THE ARCHITECTSNEWSPAPER 11 6.22.2005

NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM $3.95

GUGGENBUCKS, GUGGENDALES, CO GUGGENSOLES 07 MIAMI NICE LU ARTISTIC Z O GO HOME, LICENSING o DAMN YANKEES 12 Once again, the ever-expanding Guggenheim is moving to new frontiers. TOP OF THE A jury that included politicians, Frank CLASS Gehry and Thomas Krens has awarded 4 the design commission for the newest 17 museum in the Guggenheim orbitto VENTURI AND Enrique Norten for a 50-story structure on a cliff outside Guadalajara, Mexico's sec• SCOTT BROWN ond-largest city. The museum will cost BRITISH TEAM WINS VAN ALEN COMPETITION PROBE THE PAST the city about $250 million to build. 03 EAVESDROP But there is now a far less expensive 18 DIARY range of associations with the Guggenheim 20 PROTEST Coney Island Looks Up brand. The Guggenheim is actively 23 CLASSIFIEDS exploring the market for products that it On May 26 Sherida E. Paulsen, chair of the Fair to Coney Island in 1940, closed in 1968, can license, in the hope of Guggenheim- Van Alen Institute's board of trustees, and but the 250-foot-tall structure was land- ing tableware, jewelry, even paint. An Joshua J. Sirefman, CEO of the Coney marked in 1989. eyewear deal is imminent. Island Development Corporation (CIDC), Brooklyn-based Ramon Knoester and It's not the museum's first effort to announced the winners of the Parachute Eckart Graeve took the second place prize license products but it is its first planned Pavilion Design Competition at an event on of S5,000, and a team of five architects strategy to systematize licensing. For the Coney Island boardwalk. Four London- from Philadelphia—Roman Torres, Patrick years the Guggenheim has charged fees based architects—Kevin Carmody, Andrew Stinger, Mayva Marshall, Adrienne Yancone, for photographing products or people in Groarke, Chris Hardie, and Lewis Kinneir— and Adam Montalbano—took home $3,000 front of the landmark Frank Lloyd Wright took first place as well as the Van Alen's first for third. Nine honorable mentions were also building. That was just the beginning. annual $20,000 New York Prize. They also selected, and all 864 submitted entries— "We're actually continued on page 6 won the opportunity to work with the CIDC an unprecedented number for a Van Alen and Van Alen to refine and build their design competition, according to program man• for a year-round restaurant, store, gallery, ager Jonathan Cohen-Litant—are on view GIANCARLO DE CARLO, and administrative building at the base of at www.vanalen.org. The 11-member jury DESIGN UNVEILING ASIDE, the Parachute Jump, the tallest structure in was composed of architects, designers, and REMEMBERED THE WTC CULTURAL CENTER IS Coney Island. The famed ride, which was local community leaders, including MoMA brought from the 1939 New York World's VERY MUCH A WORK IN PROGRESS design curator Paola continued on page 2 Giancarlo De Carlo, who died on June 4 at the age of 85, was architecture's last great link with the heroic modernism of CIAM. SEEING'S NOT ICFF AND ITALIANS TEST LIFE APART bloc of exhibitors—were When he was invited to join CL\M in 1953, splitting off to establish he offered a scathing critique of pre-war their own fair, an offshoot of existenz minimum, and described Le BELIEVING the furniture world's main Corbusier s Unit^ d'Habitation as "terri• POST-FAIR WRAP The creak and grind of political machinery event, Salone Internazionale ble," and provided the theoretical under• at Ground Zero were all too audible at Faster than you can say I Saloni's organizer Cosmit del Mobile, held every April pinning for Team X. He was, as his dose the tumbrels during the slick roll-out of bruschetta, rumors were fly• reported 7,000 attendees— in Milan. friend Aldo van Eyck said long ago, a mas• the World Trade Center Cultural Center ing and fingers were point• 40 percent architects—to ter of paradox. He was both elusive and The competition played on May 19, attended by Governor George ing during the International its new fair, held on Piers90 absolutely clear. He was both renowned out in the details. While Pataki and Mayor Michael R. Bloomberg. Contemporary Furniture Fair and 92. What kept thousands and secretive. One of the foremost archi• Target buses shuttling Presenting the thing took almost as long (ICFF) and the firstlSaloni of professionals from travel• tectural thinkers of his time, he published attendees to the company's as designing it. Architect Craig Dykers, Worldwide New York. Now ing 18 blocks from Javits no unified volume of theory. He was not sponsored events were principal of Norwegian architecture firm in its 17'" year, ICFF, held to the piers? an architect who played at being a theorist, allowed to park in front of Sn0hetta, called the 90 days allowed for at the Jacob K. Javits but an intellectual whose medium was arch• Industry insiders were Javits, I Saloni buses were design (which included the Christmas Convention Center from itecture. (Not abstract architecture writ• surprised at the news, just across the street. "They told holidays and finding and setting up a May 14 to 17, reported ing, but its concrete profession, embedded months before ICFF, that all us we had to stay over New York office) "the charette from hell." 21,428 attendees, up 14 per• the Italian manufacturers— here," said one idle driver. in its social practice.) continued on page 3 The marathon didn't end with the cent from last year, while traditionally ICFF's largest Explained continued on page 2 unveiling. There were TV appearances De Carlo with two ILAUD students in 1992. and tabloid interviews followed by private walk-throughsfor Ada Louise Huxtable and Robert De Niro. "We're waiting for the Pope to show up next," quipped a PR man at the LMDC. With so much hoopla, people might believe that they saw actual designs for the building that will house the International Freedom Center and the Drawing Center. But these were schematic designs. It's comparable continued on page 4 CO CM 3 O LU

THE ARCHITECT'S NEWSPAPER JUNE 22. 2005

POST-FAIR WRAP continued from front page PUBLISHER CO When successful architects are asked to name important Phil Robinson of George Little Management Diana Darling influences, they most often mention a favorite professor or (GLM), organizer of ICFF, "We had a collabo• EDITORS o ration with Target. We never received a I— teacher. The great educator-architects like John Hejduk, Cathy Lang Ho request from Cosmit, but the door was William Menking AHson and Peter Smithson, Alvin Boyarsky, and Bernard always open." LU Tschumi must be given credit for shaping the direction of Manlio Armellini, Cosmit's managing Martin Perrin scores of students' careers. director, felt that GLM was not helpful. "We SENIOR EDITOR heard that they did not give information about Anne Guiney The role that practicing architects play in education may be us to people who asked," he said. Abe Gurko ASSOCIATE EDITOR unique among professions in that so many come back to the of Design Downtown, which bills itself as Deborah Grossberg academy. They trudge to classrooms every week for very little "New York's alternative design show" and DESIGN AND PRODUCTION is now in its third year, said,"What ICFF has Daniil Alexandrov pay, and many spend countless hours sitting in end-of-the-year to understand is that it is Design Week not EDITORIAL ASSISTANT jury reviews for a cup of coffee and a donut. Why do they do it? George Little Management Week." Gurko Gunnar Hand It is certainly not easy for an architect to juggle running an and Target provided shuttles for their ven• ues. I Saloni had shuttles three times a day Stephen Martin office and teaching a studio. In fact, many don't do it well; how between Design Downtown and the piers. Jenny Wong often do we hear students complain that their teachers—par• Jaffer Kolb Rumors that GLM booked Piers 90 and 92 ticularly the famous ones—never showed up to class? Ann Chou for the duration of ICFF next year were SALES AND MARKETING DIRECTOR Some architects regard teaching as a way to extend their own dismissed by the office as "not true at all." research; for others, it's a means of recruiting bright young stu• Rumors also abounded that GLM offered huge Karen Begley dents for their offices. But many get involved with schools, discounts on the price of booths to make up for the Italians' departure—something John Leonard whether as instructors, advisers, or jurors, because it keeps Robinson denied, stating, "We're up [in

