowered by an endowed chair for junior faculty that will knowledge and a certain sense bring some of the best young designers to New Haven. of humility. Robert A.M. stem 1—i >

The Tall Buildings advances. While United Architects' building systems safest and greenest. show at MoMA Tall Buildings care• massive WTC and sustainable And above all, it QNS opens to the fully refrains from model looms over technologies. The must be the most public at a time declaring new sunken footprints Meier/Eisenman/ symbolic. The proj• of unprecedented movements or of the Twin Towers, Gwathmey/Holl ect embodies the interest in the trends, the show's while Richard "tilt-up" megagrids extreme imperatives building type. tentative thesis Rogers' spectral refer to an entirely of the tall building, Since 9/11, skyscrap• argues for the model of London's different scale of and its exclusion ers have become renewed relevance 122 Leadenhall architecture and from the exhibition the object of debate of skyscrapers as a Street is made symbolism. United skirts the myriad and desire; they transformative ele• entirely of clear Architects' clus• difficult questions symbolize power, ment in the urban plastic and seems tered towers take it raises. hubris, vitality, and future. The show to dissolve under the idea of "big• Tall buildings are vulnerability. The posits a vision of a the spotlights. ness" to the complex machines: still-evolving design cityscape populated Steven Holl's extreme, expanding they are both finely of the Freedom by a new generation exhibition design horizontally as well tuned architectural Tower and the of tall buildings that sets the most of the as vertically to cre• engines and politi• architectural soap are structurally models on a com• ate a vertical urban cal and economic opera that accom• innovative, ecologi• mon plane to allow landscape. While instruments. The panies it is the sub• cally sustainable, for a comparison these projects pow• curators describe ject of daily news urbanistically inte• of building heights, erfully re-image their intention to coverage. The grated, and architec• though one excep• the tall building at locate the exhibi• media glare sur• turally progressive. tion is OMA's sus• the contemporary tion's projects with• rounding the The show is co- pended CCTV moment, the "win• in their urban and rebuilding on the curated by the model, hovering ning" scheme is technological con• WTC site has trans• museum's Terence above the datum. glaringly absent. texts, but fail to formed its archi• Riley and distin• Meanwhile, There is no men• delve into the larger tects into celebrities guished structural Eisenman's mbbius tion of the Freedom cultural, political and the tower engineer Guy tower, the Max Tower, despite and economic con• design itself into Nordensen, whose Reinhardt Haus, is Nordensen's signifi• texts which they a protagonist in the strong emphasis on built on a clear cant role in the affect and are charged political building technolo• podium to allow structural design affected by. While drama of Lower gies and engineer• the faceted form to of the project until the exhibition falls Manhattan. ing innovation complete itself a few months ago. short of confronting The MoMA registers clearly in visually under (He withdrew from the building type's exhibition brings the exhibition. Each ground. The exhibi• the project due motives, it assem• together 25 projects project is credited tion is divided in to disputes over bles a thorough designed over the to the architect parts: one room is credit and fees.) catalog of technical last ten years to and the engineer, 1:100 scale and the While the Freedom innovations and chart the multiple a gesture that fore• other, 1:200 scale. Tower is the most stages a dramatic trajectories of this grounds the central- Three of the prominent sky• 3D fantasy that building type and ity of engineering in seven WTC design scraper design in allows for imagined highlight its the design of the studies are included the world, the urban worlds. tall building. in the show. Foster's demands placed on ERIC HOWELER IS Each projects Is twinned diagrid this project, sym• THE AUTHOR OF SKYSCRAPER: « At 700 feet high, also represented by towers elegantly bolic as well as VERTICAL NOW 2 Richard Rogers' technical, have been a large-scale model, reinterpret the (RIZZOLI/UHIVERSE, g transparent 122 allowing the visitor original twins, overwhelming. It 2003), AND AN 2 Leadenhall Street to wander Godzilla• while proposing must be the tallest ARCHITECT PRACTIC• i project will be the building in the ING AT DILLER :i tallest in Its London like through a fan• technological inno• SCOFIDIO * RENFRO. i neighborhood. tasy metropolis. vations for efficient world, as well as the

views, sound, and music— service, a Brooklyn congre• uses audio records from f Nanslad by Pniil AiiiilBi in part to fill that void. gant says, "We are all of us The Sonic Memorial Project— »UND Z€RO O Slated for release on supposed to be united." a series that aired on NPR in Sounds of 9/11 IEMORIAI SOUWMMUt •••«> September 11, this 60-minute From Church Street, the months after 9/11, inviting guide takes visitors on a walk Auster guides visitors on to listeners to share their 9/11 through the layered history the fire station on Liberty stories—to create a portrait- of the World Trade Center Street with clear directions. in-sound of the Twin Towers site. Narrated by novelist Perfectly timed and thought• as they stood. Despite the and Brooklyn resident Paul fully composed, interim power of the material from Auster, the tour begins at St. moments on the tour are the morning of 9/11 itself, Paul's Chapel and progresses filled with music mixed to it is in this segment that the to Ground Zero, where a capture the character and Memorial Soundwalk is at chillingly ordinary morning mood of the neighborhood: its most original and moving. A group of well-meaning to imagine the towers as news report cedes to a free• a homespun hiphop song The long-ago chatter of a tourists goes to see Ground they once stood. lance reporter's on-site written about 9/11 jives per• tourist-filled elevator Zero. They pause in front Soundwalk, a media com• recording of the first plane's fectly with the loud traffic ascending to the observation of photos mounted on the pany founded by Stephane collision and heartrending and energy of Church Street deck, the eerily beautiful viewing wall, scan the list of Crasneanscki that has pro• Memorial Soundwalkw'iW phone messages from with• and, as the tour moves on to sound of Tower 1 oscillating victims' names, and peer into duced audio walking tours deepen any tourist's—and in the towers and from United the World Financial Center, during Hurricane Floyd, and what resembles a construc• of New York neighborhoods New Yorker's—experience Flight 175. As the tour moves warm piano music recorded Spanish-language music tion site. One of them whis• (see our review in Issue of the WTC site. around the Trade Center site, in the Windows on the being played on the radio pers, "But there's nothing 3_2.17.2004), in collabora• The Sonic Memorial the mood shifts from raw World restaurant summons after hours by Mexican clean• here." In the absence of the tion with Davia Nelson and Soundwalk v\/\\\ be offered horror to sad contemplation. the champagne-tinted glam• ing crews create a vision proposed memorial Nikki Silva of National free to schools and libraries, A father who lost his 26-year our of nighttime New York. of the towers that were Reflecting Absence, many Public Radio's The Kitchen and will be available for sale old son describes the densely populated and alive. of the 7,000 visitors who visit Sisters, created Ground online and at retail locations destructive hatred he has As the visitor moves Masterfully sequenced, Ground Zero daily are at a Zero: A Sonic Memorial listed on www.soundwalk.com. felt, and, over the mournful through the World Financial accessible, and richly loss to connect with the Soundwalk—an artful com• tones of a Muslim prayer Center to the tour's close on informative, the Sonic ABBY RABINOWITZ IS A NEW events of September 11 or pilation of narration, inter• the Hudson river, Soundwalk YORK-BASED WRITER. f\J <