MARISA BARTOLUCCI/ALAN G.BRAKE/ them engaged in the world of ideas. As much as they impart number of exhibitors) by 12 percent. We even ARIC CHEN / DAVID D'ARCY / MURRAY FRASER / wisdom and pragmatism to novices, the latter keeps them up added a Spanish and Swedish pavilion." RICHARD INGERSOLL/JULIE lOVINE / JOE KERR/ However, exhibitor Robin Reigi noted, "When LIANE LEFAIVRE/LUIGI PRESTINENZA PUGLISI/ on current intellectual, stylistic, and technological thinking. we looked at the map to see where our booth KESTER RATTEN8URY/D.GRAHAME SHANE/ Another—and perhaps the most important—reason why so PETER SLATIN/KATSU TANAKA/GWEN WRIGHT/ was, we noticed that there were no longer any ANDREW YANG/PETER ZELLNER many architects stay connected to schools is that they feel a booths in the supplementary north pavilion. EDITORIAL ADVISORY BOARD sense of professional responsibility. To prepare for this issue's When we asked why, George Little told us that PAOLA ANTONELLI/RAUL A. BARRENECHE/ the fair was moving deeper into the conven• M. CHRISTINE BOYER/PETER COOK/ feature, a round-up of the best student work from New York WHITNEY COX/ODILE DECO/TOM HANRAHAN/ tion center [to the south], which wasn't true." SARAH HERDA/CRAIG KONYK/JAYNE MERKEL/ area schools as recommended by their deans (see page 12), we At I Saloni, the openness of the space— LISA NAFTOLIN/SIGNE NIELSEN / gathered the students for a conversation about their experience there were only 30 exhibitors in each pier— HANS ULRICH OBRIST/ JOAN OCKMAN / sometimes dwarfed the number of attendees. KYONG PARK/ANNE RIESELBACH/ as students and concerns about their imminent profession. "We like space. ICFF is so crowded, TERENCE RILEY / KEN SAYLOR / MICHAEL SORKIN Yeon Wha Hong, a 22-year-old student from Cooper-Union, GENERAL INFORMATION: INFO?iARCHPAPER.COM exhibitors are on top of each other," said EDITORIAL: EDITOR@>ARCHPAPER.COM expressed some trepidation about how professionals regard one attendee from Italy. DIARY: DIARY3>ARCHPAPER.C0M new grads. "My dream job would be to work for an architect Armellini maintained that the show was a ADVERTISING: SALES®ARCHPAPER.COM SUBSCRIPTION: SUBSCRIBEa>ARCHPAPER.COM who takes seriously the contract between an apprentice and "great debut." He pointed out that plans for I Saloni New York were made less than six PLEASE NOTIFY US IF YOU ARE RECEIVING an architect. Maybe it's old-fashioned, but I've heard so many DUPLICATE COPIES. months ago. "With more time and money to THE VIEWS or OUR RCVItWCRS AND COLUMNISTS DO NOT nightmare stories of [ recent graduates] becoming CAD mon• invest we can get huge attendance," he said. NECESSARILY RCfLCCT THOSE OF THE STAFF OR ADVISORS OF THE ARCHITECrS NEWSPAPER. keys and having never-ending workdays," she said. "I hope to "It takes patience to start a new fair." Next VOLUME 03 ISSUE n. JUNE 22. 200S THE AKCHITtCrS NEWSPAPER IISSN ISS2-80ail IS PURLISHEO 20 TIMES year Armellini plans to target the advertising A TEAR. BY THE ARCNITECrs NEWSPAPER, LLC, P.O. BOX »37. NEW YORK. find an architect who understands that he or she has a respon• NY 100IS. PRESORT-STANDARD POSTAGE PAID IN NEW YORK. NY. more specifically to architects, interior POSTMASTER; SEND ADDRESS CHANOES TO: THE ARCHITECrS NEWSPAPER sibility to us." CIRCULATION DEPARTMENT, P.O. BOX 9JT. NEW YORK, NY 10013, FOR designers, and furniture dealers. SUBSCRIBER SERVICE: CALL 2l2-9Sa-0«30. FAX 212-9SS-Oi33. S3.VS A COPY, J3V.00 ONE YEAR. INTERNATIONAL tIM.OO ONE YEAR. Architects must take care of their young, or the entire pro• "We didn't think it was all bad," said INSTITUTIONAL SI4V.0O ONE YEAR. ENTIRE CONTENTS COPYHIOHT 2003 exhibitor Manlio Crosti of Meridiani BY THE ARCHITECrS NEWSPAPER, LLC. ALL RIGHTS RESERVED, fession will stagnate. Collections. "We gained two new important contacts. It was worth it for us." Asked if he plans on participating next year, he replied,

CONEY ISLAND LOOKS UP continued from "I can't say right now." OLYMPIC BID NOW FEARED TO BE MORIBUND front page Antonelli, architect Michael "Of course we will return," insisted Manfredi, and Carol Hill Albert, co- Lorenza Radrizza of La Murrina. "Grouping STADIUM DIES, FINALLY owner of Astroland Park. like this is a good idea; we've wanted to do it The winning design, a 30-foot-tall for some time. The problem with ICFF is their irregularly-shaped cantilevered box image and the way they show merchandise." On June 5, two abstention district) to the West Side. stadium took issue with defined by the footprint of the site, offers Still, one ICFF exhibitor, a lighting manu• votes from representatives Laura Wolf-Powers, the story's tack. "That was controlled views of the Parachute Jump facturer who did not want to be named, for Senator Joseph L. Bruno assistant professor of city a ridiculous headline!" said and the ocean through triangular open• doubted New York's capacity to support more and Assemblyman Sheldon and regional planning at one community activist ings in its concrete and glass skin. Covered than one show. "Traffic was lighter this year Silver on New York's Public the Pratt Institute, said, who declined to be named. in a diagonal grid of lights, "the pavilion Authorities Control Board— "Silver's stated reasoning "It should have been 'For on the days the fair is open to the public. I is about a romantic, mythological link the panel charged with is ironic because in the once, thank God, a terrible think it's becoming too fragmented. My con• to Coney Island," according to Groarke. confirming project-related absence of the stadium, idea is brought down by its cern is that people are too busy to run around Said juror Manfredi, "The winners' financing for the state's the area rezoning and the own stupidity and poor pol• to different shows. Is the aim to grow the audi• design is extraordinarily contemporary 11 public authorities— creation of the Hudson iticking by its adherents.'" ence or to split the current one?" she asked. without losing the glitz of Coney Island." prevented the Metropolitan Yards Infrastructure The West Side stadium GLM doesn't seem to be worried about ICFF Transportation Authority Corporation may end up was the centerpiece of The competition is part of a broader being cannibalized by other fairs: In fact, it's from selling its land, and causing more development Mayor Bloomberg's plan plan to revitalize and draw tourism to is starting its own satellite fair—International the state from contributing on the West Side than the to lure the 2012 Olympics Coney Island; the plan includes a vari• Interiors, devoted to fine furnishings and a $300 million subsidy for stadium would have." to NewYork. On June 12, ety of restoration projects throughout interior design—^to be held concurrently with Bloomberg announced an the park and an independent plan to ICFF next year at the New York City Passenger the stadium, effectively The New York Times alternative deal to build a light the Parachute Jump, designed by killing the project. ran dual front-page stories Ship Terminal, at piers 80 and 82. The fair new stadium for the Mets Leni Schwendinger Light Projects and Assemblyman Silver con• announcing the stadium's is a joint venture between GLM and Reed tended that the project next to Shea Stadium in manufacted by Phoster Lighting. Exhibitions, an affiliate of Reed Business defeat on June 7, one head• Queens. The winning city was a subterfuge to move The financing and construction Information, publisher of Interior Design lined, "Another Big Idea will be selected on July 6. the commercial capital of Brought Down By Politics." schedule for the project have not yet and other design and construction titles. Lower Manhattan (Silver's been finalized, JAFFER KOLB YVONNE DURANT Many who protested the GUNNAR HAND 00 fO 3 O LU