THE ARCHITECT'S NEWSPAPER SEPTEMBER 7, 2004

Reiser 'f Umemoto o Ab Rogers Learning from Flux Room o A Sensual Exploration of Lower Manhattan Artists Space Space and Color Daniel Libeskind, Amanda 38 Greene St., 3rd Fl. CM 6:15 p.m. Burden, Michael Arad, vvvvw.artistsspace.org Parsons School of Design Santiago Calatrava, et al. LU Glass Corner Center for Architecture m 25 East 13th St., 2nd Fl. 536 LaGuardia PI. LU wvvw.parsons.edu www.aia.org/learning Tracing Tony Smith's Tau fromlowermanhattan Hunter College Bertha and Karl Leubsdorf Art Thom Mayne Gallery EXHIBITIONS (/5 Environmental Stewardship: Lexington Ave. and 68th St. The New San Francisco wvvw.hunter.cuny.edu Federal Building 6:00 p.m. The Riders and the Rebirth Center for Architecture of City Transit: 25 Years of 536 LaGuardia PI. Transit Advocacy by the Ant Farm www.aiany.org NYPIRG Straphangers Media Bum, The Eternal Flame Campaign International Center Municipal Art Society of Photography Thomas Balsley 457 Madison Ave. 1133 6th Ave. Paper, Scissors, Rock: www.mas.org vvww.icp.org Design in the Public Realm 6:30 p.m. Arsenal Gallery 5th Ave. at 64th St. Richard Long Ugo Rondinone The Beaux Arts Ball tradition lives on in the form of the Architectural www. pa rks. nyc.gov Sperone Westwater Long Gone Sole League's annual benefit this season at The Blue Room on Governor's 415 West 13th St. Matthew Marks Gallery Island. Though attendees to the ball no longer dress up as their own www.speronewestwatercom 523 West 24th St. Karen Bausman, Gilbert vvww.matthewmarks.com buildings as they did in 1931 (see above, from left, A. Stewart Walker as Delgado, Casey Jones, the Fuller Building, Leonard Schultze as the Waldorf-Astoria, Ely [acques Gianne Conrad "'EMBER 18 - GSA Architect/Engineer Design < Art: Functional Kahn as the Squibb Building, William Van Alen as the Chrysler Building, Selection Process Objects from Donald Judd Jane and Louise Wilson 8:00 a.m. Ralph Walker as 1 Wall Street, D. E.Ward as the Metropolitan Tower, J. H. to Rachel Whiteread Erewhon Center for Architecture Freedlander as the Museum of the City of New York), the industry's Cooper-Hewitt, 303 Gallery 536 LaGuardia PI. best still eat, drink, and dance the night away. Attractions include music National Design Museum 525 West 22nd St. www.aiany.org 2 East 91st St. www.303gallery.com by Liquid Todd, a performance by the Coney Island Circus Sideshow, ndm.si.edu and an installation by Lisa Strausfeld, Pentagram, and Mark van S. Tim Brown, Julie Lasky The Progressive Entrepreneur 6:30 p.m. Leonard Ursachi Center for Architecture Architectural League Beaux Arts Ball Tim Davis Refuge 536 LaGuardia PI. September 18, 9:00 p.m.-1:00 a.m. The Blue Room, Governor's Island My Life in Politics Duarte Square www.aiany.org/progressive Tickets: S150 general; $75 for students. Go to wvvw.archleague.org. Bohen Foundation 6th Ave. and Canal St., 415 West 13th St. www.parks.nyc.gov SYMPOSIA 212-414-4575

l\/latthew Baird and LECTURES Tom Otterness on Broadway Mathew Tanteri Parsons Graduate Ant Farm Various venues on Broadway Windows 101: Architecture Students Chip Lord, Curtis Schreier, Rita McBride Caroline Maniaque, et al. in Upper Manhattan RKT&B Architects Designing with Daylight Design Build 2004: Exhibition 2:00 p.m.-5:00 p.m. vvww.parks.nyc.gov 5:30 p.m. 12:00 p.m. Common Ground SculptureCenter Pratt Institute Manhattan Center for Architecture Center for Architecture 6:15 p.m. 44-19 Purves St., Queens 144 West 14th St. 536 LaGuardia PI. 536 LaGuardia PI. Parsons School of Design www.sculpture-center.org www.pratt.edu www.aiany.org www.iesny.org Glass Corner Joan Firestone, Jan Lowrie 25 East 13th St., 2nd Fl. Fusion Prints: www.parsons.edu The Gotham Series Art Spiegelman, Edward A. Feiner, Hugh Art + Commerce 2004 Festival Matthew Baird and Cooper Union Pete Hamill, Rebecca Solnit Hardy, F. Joseph Moravec Sarah Whiting, Ron White of Emerging Photographers Parsons Graduate Great Hall Gallery Ephemera vs. The Apocalypse Design Excellence: Building Go Rgure Tobacco Warehouse Architecture Students Design Build 2004: 7 East 7th St. 6:30 p.m. for the American People 6:15 p.m. Empire Fulton Ferry State Common Ground www.cooperedu Cooper Union 5:00 p.m. Yale School of Architecture Park, Brooklyn Parsons School of Design Great IHail Center for Architecture 180 York St., New Haven wvvw.artandcommerce.com/ Glass Corner 7 East 7th St. 536 LaGuardia PI. www.architecture.yale.edu festival 25 East 13th St., 2nd Fl. www.cooperedu www.aiany.org www.parsons.edu Wijnanda Deroo Tall Buildings Robert Mann Gallery Terence Riley, Guy 210 11th Ave., 10th Fl. Nordenson, Cecil Balmond, vvvvw.robertmann.com Rem Koolhaas, Peter Civic Spirit: Changing the Eisenman, Caroline Bos, et al. Course of Federal Design CONTINUING FOR COMPETITIONS LISTINGS SEE WWW.ARCHPAPER.COM Parsons School of Design Center for Architecture EXHIBITIONS Tishman Auditorium 536 LaGuardia PI. 66 West 12th St. vvww.aiany.org/civicspirit IKEAGRAMS vvww.parsons.edu Urban Center SEPTEMBER U- 457 Madison Ave. IN DETAIL: From Birkhauser—Publishers for Architecture wvvw.mas.org Solar Architecture SOLAR Modernism in Havana Lebbeus Woods, Kiki Smith ARCHITECTURE Selectee articles cover such essential topics as and Miami Firmament

STRATEGIES, VISIONS, passive and active systems, the development of Cornell University Henry Urbach Architecture Constantin Brancusi: Goldwin Smith Hall, Ithaca 526 West 26th St., 10th Fl. The Essence of Things CONCEPTS nev^ insulating materials, and concepts for entire vvww.cornell.edu www.huagailery.com Solomon R. Guggenheim residential estates. The essays are complemented Christian Schilllch, Museum by examples that demonstrate the technical and Editor SEPTEMBER U- 1071 5th Ave. creative possibilities in realized proiects and wvvw.guggenheim.org 9"« 11.7", 176 PP. include innovative solutions with full plans and Building Revolution: 125 COLOR, 32 B/W Architecture in Cuba, LOT-EK: Mobile Dwelling Unit $82.95 HARDCOVER large-scale details. 1959-1969 Whitney Museum of Storefront for Art and American Art