Z LU STRANGE APPEARANCES LU X Those Libeskinds sure are funny caricatures, er, characters. Last month, just < before it was revealed that the Freedom Tower would need yet another redesign, o t-i we listened to Daniel Libeskind with accustomed disbelief as he spoke at X House Beautifufs Giants of Design dinner, where he was being honored along h- < with Karim Rashid, Barbara Barry, and others. Referring to himself as "we"- A wife Nina was in the audience-he went into his boilerplate shtick about life, CL liberty, the American Way and how everything at Ground Zero was going to be LU O just peachy. Of course, we'd heard it all before, but had no idea just how well- Q- O rehearsed it was: One fellow attendee saw Nina mouthing Libeskind's words along with him. Wife, partner, or stage mom? You be the judge...A few days LU earlier, one of our professional partygoers was stunned to see Richard Meier at ME {. YOU AND EVERYONE WE KNOW > the Arthur Ross Awards, hosted by the Institute of Classical Architecture & OPENS JUNE 11 < Classical America. "The awards were given to the likes of a Gothic Revival archi• tect, the management of the Biltmore Estate in North Carolina, and a serif-face traditionalist stone carver-all under the University Club's coffered ceilings," our colleague reports, "whereas Meier never met an ornament he didn't want to bite off." Has Meier discovered an appreciation for scrollwork and putti? "He's friends with Mr. Ross, so I wouldn't be surprised if that's why he was there," his rep told us. >IPC CENTER VINOLY'S CLASS STRUGGLES 323 Avenue of the Americas, New York. Telephone 212-924-7771 Designer: Bogdanow Partners Architects Try to do some good and look what happens. Rafaei Vinoly has inspired some eye-rolling with his announcement that, this fall, his firm will offer a 14-week, Long-legged cinephilcs, your day has come: On lunc 17, the ll-'C Center opened in the oltl tuition-free series of "master classes," as well as research fellowships of up to Waverly Theater in the Village. Bogdanmv Partners Architects gutted the beloved but awkward $60,000. All are billed as an effort to further the profession, and any architect, tormer church (and incorporated a small building next door) to create three theaters and a architecture student or instructor can apply by the July 1 deadline. However, the 47 seat restaurant, which is"not a glorified snack bar!" according to the l[-C Center's general response from some guarters has been less than supportive. "The ego of that manager lohn Vanco. Though the space has been almost entirely reconfigured, vestiges of the guy!" huffed a prominent architect and academic, implying that it's all a vanity Waverly remain: the original neon sign from the marquee now hangs in the restaurant. As princi• project. Some Vifioly employees are also unhappy. "We could guit our jobs and pal Larry bogdanow explained, "We wanted to hold on to what the Waverly was—it was an get a pay raise by doing the research fellowship," one gripes. "Why have a school important part ot the neighborhood." VN'hat he wa.s happy to relegate to the pa.st, though, were when there are a hundred people already here who could benefit?" At deadline, cramped seals: " The old balcony might have been the worst place in .New York City to see a Viholy's office reported receiving numerous inguiries, many from Latin America, movie,"said Bogdanow, so the firm projected it another 16 or so feet out into the main theater, though no applications had yet arrived. If things don't pick up, we'd suggest that rotated the seat orientation, and put in 114 seats, all of which arc generou.sly spaced. Bogdanow he do like everyone else and just start his own magazine. said that comtort was a primar\' concern, and that they took out about 100 seats in the theaters to leave more legroom. Said Vanco, "The IFC Center is dedicated to makers and lovers of CRUELLA DE-SIGNER independent film, and we want people lo remember the experience as much as the movie." This is one of those instances in which we are truly too scared to name names. Which widely known architect, who also fancies herself an artist, is more of a dragon lady than we ever imagined? A source tells us that staff members have been forced to call up problematic contractors and, under her watchful eye, ver• bally assault them with words like "asshole" and "shithead." Uncomfortable with such tactics, we're told the involuntary minions have resorted to calling their home answering machines and pretending they're screaming at the intended targets until more civil contact can be made once Mommy Dearest has left the office. LET SLIP: ACHEN<«)ARCHPAPER.COM

GIANCARLO DE CARLO, REMEMBERED rather than in architectural theory. continued from front page He was one of the To Manft"edo Tafiiri, De Carlo was a rare most memorable architectural teachers of intellectual in architecture. He never dealt his generation, and yet always set himself at a with a "how?" without considering the critical angle to the academy. Fascinated by underlying"why?" All fine architects'careers Napoleon, a man nearly as small as himself, are strewn with disappointments: competi• he was a lifelong anarchist and anti-Fa.scist tions lost, projects foundered, clients lacking fighter during World War IL courageous commitment. However, by In architecture too, he fought against refusing to temporize and—uniquely in heroes, signatures, and icons, as against so 20"'-century Italian culture—refusing to much else which subverts the possibility of align himself with the essential channels of a real modern architecture. This—in itself political patronage, De Carlo ensured that his a heroic struggle—forced a continual ques• output remained even smaller than most. tioning of the nature of the modern. At a De Carlo is best known for his classic proj• dia ock time when many couldn't be bothered with ects for Urbino first intimated in his Urbino: the issue, in the postmodern years around The History of a City and Plans for its 1980,1 remember not just his intellectual Development (MIT Press, 1970), but other probing of the differences between eclecticism important projects include his participatory and multiplicity, but his generous invitations housing at Terni and Mazzorbo, his later to Charles Moore and Donlyn Lyndon and curvaceous work such as a recently completed T^Hl E KEY REMEMBERS, SO YOU DONT HAVE TO. others to enrich the debates at the International social center on the Venetian Lido, and per• Labt)ratory of Architecture and Urban Design haps most fascinating, the projects for the Lockerlock is secure, flexible, convenient and so easy to use. Simply (ILAUD), the summer program he founded University of Catania in Sicily, some of which present the key, and it will remember your locker number for you. at the University of Urbino in 1976. are currently stuck in political mud.

De Carlo's built works, like his few but Happily, international recognition never important theoretical essays, are complex quite forgot De Carlo, no matter how mar• responses to particular sets of questions, and ginalized he became in Italy itself, where his Hafele NY Showroom 25 E. 26th St. at Madison Ave. do not reveal themselves all at once. He was unique magazine Spazio e Societd (or Space New York, NY 10010 that rare designer whose practice of architec• for some years co-published by and Society, 1-800-423-3531 ture is grounded directly in a rigorously MIT) was almost unread. An exhibition last hafele.com ANSWERS worked-through sociopolitical position. year at Centre Pompidou continued on page 6 00 Nt 3 O LU