Distributed m North America by PRINCETON ARCHITECTURAL PRESS Architecture 945 Madison Ave. Order trom your local bookseller or www.papress.com 97 Kenmare St. www.whitney.org vvww.storefrontnews.org THROUGH SEPTEMBER 20 David W. Dunlap BEYOND Hands to Work. Hearts to From Abyssinian to Zion: Faster, Cheaper, Newer, More: LU God: Saving the North Family Photographs of Manhattan's Revolutions of 1848 SEPTEMBER 8- M Houses of Worship Cooper-Hewitt, National DECEMBER 12 > Shaker Site LU World Monuments Fund New-York Historical Society Design Museum Ant Farm: 1968-1978 Gallery 2 West 77th St. 2 East 91st St. Trials and Turbulence: 95 Madison Ave., 9th Fl. www.nyhistory.org ndm.si.edu Pepon Osorio 0. www.wmf.org Institute of Contemporary Art Pop/Concept: 118 South 36th St., Bruce Nauman, Ed Ruscha, Highlights from the Shirazeh Houshiary, Pip Horne Philadelphia et al. Permanent Collection Breath www.icaphila.org Hard Light Whitney Museum of Ritz-Carlton New York P.S.I Contemporary Art Center American Art 2 West St. SEPTEMBER 9 - 22-25 Jackson Ave., Queens 945 Madison Ave. www.creativetime.org www.ps1.org www.whitney.org 9th International Architecture Exhibition: Metamorphosis Subway Series: All That Glitters Is Not Gold: Giardini della Biennale/ Building a Collection The New York Yankees and The Art, Form, and Function Arsenale Skyscraper Museum the American Dream of Gilt Bronze in the Venice, Italy The Bronx Museum of the Arts French Interior www.labiennale.org 39 Battery Park International Center of Photography 1040 Grand Concourse at Metropolitan Museum of Art www.skyscraper.org 1133 6th Ave. 165th St., Bronx 1000 5th Ave. SEPTEMBER 11 — September 17-November 28 New York's Moynihan www.bxma.org www.metmuseum.org JANUARY TO Cai Guo-Qiang, et al. Museum of the City of Institute of Contemporary Art The Seeing Eye: Bunker Museum of New York 118 South 36th St., Philadelphia Art and Industry at the Agnes Martin Contemporary Art 1220 5th Ave. September 8-December 12 www.mcny.org 1964/65 World's Fair ...going forward into Kinmen Island, Taiwan The Red Wall: A Site Specific unknown terr'rtory... www.caiguoquiang.com/bmoca Pratt Schafler Gallery Project by Terence Gower Dia: Beacon Curious Crystals of 200 Willoughby Ave., Brooklyn Unusual Purity Queens Museum of Art 3 Beekman St., Beacon SEPTEMBER 12 - October 5-28 P.S.I Contemporary Art Center New York City Building www.diaart.org DECEMBER 13 Flushing Meadows Robert Smithson 22-25 Jackson Ave., Queens Ant Farm, the radical San Francisco architecture and art Corona Park, Queens Pacific Design Center www.ps1.org collective founded by Chip Lord and Doug Michels in 1968 www.queensmuseum.org 8687 Melrose Ave., and disbanded in 1978 after a fire destroyed the group's studio, TRADE SHOWS West Hollywood THROUGH SEPTEMBER 27 is infiltrating the East Coast this fall, with two small exhibitions www.moca-la.org Tall Buildings THROUGH OCTOBER 30 in New York—one at the International Center of Photography Humble Masterpieces Austria West: ASID EXPO 2004 (ICP), and one at Pratt Institute—and a larger show in Santiago Calatrava's New Alpine Architecture 1:00-9:00 RM. SEPTEMBER 17- Philadelphia at the Institute of Contemporary Art. The ICP Transportation Hub for Austrian Cultural Forum Altman Building OCTOBER 31 exhibit consists of two films of 1975 Ant Farm performances: the WTC Site 11 East 52nd St. 135 West 18th St. Jones, Partners: Architecture Media Burn, an event in which Lord and Curtis Schreier, wear• Projects 81. Jean Shin www.acfny.org www.asidnymetro.org Shuffle: An Experiment in the ing astronaut garb, drove a customized Cadillac El Dorado into Lee Borrtecou: A Retrospective Mechanics of Spatial Affect a mountain of flaming TVs, and The Eternal Frame, a documen• MoMA QNS SCI-Arc tary about the group's reenactment of the Kennedy assassina• 11 West 33rd St., Queens 0+A FILM & THEATER 960 East 3rd St., Los Angeles tion. The Pratt display, a memorial to Michels, died last year, www.moma.org Blue Moon www.sciarc.edu includes a collection of his mail art and email correspondence. World Financial Center Plaza, An accompanying symposium on September 11 will bring Alvaro Siza Transforming !MBER 28 Battery Park City together Lord, Schreier, and a number of critics to discuss the Reality (Michael Blackwood), Groen Hoek www.creativetime.org Festival of the Building Arts group's continued influence on architectural practice. 58 min. Brooklyn Brewery 10:00 a.m.-4:30 p.m. 6:30 p.m. DEBORAH GROSSBERG 77 North 11th St., Andy Goldsworthy National Building Museum Parsons School of Design Brooklyn On the Roof 401 F St. NW, Washington D.C. Tishman Auditorium www.aiany.org Metropolitan Museum of Art www.nbm.org 66 West 12th St. 1000 5th Ave. www.parsons.edu www.metmuseum.org Fred Sandback Prints 1971-79 Fantasy Architecture: Dan Flavin Art Institute EVENTS 1500-2036 Main St. and Corwith Ave., PSFS: Nothing More Modern The Lowry Bridgehampton Yale School of Architecture Pier 8, Salford Quays www.diaart.org 180 York St., New Haven The Kitchen Neighborhood www.thelowry.com www.architecture.yale.edu Street Fair 2:00 p.m. Building the Unthinkable The Kitchen Ronan and Erwan Bourouilec apexart Around Town Underground: 512 West 19th St. Museum of Contemporary Art 291 Church St. Prints from the Collection of www.thekitchen.org 250 South Grand Ave., CIVIC SPIRIT: v»ww.apexart.org David and Reba Williams Los Angeles CHANGING THE COURSE OF FEDERAL DESIGN New-York Historical Society Open House www.moca-la.org Center for Architecture 2 West 77th St. 12:30 p.m. 536 LaGuardia PI. Solos: Future Shack wvm.nyhistory.org New Museum of THROUGH NOVEMBER 14 September 13-November 10 Cooper-Hewitt, Contemporary Art Artists' Designed Wallpaper National Design Museum 556 West 22nd St. Cooper-Hewitt, The United States General Services Administration (GSA) is Arthur Ross Terrace Freedom of Expression www.newmuseum.org National Design Museum celebrating its Design Excellence Program's tenth anniversary and Garden National Monument 2 East 91st St. this fall at the Center for Architecture. Hosted by the AIA New 2 East 91st St. Foley Square Architectural League ndm.si.edu York Chapter, Civic Spirit: Changing the Course of Federal Design ndm.si.edu www.creativetime.org Beaux Arts Ball will feature selections from the GSA's recent civic architecture 9:00 p.m.-1:00 a.m. THROUGH NOVEMBER 21 commissions, highlighting the organization's emphasis on cut• The Blue Room Santiago Calatrava: ting-edge contemporary design like Smith-Miller + Hawkinson's Teresa Hubbard and Variable City: Fox Square Governor's Island The Architect's Studio elegant border station in Champlain, New York, pictured above. Alexander Birchler Van Alen Institute www.archleague.org Henry Art Gallery Other projects featured in the show include the U.S. Mission Single Wide 30 West 22nd St. University of Washington to the United Nations by Gwathmey Siegal and Associates, Whitney Museum of www.vanalen.org 15th Ave. NE and the U.S. Border Station in Eagle Pass, Texas, by Lake/Flato and American Art at Altria New Yorkers for Parks NE 41st St., Seattle Marmon Mok Architects, and a federal office building in 120 Park Ave. End of Summer Benefit Party www.henryart.org Suitland, Maryland, by Morphosis. www.whitney.org Subway Series: El Rey Del Sol A series of public programs including lectures by The New York Mets and 232 West 14th St. THROUGH DECEMBER 12 Thorn Mayne, Charles Gwathmey, and James Carpenter and Our National Pastime www.ny4p.org Ant Farm: 1968-1978 workshops with Edward Feiner, Arthur Gensler, and A. Eugene War! Protest in America Queens Museum of Art Institute of Contemporary Kohn, will accompany the exhibition through eady November.