THE ARCHITECTS NEWSPAPER JUNE 22, 2005 saw last month. Sn0hetta has in mind a far September 11th Place, underneath the Cultural Center, nubbier, naturalistic surface than the sleekly looking toward the entrance ramp and light well. etched and reflective skin of the presentation model. As described by Dykers, the facade consists of irregularly cut prisms, 3 to 8 inch• es long, randomly plugged into the wood (or will it be terra-cotta?) walls in order to catch and reflect a mottled light. Windows also 1 have to be added at some point, Dykers said. The architects have gone out of their way to be deferential to assorted interests, even going so far as to call the center "more of a gateway than a building." To make sure all comers get an unimpeded view of the memorial as soon as they arrive on site, the building has been jacked up off the ground. To allow the below- ground mezzanine of Santiago Calatrava's i transit hub to go largely column-free, the building has been suspended from roof trusses supported by three legs. Families were inaccurately presented in renderings. of the victims want the building to lose mass SEEING'S NOT BELIEVING continued from front planning for the center seems not to have and back off from the WTC tower footprints; page to announcing that you're going to make advanced much farther than the notion of And lovely renderings they were, showing it will be done. The Port Authority requires a pie: It's going to be round and it's going to a "Freedom Walk," a promenade past mile• off a spare elegance warmed by pale wood, 40,000 square feet of mechanical space to be be cherry, but don't be surprised if it ends up stones in the history of freedom, launched as if the building were a free-standing sauna. discretely incorporated into a horizontal mass being an apple (or even mock apple) pie. only months after the disaster itself. The pro• It's a Scandinavian look in the best sense, not to exceed 250,000. And so on and so on. The public doesn't know this, but archi• gram for the Drawing Center, on the other most unusual for Manhattan. Already, how• The selection of a relatively unknown for• tects do (although they have been known to hand, is very specific but takes up less than ever, the architects are talking about a switch eign firm—predictably even more malleable forget). And that's one of the more unsettling 25 percent of the overall space. to terra-cotta, a more urban substance but than seasoned pros like David Childs and realities about the so-called public process as It is the way of contemporary architecture also more hard and brittle. The change would Daniel Libeskind—looked cynical from the it has evolved at Ground Zero. First comes to make program the key definer of shape; undermine the juxtaposition of soft and hard start. Officials at LMDC now say that the getting the most big-bang "vision" possible, otherwise it is all gift-wrapping. Snohetta now so organically in play. The architects project only needs "to be tweaked." then, hopefully when attention has strayed, has shown an adeptness for exciting transla• say that wood is their first choice but meet• Sn0hetta has presented a project with the figure out the reality. tions of use into form in such projects as the ing city code may make it too expensive. It would be a shame to see the elemental potential to be powerful in a way that is new A lot will change as the project undergoes Bibliotheca Alexandrina and the Oslo Opera power of wood and glass exchanged for to Manhattan; it would be a loss if their design development over the next nine House. At the WTC site, a vague program more prosaic terra-cotta, but a real annoy• design gets tweaked out of recognition. months. The number of balls still up in the has forced the firm to make due with a box. ance if wood was just a tease in the first place. air is alarming. The program calls for the Snohetta has made the most of shifting atten• JULIE V. lOVINE IS AN'S RESIDENT CRITIC AND A Freedom Center to occupy the lion's share of tion to circulation and dressing it up but in The glass facade as the architects intend it REGULAR CONTRIBUTOR TO THE NEW YORK TIMES AND OTHER PUBLICATIONS. the 250,000-square-foot space even though ways that are either bound to change or that bears little resemblance to what the public

MICHAEL R. BLOOMBERG MAYOR

DAVID J. BURNEY, AIA NEW YORK CITY DEPARTMENT OF DESIGN + CONSTRUCTION COMMISSIONER

LAPTOPS, COFFEE L CARPETING The City's Libraries Today

Moderator

David J. Burney, AIA Commissioner, Department of Design &. Construction

Panelists Susan Kent Joshua Prince-Ramus Director L Chief Executive Partner, OMA Branch Libraries, The New York Public Library Cinnie Cooper Executive Director, Thomas W. Calante Brooklyn Public Library Interim Director, Queens Library

A dialogue on the evolving civic role of gam —12 pm the library this panel discussion will Thursday July 14.2005 address topics such as implementing FREE, limited seating new operational technologies, adopting retail strategies, and their impact on the Call for RSVP at 718 3912372 architecture of the public library. HAWORTH change by design Center for Architecture MA New York Chapter 536 LaCuardia Place ^tw founding 0«plw of www.haworth.com 866.833.4343 New York, NY The Amencjn InsBlule o( AreftilecB Some choices are just smarter than others.

1^

aufo4esk chited

ao+

rev^f

s+roc+orc

^ smart ^ { even smarter}

X^Ct^WORKS

CAD for the smart-sized firm

Sometimes less is more. VectorWorks ARCHITECT gives you all easier to track costs and materials. And, built-in presentation the tools and technology you need-in one smart application capabilities make it easy to sell the job in a pinch. for a fraction of the cost.

Wait, there's more. Technical support is free. And upgrades VectorWorks ARCHITECT is easier to learn and use than are painless. Did we mention you get a 90-day money-back most other CAD programs, so you'll reduce design time and guarantee? Best of all. at $1,295.00, VectorWorks ARCHITECT gain productivity almost immediately. A unique hybrid won't blow your budget-unlike other costly CAD programs. 2D drafting/3D modeling design environment automatically creates 3D models from your 2D plans. Sophisticated database Start working smarter today. Call 1 -877-202-9100 or visit and spreadsheet capabilities and automatic framing make it www.vectorworks.net/newyork today.

Autodesk. AutoCAD, AutoCAD LT. Autodesk Architectural Desktop, Autodesk Revit Building. Autodesk Revit Structure. Autodesk Symbols, Autodesk Subscription and Autodesk VIZ are either registered trademarks or trademarks of Autodesk, Inc.. in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. 00 so 3 O LU

THE ARCHITECT'S NEWSPAPER JUNE 22. 2005

In an advertisement for Hausbrandt's guards with shoes and then market it that GIANCARLO DE CARLO, REMEMBERED —- Espresso System, the text reads, "The perfec• way—'These are so comfortable that the continued from page 3 and Venice tion and emotion of coffee made art rule." Guggenheim employees wear them,'" said University, fuelled by the gift of his archive, of shoes, a restaurant, jewelry, a sofa, even Pallante-Hyun. She hinted that some of now brings attention back to his work. a ballroom to be named Guggenheim, all of those offers might soon be accepted. In Milan, his home city for half a century, which the museum turned down, she said. No licensing arrangement exists with he had not even been asked to produce a Licensing ambitions widened after the Hugo Boss, the design firm that funds a con• dog kennel, he said to me only half joking. museum signed with the firm DesignTex to temporary art prize in collaboration with the It was then particularly poignant to .see him produce textiles "for the corporate and hos• Guggenheim, nor is there an arrangement receive an honorary doctorate from Milan pitality market"—fabric that can be used for with Armani, which filled the museum's Polytechnic last winter. The moving and upholstery for sofas and chairs, draperies or rotunda with clothing designs in 1999, and spontaneous standing ovation that greet• wall coverings. In 2002 DesignTex launched filled its coffers with a $15 million donation. ed his entrance in a wheelchair and lasted a muted line called Singular Forms, taking Officially, the Guggenheim's building is a for minutes may have been tinged with guilt. its name from a recent Guggenheim exhibi• location rather than a product, yet it remains De Carlo's grateful acceptance speech was tion on minimalist art and its palette from the foundation's most licensed property. as sharp and aware as ever of the irony of artists like Richard Serra and Carl Andre The oculus skylight (copyrighted for repro• the situation. Perhaps his Italian reputa• (whose works were part of the show). This duction, as is the building) is as sought after tion is on the mend: He died the very day a for location shots as the rotunda. major exhibition of his work opened in Rome. SYSTEM fall, DesignTex introduces a more brightly colored line, inspired by works by Jackson For the 2002 Olympics, a TV spot featured Highly cultured and widely engaged, Pollock, Willem de Kooning, and Alexander an Audi exiting from a photoshopped father of one of Italy's best-known novelists, Calder in the Peggy Guggenheim Collection. garage on the 89'" Street side of the museum, De Carlo lived a life that went far beyond with the tagline, "All works of art belong in architecture. If I had to describe him—his ARTISTIC LICENSING continued from front It isn't a windfall. The Guggenheim now a museum." For a television commercial of page exploring markets as opposed to just earns about $500,000 from all licensing and charm, wit, generosity, and creative spirit— this sort, the Guggenheim can now charge responding to unsolicited things," said hopes to increase that to $3 to 5 million in in one word, I would use the renaissance $100,000 for the use of its location. (The Maria Pallante-Hyun,an intellectual property the next five years. By comparison. Colonial concept of virtu; he had nobleness of spirit. Guggenheim Bilbao is also a desirable com• lawyer who is now director of licensing for Williamsburg earns $10 million a year from But he did confide in me when he fell ill mercial location, but Bilbao handles its own the Solomon R. Guggenheim Foundation. licensing on $100 million in sales. some years ago that to give up architectural licensing, Pallante-Hyun said. "This is a good use of our intellectual prop• So far no theme parks or video games are practice would be to give up on life. His erty assets." on the drawing board, and reality shows For now, though, the Guggenheim is design work continued ever more inven• tively in his small Milan studio. When we The museum has contracted the licensing starring Tommy Hilfiger and Paris Hilton worrying more about the building than its firm 360 EPto "knock on doors." The firm were not allowed to shoot there. reproduction fees. The Frank Lloyd Wright last met, even though exhausted and flat on is known for boosting licensing income at No motorcycle products are currently structure is strung with sensors to monitor his back, he was at pains to discuss a current Marvel Comics, whose characters are now licensed, even though the exhibition cracks. Once damages are measured, the housing project in Beirut. It was therefore on a wide range of clothing. (Super Tom, Man The Art of the Motorcycle has been a building will be stripped for overdue repairs, inevitable that, sadly, life would give up on of Titanium?) Yet the Guggenheim can't moveable feast for the bottom line, but the not the best advertisement for an institution him first, JOHN MCKEAN TAUGHT AT license any works of art besides its building. Guggenheim has received requests to put that is selling its architectural image. ILAUD WITH DE CARLO SINCE 1979. HE IS A "Licensing will be even more desirable after Art itself is usually licensed by artists' estates. its name on bandanas and jackets. Shoes PROFESSOR OF ARCHITECTURE IN BRIOHTON, the renovation," a museum spokesman said. In recent years, the Guggenheim has have not been licensed yet, either. "One ENGLAND AND AUTHOR OF GIANCARLO DE received requests from would-be creators company wanted to outfit our security DAVID D'ARCY CARLO: LAYERED PLACES (MENGES, 2004). CO 3 O LU