1965-2004 New York City Building Art at the University of DC Memorials of War Flushing Meadows Pennsylvania Whitney Museum of Corona Park, Queens 118 South 36th St., Philadelphia American Art www.queensmuseum.org www.icaphila.org 945 Madison Ave. www.whitney.org CO N;r

LU 1—1 > LU

THE ARCHITECT'S NEWSPAPER SEPTEMBER 7, 2004 BEYOND KAHN

Dhaka Unconcealed Worldview Cities: Contemporary Perspectives on Architecture and Urbanism from Around the World www.worldviewcities.org

Say "Dhaka" to an average group stands today, as the latest web- on-site interview in which Ashraf the work often young architecture Dhaka overview, left, and a street in of American architects and most based report from Worldview Cities, and ul Haque tell of planning offices practicing in Dhaka, many the old city, above. likely they will think of Louis Kahn. Dhaka Unconcealed, reveals. In progress that halted with the who are defining, project by His extraordinary National Assembly, fascinating detail, Ashraf and his Kahn's death and the assassination project, a unique brand of critical ect focused on Caracas. The next which he worked on until his death collaborator Saif ul Haque present of independence leader Sheikh regionalism. will be Oslo, Beirut, and Tijuana. in 1974, is justifiably considered a coherent picture of the seemingly Mujibur Rahman the following The first Worldview Cities proj- ANNE GUINEY IS AN EDITOR AT AM. his masterpiece and, according to chaotic city's morphology, patterns year. With maps, statistics, essays, Dhaka-born architect Kazi Ashraf, of development, and civic culture, photographs, and fiction, the pair one of the last green oases in the and in doing so, add depth and show the result of the subsequent city. For many, it's a paradigm of complexity to the heroic vision 30 years of unchecked and unor• what a Bengali city could be. described so eloquently by Kahn. ganized development. The project WWW.ARCHPAPER.COM Of course, this ideal is nowhere The website, a project of the does offer a tonic of sorts: After all near the reality of the city as it Architectural League, includes an of this information, the site presents

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THE ARCHITECT'S NEWSPAPER SEPTEMBER 7, 2004