RESIDENTS MOVE INTO AQUA, A One immediately noticeable, radical aspect The question that has pestered New NEW URBANIST TOWN IN THE of Aqua is the concentration of parking for Urbanism throughout its history, however, is MODERNIST STYLE all condo dwellers in a single garage at the "Where's the urbanism?" in its developments, island's entrance. The building is the only one which have been mosdy discrete, inward-look• recycled from the island's days as a hospital ing enclaves. With its high-priced and nearly complex. Walter C^hatham masked the .sold-out homes (condos started at $ 1 million AQUA homely concrete slab structure with spa• and townhouses at $2.7 million). Aqua is the cious, terrace-wrapped apartments and a most rarefied of New Urbanism's experiments. four-.story rooftop addition. The distance to This island of millionaires will be vacant most the elegant condominiums by Alison Spear of the year .since Aqua is, for mo.st of them, a and Alexander Gorlin is slight, but it's proba• second or even third home. With a guarded CULTURE ..... =^5- bly greater than that between most Miamians gate and only one commercial busine.ss on In condo-crazed Miami, virtually all new resi• and their cars. the island—a deli/sundries/diy cleaning sta• dential construction is vertical. Though high- Depriving people (particularly the wealthy) tion—residents will still have to drive to dine density development often makes the most of of private parking, pools, gardens, et cetera, was out or go shopping. In fact, DPZ pushed for infill and combats .sprawl, in Miami Beach, it a deliberate decision, said Elizabeth Plater- more mixed use and for public spaces to be has created "condo canyons" that have sapped Zyberk, who preferred instead to em-phasize accessible to all, hoping that Aqua would also Alison Spear's 11-story condo (near left) and an the life of streets, leaving them in .shadows shared amenities that enhance public spaces. serve neighbors, but according to Robins and array of four-story townhouses by 10 different and hordered by blank, fortresslike walls. In DPZ's plan includes a continuous esplanade Plater-Zyberk, the.se ideas were halted by architects, including DPZ, Hariri & Hariri, and reaction to Miami's epidemic of "architec• along the island's perimeter; a resortlike pool neighborhood associations and restrictive Emanuela Frattini Magnusson. turally unremarkable highrises," in developer zoning. at the island's tip; public spaces with art by house," said Plater-Zyberk. Their designs were Craig Robins' words, he created Aqua, an 8.5- Richard Tuttle and Ciuillermo Kuitca; and a Since Aqua's ma.ster plan and architectural submitted to an architect of record, Wolfberg acre island community with three low-rise gym, business center, and children's play area designs were unveiled six years ago, much has Alvarez & Partners, which redrew them to be condominiums (all less than 11 stories high, dispersed among the condominiums. These been made about it being the first meeting of constructed as single block-long buildings, containing 101 loftlike units) and 46 four- moves are admirably antithetical to the stan• New Urbanism and modernism. "This project with a continuous poured foundation. In story townhouses by ten different architects, dard development tendency to privatize water puts to rest the idea that New Urbanism is other words, the homes appear to be distinct planned by Duany Plater-Zyberk (DPZ), access, views, and other amenities in order to about traditional styles," said Gorlin."New .structures but are essentially a sequence of progenitors of New Urbanism. pump up prices. At Aqua, by contrast, every• Urbanism was never about style." variegated facades. Townhouses are tradition• Robins worked with DPZ previously on the one has water access and views. At Aqua, however, modernism is treated ally built this way, though usually with the master plan for the Miami Design District, a The townhouses, too, play a role in nurtur• preci.sely as a style. Architects drew astutely same facade and plan, repeated. former indu.strial area that's now a magnet for ing community life, with parking pu.shed to from Miami's tropical climate and high Though this approach could suggest ways furniture showrooms and designer ateliers. the back of lots, allowing facades to meet sub• modernism—Art Deco, Le Corbusier, for mass housing developers to bring more Both efforts were shaped by Robins' desire to tly land.scaped sidewalks. The townhouse Mediterranean and I^tin modern. Each sub• architectural interest and construction effi• make art and design accessible, believing in type—buildings joined by party walJ.s—also mitted a few variations on facades and floor ciencies to their projects, it also draws atten• their power "to elevate communities," he said. means that one's windows and terraces look plans for given lot sizes and locations, at a cor• tion to the narrowed role of the architect. In DPZ's master plan for Aqua is an attempt to square onto those of neighbors, prompting ner or mid-block. Lot lines were their prime Aqua, most had litde or nothing to do with create a livahle neighborhood, where the .Mew Urbanist moments (at once charming datum. DPZ then arranged them, sensitive to construction issues or even details. The archi• street—long lost in Miami—is restored to and starding), hke making eye-contact with "giving each design its be.st location with tect's function as publicity generator, however, pedestrians. neighbors while having your morning coffee. regard to the ensemble and views ft-om each is as healthy as ever, CATHY LANC MO

ADVERTISE The window on the left was built in the 1930s. REACH OVER The one on the right, last week. 20,000 Or was that vice versa? ARCHITECTS Andirsen' 400 Series Woodwrighrdouble hunLi AND windows blend Iraditional style wilh Twenty Hrsl DESIGNERS Century^ technology. For the perfect look choose IN THE from oak, maple or pine in standard sizes or aistom dimensions for renovations. Visit andersenwindows.com TRI-STATE or contact the dealer below.

AREA. LONG LIVE THE HOME

Andersen ^f^y WINDOWS.DOORS

Andersen Architectural Department Tel: 888-245-1161 MILLWORK CO., INC. Fax: 201-995-0440 www.andersenwindows.com

CONTACT KAREN BEGLEY AT 212-966-0630 OR WWW.ARCHPAPER.COM KBEGLEYaARCHPAPER.COM GO 00 3 O

THE ARCHITECT'S NEWSPAPER JUNE 22, 2005

A boathouse and pier at Clinton Cove Park BRITISH LAWS KEEP FOREIGN LATEST SECTION OF HUDSON RIVER PARK COMPLETED provide storage and water access for Upper ARCHITECTS OUT West Side boat owners, as well as outdoor space for boating classes. prototype boathouse adapted for three sites, at Piers 66,84, and 96. At Pier 96, also GO HOME, known as Clinton Cove, the designers created an entirely new 1,600-square-foot pier structure as well as a boathouse for kayaks, canoes, and 46-foot-long outriggers. "We DAMN wanted the boathouse to be a symbol of sustainable design, a demonstration to the public," said Heuberger. The designers YANKEES chose durable materials such as zinc for sid• ing and roofing, and reconstructed the pier With its rich cultural heritage and host of from ipe, a renewable tropical hardwood. superstar architects. Great Britain is an Sliding wall panels and clerestory windows attractive proposition for students and allow for natural cross ventilation. The pier, professionals who wish to sample life which is spacious enough to accommodate abroad. But thanks to a double whammy CLINTON COVE PARK OPENS outdoor classrooms, is rigged with a of new regulations, American architects hydraulic mechanism that allows it to be looking to cross the pond will now find it raised and lowered for easy boat access. harder than ever before. As reported in an The $400 million project to revamp Hudson Associates and Michael Van Valkenburgh April issue of Building Design, the British River Park from Battery Park to West 59'" Associates. Mathews Nielsen Landscape A low grassy berm surrounding the newspaper for architects, new rules from Street moved one step closer to completion Architecture and Quennell Rothschild & boathouse blocks noise from the West Side the British Home Office and Architects in mid-May when Clinton Cove Park, Partners prepared the overall plan and design Highway while allowing open views back Regulation Board will affect any American designed by Dattner Architects and Miceli guidelines for the 5-mile, 550-acre stretch. toward the city, avoiding the potential dan• architect or architectural student looking Kulik Williams + Associates (MKW), opened Out of the planned six segments, only seg• ger of isolating the pier area. A sculpture to practice in Britain from now on. to the public. Located between West 54'" ment four, which runs from Houston to the by artist Malcolm Cochran called Private and 57'" Streets, the $12.5 million park is part Gansevoort peninsula and was designed by Passage, a cumbersome and incongruous There are no official figures for how of the construction initiative that the Hudson Abel Bainnson Butz, has been completed. piece that plays on the classic ship-in-a-bot- many American architects are currently River Park Trust, a New York city and state Dattner Architects and MKW are collabo• tle, is installed nearby. practicing in Britain. However, the organization established in 1998. The rating on two segments, which span from Piers 66 and 84 and the other three unfin• American Institute of Architects UK branch Westway plan of the 1970s, which was ulti• West 25'" to 59'" streets and are budgeted at ished park sections are expected to be has 166 registered members, of whom mately abandoned in 1985, also would have $88.5 million. "The trick was to balance completed in late 2006 and early 2007. JK six are students. created a strip of waterfront parks over an all the competing interests," said Michael Anyone wishing to follow in their foot• underground highway. Three decades later, Heuberger, a principal at Dattner. "The city, steps should be prepared to face some the reality of an accessible, green waterfront the state, the public, and the trust were all WWW.ARCHPAPER.COM tough hurdles. Non-British architects who is taking shape, segment by segment, involved in the design process." train and qualify in Britain must now designed by firms including Sasaki & For their section, the two firms designed a leave for two years before working there,

Be a part of the 3rd Annual openhousenewyork weekend presented by Target, New York City's largest celebration of architecture and design! October 8 & 9, 2005 Recommend a completed architectural project in any of the five boroughs that the public can visit free of charge. Lead a tour of a project or neighborhood that has special architectural and design qualities. Make a financial contribution to MV support our mission of celebrating ACE Communications is NYC's great architecture & design. your source for integrating Get involved by volunteering as an technology and systems into individual or with your colleagues. design and architecture. The 3rd annual openhousenewyork - The government, legal, Columbus Day Weekend - October 8 & 9, 2005 retail, education, finanical, For more information contact library and museum markets program manager, Stefanie Slade are already on board. at [email protected] or visit www.ohny.org Shouldn't you be?

1» >^

^ ^0^^ Call us; for more infinformatioc n 0 NYSCA W' ^ _ on how to work presentation technolocjv into youi designs. M^m ki 1.800.4687667 or log on to OOOG ARCHITECTSNEWSPAPER communications www.aceav.com 00 Os 3 O LU

after the Home Office closed a loophole in its immigration system. Separately, the UK's Architects Registration Board (ARB) has increased registration fees for foreign You're Only 2 Blocks Away architects by 80 percent and toughened up the test for registration. Architect David Chipperfield, who employs 11 Brits in a workforce of 50, From A More Impressive Project condemned the crackdown. He said, "The most interesting architecture today comes from Japan, Switzerland, and Spain and we are trying to benefit from those places that are producing good architects. Anything that makes the employment of foreign architects harder is a disadvantage. It is important we have a multinational workforce." The ARB's new assessment procedure kicked in at the end of the year. The new procedure costs £2,000 for parts one and two, and students must attend an inter• view at which they are supposed to prove that they are qualified to call themselves an architect. Many of them fail. Lily Lau, a Canadian architect working for Feilden Clegg Bradley, came up against the new rules and has decided to abandon practicing in Britain. "I had to produce a lot of documentation for what was essen• mm 0001 tially a 45-minute interview," she said. "That's really not sufficient time to digest five years of architectural education. I wonder if the panel actually read any of it; there was no mention of it in the inter• view itself." Lau thought the interview was a for• mality and, expecting to be recognized as part two equivalent, she began a part three course at Cambridge University, which she has since had to drop. Lau has decided to return to North America to qualify and register where, she said, she "understands the system." In a separate move that raises questions about the viability of British companies taking on overseas students at all, the Home Office has stopped allowing stu• dents who come here on training visas for their part-three study to take up a job upon qualification. Instead, they must leave the country for at least two years before they are allowed to apply for a permit to return and work. According to Liz Sutton, head of human resources at American firm HOK's British office, the move could make companies think twice about hiring overseas work• ers. She said, "Unless you know you only want someone for a short time or a spe• cific job, you don't want to invest time in them [if they cannot stay in the country]." The change in policy has been high• lighted by the case of Changsu Ryu, a Korean architect who had been studying =ACT0RY-GU\ZED CONCRETE MASONRY in Britain and working for RHWL Smooth semi-gloss surface • Versatile applications Architects for three and a half years, but Unlimited colors, scales and patterns who was forced to leave this past winter upon gaining his part three. Excellent fire, stain and graffiti resistance Lawyer Toby Fournier, a partner with Long-term durability and low maintenance • Qualifies as sanitary walls leading immigration firm Paul Simon Solicitors, fought to keep Ryu in the coun• try. "You have to ask why architecture stu• dents would come and study in the UK," he said. "This is a negative development for everyone concerned." ELLEN BENNETT New Jersey Chapte

1-888-452-9348 SUBSCRIBECaiARCHPAPER.COM Visit www.claytonco.com CONCRETETBL

CLiVttiii llUu-k i:. .1 /((t'Jl.'ir-i/ ftl.ini/I.K liiifi . >1 './K-, Ir.i I il.i.w^ II CO O 3 ^ LLl

THE ARCHITECT'S NEWSPAPER JUNE 22, 2005

LU Related, Chakrabarti will be managing ZARDINI TO the redevelopment of the Farley Post M HEAD CCA Office and Moynihan Station. _l BEST IN SHOW The Canadian Center for Architecture BATTERY < has appointed architect Mirko Zardini For those who didn't make it to the INTERNATIONAL CONTEMPORARY LU as its new director. Zardini edited BOSQUE OPENS Jacob K. Javits Convention Center this FURNITURE FAIR Casabella from 1983 to 1988 and Ingo Maurer (body of work) On June 6, the Battery Bosgue, a spring for two major design trade fairs— I— Lotus from 1988 to 1999, and was Art Center College of Design for newly renovated portion of Battery Lightfair international (April 12-14) and the a member of the team that won the Bernhardt Design (new designer)

9 or 900 Kitchens Made To Order Any Style • Any Wood • Any Finish • Any Color When you grow up, give us c coll. We hove greot jobs for senior architects. The Multi-Unit Company!» Luxury Condominiums • Nev/ Construction • Conversions All over the world.