LU mous ramp as a barrier on Liberty Street; a 20-foot- tall, bomb-proof concrete wall on West Street; and an < impossible condition of entry from the north on 40-foot- X It is easy to blame Silverstein, wide Fulton Street, at the foot of the Skidmore, Owings CO GROUND with his narrow agenda, for the and Merrill-designed Freedom Tower. LLl While the original Reflecting Absence proposal wisely horrible nness of Ground Zero, but called for a wall of small buildings against the site's west• < ern edge, as it stands now, the memorial terrace will come all the major players involved have < to an abrupt, brutal edge above the traffic noise of West had similarly narrow concerns. a: ZERO'S Street. Because the footprints of the old towers are used as openings to bring light to the memorial's contempla• m tion spaces below, access on the surface of the platform Church. The city ceded this land, as well as the adjacent is restricted. Meanwhile, Libeskind's master plan posi• Deutsche Bank property, to the PA in exchange for con• tions cultural facilities along the eastern edge of his void, trolling the surface level of the new streets outlined in MESSY restricting access to the new memorial plaza to a single the Libeskind plan. LU point at Greenwich and Fulton, at his "Wedge of Light" Liberty Street will be further alienated by the PA's plans I- plaza (which Is overshadowed by the Millenium Hilton). to construct an enormous 40-foot-wide ramp on its north o The likely result is that the memorial platform will be side as an entrance to its vast underground service, oe: a difficult-to-access backwater of concrete pavers and security, and parking kingdom. The view up Liberty trees, completely overshadowed and dominated by the Street from Battery Park City will consist of this vast FUTURE oppressive presence of the Freedom Tower crashing to orifice and the concrete walls of the memorial terrace. earth at its northern edge. The overall effect will be insti• Access to the terrace from Liberty Street will be limited The final plans emerging for Ground Zero are a horrible tutional and deadening, something like Governor to a small platform over the ramps at the junction with mess, despite the billions of dollars promised for the Rockefeller's tall tower crashing into the horizontal roof Greenwich Street. The result is not going to be very pret• site's redevelopment, the application of the best brains garden of the Albany Mall. ty as diesel buses and trucks sit below the memorial of the surviving members of the Port Authority (PA), the The position of the Freedom Tower between tiny platform waiting to gain access to the lot, their exhausts best Intentions of the Lower Manhattan Development Fulton and Vesey streets also raises many problems with pumping out fumes to the level of the memorial and its Corporation, the governor of New York, the mayor of regards to the topography of the site. These streets ramp visitors above. New York City, the 5,000 participants of the New York down 30 feet to West Street in the LMDC master plan, as The only hope is that the designers involved will be New Visions Project, and Daniel Libeskind's inspirational recently noted in a map compiled by David Dunlap and able to salvage something from these strange juxtapo• master plan. It is easy to blame the developer Larry Willie Neuman in The New York Times. This seems to be sitions. Perhaps West Street can have a bomb-proof Silverstein, with his narrow agenda, for this situation, but physically impossible if other parts of the plan are to wall of glass allowing a view into the memorial spaces all the major players involved have had similarly narrow take shape. Beneath Fulton Street the PA plans to build a contained below the plaza. Perhaps the base of the 1,776- concerns. Rather than attribute blame 1 would like to long, pedestrian shopping arcade as a tunnel that would foot-tall Freedom Tower will be an extraordinary urban spotlight some of the glaring design issues that remain connect the base of the Freedom Tower to the Santiago invention, opening onto Fulton and the memorial plaza to be solved by the active parties. Calatrava-designed Path Station and then to the new above. Perhaps landscaping can ameliorate the sense The first and most difficult problem is so obvious that Fulton Street Station, designed by Sir Nicholas Grimshaw. of isolation of the memorial plaza. Clearly an impossible it is amazing that none of the brilliant architects assem• In order to allow these underground connections, Fulton urban design miracle is needed. (Stan Eckstut is now bled in the design competition dealt with the issue. The Street must stay level and terminate 20 feet above West working with the Port Authority.) Unfortunately, the site of Ground Zero slopes down 30 feet from Broadway Street. This means the Freedom Tower entrance on mess of past decisions—belying a lack of coordination, to West Street and the Hudson. This means that the site Fulton will be at the same level as Reflecting Absence's transparency, and democracy—does not provide much must be dealt with as a series of platforms from east to memorial gardens, while Vesey will slope down to the ground for hope. o. CRAHAME SHANE TEACHES URBAN west and that north-south cross streets like Church and West Street level. The underground shopping mall will DESIGN AT COLUMBIA UNIVERSIT AND URBAN HISTORY AT THE Greenwich must act as a series of steps across the site. become exposed on the western end of Vesey, which CITY COLLEGE OF NEW YORK AND THE COOPER UNION. Minoru Yamasaki's World Trade Center design for the PA also has the truck exit for the underground service sys• completely Ignored the island's topography, resulting in tem and the base of the Freedom Tower. difficult access from the north, south, and west edges of If the traffic and shadows on narrow Vesey Street at www.timessquarebid.orq/desiqn the project. The result was a vast superblock separated the base of the Freedom Tower seem especially nasty from the small-scale grid and slopes of Lower Manhattan. now, consider the plight of the much wider Liberty Street. www.cornerstoneqardens.com The design components that have been individually Here the slope of the terrain is absolutely obvious as It is www.archinect.com announced for various sites at Ground Zero repeat this the first cross-town street in Manhattan. It is also here same mistake. It would appear from all the finalists' entries that SOM's mid-20"'-century work—the Chase Manhattan www.worldviewcities.orq that the site of the WTC Memorial competition, for Plaza for David Rockefeller, black slab tower at 140 instance, is flat. Libeskind's master plan evaded the prob• Broadway, and black, boxy Inland Steel Building across skyscraper.orq/timeformations/ lem by proposing a void space going down to bedrock. the street—paved the way for Yamasaki's monumental, transparent.html modernist intervention. Reflecting Absence, with its underground memorial, fills www.desiqntrust.orq the Libeskind void and recreates the World Trade Center These tower in the park projects made Liberty Street a Plaza of Yamasaki as a platform with the same difficulties strange urban wasteland, an effect that will be reinforced www.labiennale.orq/en/ of access from north, south, and west. The latest revised, by the PA's new Liberty Street Park to the south that will architecture landscaped version of the memorial shows an enor• house the reconstructed St. Nicholas Greek Orthodox

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