BuUnoa

3aboon Oak Spossat IIH, ['IMP Mohogony fig; KcAo IM Owl

Some price Mkiple

o', Choiry Etimoo We Work Closely with Developers and Architects Anigre R I T A U E Imbuya S Our Design or Yours - You'll Get o Picture Perfect Kitchen I Wenge Padouk S I E G E L Call Us Today Alrormojia Aft. Wolnul Resources Am. Walnut 718-520-1400 Zebrowood [email protected] I 212.682.2100 Bubinga »ow«>odi Showroom and Design Studio: www.ritasue.com an aquent company 71-32A Main Street Sop*. Some price Flushing, NY 11367-2023 as Pw Yew Fox 718-520-1915 Ebony Sycamore Web: www.a2zdeco.com Mopo Burl Walnut Burl E-Atoii [email protected] Sonto Wood

Flol 01 C3td. Cut. Rol > Factory Direct — Wholesale To The Trade Only WWW.ARCHPAPER.COM A2Z Deco - kifthens fhof makes the sale! ULTRA An Award Winning Firm! CUSTOM r.|i>iii' Member, Archilocluial Woodwork Inslihjle (AWI) Principal. Allied Individual Member, American Inshlule of Architects (AIA) YOUR DOOR TO SUCCESSI ' THE ARCHITECTS EWSPAPER

The Architect's Newspaper celebrates recent and upcoming development in the New York and tri-state area. We will cover development like it has never been done; the residential, the commercial, the well-designed, the environmentally- friendly, and the plain old bad designs.

This is the issue to see and be seen in

Bonus Distribution

2,000 copies to be sent to the top development Contact Karen Begley and real estate professionals. Sales & Marketing Director The Architects Newspaper Ad space close : 7.8.05 212.966.0630 Materials due: 7.15.05 [email protected] LU C\J

< LU

THE ARCHITECT'S NEWSPAPER JUNE 22, 2005

Kids these days... Okay, Okay, so you On a Monday afternoon a few weeks ago, The involved in this process?' It isn't valuable for Architect's Newspaper asked the students whose architects to pretend to be developers; they have probably didn't make work follows in these pages to join us for a casual a particular expertise they can bring to the table, conversation about their experiences at school which is different fi"om that of the developer or it to many of this year s final reviews. To fill and the questions they face as they prepare to join the engineer. In the studio, many of us ultimately you in on what you missed, and to follow the workforce. Ten of the fifteen students— had a sense that architects can come up with David Benjamin, Jeff Carnell, John Gulliford, novel ideas for the organization of buildings." up on our conversations last fall with local Yeon wha Hong, Jonah Gamblin, Tuon Luong, Tuan Luong (RPI):"1 think an important thing deans (See"DeansList"AN 14_9.7.2004), Briget MacKean, John Murphey, Amila we can bring to the table is sensitivity toward site, Salihbasic, and Soo-in Yang—sat down with edi• fi-om the cultural aspects to the more ephemeral we asked the faculty of each of the tri-state tors Anne Guiney, Cathy Lang Ho, and William ones that developers wouldn't necessarily think area architecture schools to select a single Menking to chat about everything from the about. If they're thinking about the bottom line, difference between development politics in New we're thinking about how it might improve the outstanding project from this year's crop York City and the Netherlands to the apparent lives of people in the long term. decrease in the influence of theory on today's John Gulliford (Pratt): "I think that while of student work. Although one project students. As e^qjected, nobody wants to be a CAD developers typically focus on one element or one can never represent the breadth of student monkey, and most felt that a small firm would ftinction, we can make connections between these provide better early experience than a large one. different things, and actually allow one element achievement or faculty instruction at a One of the most interesting questions discussed to have multiple fijnctions. That comes from the given institution, the work below reflects was "What is and should be the role of the archi• places from which we draw inspiration, tlie ques• tect today?" Here's what some of these talented tions we ask." something of the current trends in architec• students had to say. Amila Salihbasic (NYIT): "We can't forget that ture education and pedagogy. David Benjamin (Columbia): "The firstchal • every day we influence people's lives. We can't lenge for us—and it sounds like others here are forget why we're doing what we're doing. We're just as interested in this—is how to move beyond here for the people. The only thing developers care the computer form-making that was so exciting a about is money. It's our duty to shape this world. few years ago, and actually build these things. We We can do this." also want to take on more real-world issues, fi-om Yeon Wha Hong (Cooper Union): "I think using fabrication machines to dealing with devel• architects operate at a whole different scale than opers. I'd hate to lose theory, and hate for archi• the people who have started working in the tects to lose our role as people who can imagine realms that are traditionally the territory of archi• a new world, but 1 want to engage more fully in tects. What makes us different is that we are pub• that world." lic intelleauals, and our generation of architects Jonah Gamblin (Yale): "When everyone first should fight for that. When we build we must got into the studio [with developer Gerald Hines], address historical context and social fabric. We we were all trying to actually be like developers. have a specific language, which has its own histo• But later, there was a moment when we started ry, its own language. We're engaging in this dia• to ask ourselves, 'Okay, what qualifies you to be logue at a completely different scale."

Amila Salihbasic Tuan Luong David Benjamin Soo-in Yang Jeff Carnell John Guilliford Yeon Wha Hong John Murphey Jonah Gamblin Bridget MacKean

4ff mill LU ro or ^ 3

JEFF CARNELL, 27, B.ARCH 2006 DAVID BENJAMIN AND SOO-IN YANG. 32 AND 30, RESPECTIVELY, M.ARCH I 2005

CITY COLLEGE OF NEW YORK COLUMBIA UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE, 4TH-YEAR DESIGN (FALL) PLANNING, AND PRESERVATION WEEKEND RESIDENCE IN UPSTATE NEW YORK ADVANCED ARCHITECTURE (SPRING) INSTRUCTOR JOE TANNEY OPEN RESEARCH INSTRUCTOR: REINHOLD MARTIN Jeff Carnell's fourth-year studio assignment was to design a 3,500-square-foot weekend retreat on a 2-acre lakeside lot in upstate New York. He set the house on the steepest part of the sloping site This project, titled Better, Cheaper, Faster, asks the question, "What if bottom-line development and so that residents park at the highest level to enter the house. From the office and laundry on that good architecture were the same thing?" Its designers David Benjamin and Soo-in Vang believe level, one descends to ever more private spaces below until reaching the master bedroom just six that new computer-based fabrication techniques can offer a link between good architecture and the feet above the lake's water level. "I wanted to reinforce the remove from the city with an inversion bottom line mentality of real estate developers. They designed a lightweight, collapsible framing of the standard order of houses," said Carnell. system of CNC-milled 1/4-inch Baltic birch plywood that could replace typical balloon framing and its formal limitations. The designers tested the system by building a 10-foot cube. "We wanted to use CNC technology for its efficiency rather than for form," Benjamin explained, "and in the process develop new ways for architects to engage the process of design and construction." The two recent graduates are starting a firm called The Living (www.thelivingnewyork.com) to develop the idea in larger-scale projects.

ilk

YEON WHA HONG, 22, B.ARCH 2005

CORNELL UNIVERSITY, COLLEGE OF ART,ARCHITECTURE AND PLANNING COOPER UNION IRWIN S.CHANIN SCHOOL OF ARCHITECTURE OTTOIST DIVERSIONS: FROM FORM FINDING TO PATTERN-BREEDING THESIS (FULL YEAR) (FULL YEAR) OPEN RESEARCH OPEN RESEARCH INSTRUCTORS: ANTHONY VIDLER, GUIDO ZULIANI, STEPHEN RUSTOW, TORS. GIRO NAJLE AND JOSE ARNAUD ANTHONY CANDIDO,TAMAR ZINGUER, AND RICARDO SCOFIDIO

This research project titled Cantenary Bifurcations, Tree Organizations began in a studio based on "It was interesting for me as a New Yorker to research the whole city of Kyoto as a site," said Frei Otto's experiments with catenary chain net structures. Cataloguing structures of catenary curves Yeon Wha Hong of her project, RE-Writing of the Kyoto City Block: Inventing a Language of Spatial and the spatial effects that emerge by varying the distance between their endpoints, Thomas Wong Characters. "The East-West orientation of blocks in Manhattan is reversed there, and there is a dif• began building structures that bifurcated in tree-like patterns. To create a spatial enclosure modeled ferent relationship of streets to blocks." Hang used this research, as well as an interest in the formal on his research, Wong looked at "the inherent logic of growth and directional accumulation of site similarities of Japanese joinery, old maps of Kyoto, and pages produced with moveable type to specific conditions in local Ithaca fauna, such as vines on pergola ribs." According to Wong, "The design a block in the city for the relatively transient foreign community there. She explained that more branching that happens, the better the structural capacity of the shell." she was interested in the program because it was an "alien overlay on a fixed urban condition." LJJ ^d"

< LU

THE ARCHITECT'S NEWSPAPER JUNE 22, 2005

SANTIAGO RIVERA ROBLES-MARTINEZ, 32, M.ARCH III 2005 JOHN MURPHEY, 25, B.ARCH 2005

NEW JERSEY INSTITUTE OF TECHNOLOGY PARSONS SCHOOL OF DESIGN 5TH-YEAR COMPREHENSIVE (SPRING) THESIS (FULL YEAR) OPEN RESEARCH HOTEL, OPEN SITE INSTRUCTOR RICHARD GARBER [NSTRUCTO DAVID J. LEWIS

This articulated structure may look like the bastard child of Ron Herron's iconic "Walking City" When Houston Street was widened in 1940, a row of tenement buildings was knocked down, and a dinosaur skeleton, but it's actually the result of adapting plywood yacht hulls and modular leaving several odd-shaped lots. Santiago Rivera Robles-Martinez's thesis project returns a triangu• submarine construction methods to the design of what John Murphey calls "a Command Pod for lar piece of that space to residential use, albeit in the form of a hotel, which would also allow him rapid deployment by scientists and researchers in the field." Murphey intends the structure's to blend public and private uses. "The typical New York facade breaks public and private abruptly ribs to be built out of water-jet cut laminated plywood, and covered with a molded plywood shell. and I wanted to challenge that architecturally," he explained. The sidewalk is periodically pulled The pod's adjustable steel legs lift it off the ground to withstand severe environmental conditions. into the building to create a series of public spaces such as a DJ lounge and an open-air cinema; Murphey emphasizes that his current pod is a base model only and may be modified as needed. Rivera Robles-Martinez thinks of it as an inhabitable facade.

JOHN GULLIFORD, 24, B.ARCH 2005 AMILA SALIHBASIC, 28, B.ARCH 2005

PRATT INSTITUTE NEW YORK INSTITUTE OF TECHNOLOGY THESIS (FULL YEAR) THESIS (FULL YEAR) OPEN RESEARCH OPEN RESEARCH rORS; MARC SCHAUT, GORDON KIPPING INSTRUCTOi- MARK CHEN John Gulliford chose his Astor Place site for his project Social Synttiesis because of its extraordi• For a contemporary dance center on the south side of Houston Street, Amila Salihbasic considered nary energy: the Cooper students, skate rats, honking taxis, and passersby who always seem to be the work of a number of contemporary dance troupes. She said she thought a great deal about around. That energy also suggested a natural analog for his skyscraper: "In starting my research, the way that dancers in the New York-based group De La Guards managed to occupy walls and I was drawn to the human body—there are so many systems coexisting at once—and I started to ceilings as well as floors, and Diller + Scofidio's work on the dance piece Moving Target (1996). think of the building as a vertical body," said Gulliford. He wanted to pull the energy up into the On the facade of her design, a single plane folds up and around to enclose distinct programmatic building at certain points, and began to think of them as chakras, or the seven spiritual points spaces, both public and private. "I wanted to show movement—pedestrians, what is happening believed to be in the human body. The program fell into place accordingly, with an uninhabited underground, all the vehicles, and the people within," said Salihbasic. "The building is a kaleido• "Divine Zone" at the top of the tower, and a public "Energy Lounge and Study" at the base. scope showing all of that at once." LU in

< LU

_ BRIDGET MACKEAN, 22, B.ARCH 2005

PRINCETON UNIVERSITY SCHOOL OF ARCHITECTURE RENSSELAER POLYTECHNIC INSTITUTE INTEGRATED BUILDING (FALL) THESIS (FULL YEAR) HOTEL AND RESTAURANT IN THE HUDSON VALLEY OPEN RESEARCH . PAUL LEWIS, HILLARY BROWN, AND NAT OPPENHEIHER INSTRUCTOR: JEFFERSON ELLINGER

Erica Goetz "harnessed energy from the natural forces of the site" for this project for a lakeside This proposed artists' residence in Maine's Arcadia National Park is sited next to a beach with 15- hotel and restaurant in the Hudson Valley. She created a variant of a trombe wall for the facade: foot tidal swings. Bridget MacKean first created digital maps of the site and used animation tech• the internal side serves as the retaining wall, and transmits the temperature of the earth (cool in nology to map how the oscillation of the tides transformed the landscape over time. She employed the summer and warm in the winter) inside. The external concrete wall is faceted in such a way this technique to design her building as a part of the natural system. MacKean stressed that her that heat is deflected in the summertime, and absorbed in the winter. Instructor Paul Lewis said, goal with the project was oriented more toward research than design: "I wanted to experiment "Erica's design has a formal complexity that is seductive yet based on the simple argument of a with Maya in a more analytic manner, instead of just using it for form-making." self-shading building."

TUAN LUONG, 24, M.ARCH I 2005 CHRISTOPHER HAYNER, 22, B.ARCH 2005

STATE UNIVERSITY OF NEW YORK, BUFFALO SYRACUSE UNIVERSITY SCHOOL OF ARCHITECTURE THESIS (FULL YEAR) 5TH-YEAR THESIS (FULL YEAR) PROJECT: OPEN RESEARCH OPEN RESEARCH INSTRUCTOR: OMAR KHAN INSTRUCTORS: ELIZABETH KAMELL AND IVAN RUPNIK

This installation focused on a 1/2 scale model of downtown Buffalo's highway system. Titled This mobile home design project titled TransPLANTing a H/ligrant Community is intended to serve Fluxuations: the Perceptual Transformation of Architecture, the project included a machine created migrant workers, solving the itinerant group's long-standing housing problem. Designer Christopher by Tuan Luong that could scan across the city model on ceiling and floor tracks and project the Hayner argued that traditional barrack-like housing does not allow for "either privacy or individuality, information in full scale onto an adjoining wall. Luong explained that he was interested in the and at the same time cuts the workers off from their adopted communities." Hayner started with transfer from an architect's model to full-scale realization: "The machine creates a dialogue back typical mobile home technology and a utility core for easy accommodation in RV parks, and modi• and forth between the scales and questions the working design method of the architect." Luong fied the unit to create a unique configuration. For example, a pull-out porch with a barbeque allows hopes to further develop a process whereby information projected on the walls can generate the the home to become part of a larger community, while private quarters face the back. The home design for a building. also has a greenhouse on its roof to grow food for the poverty-stricken and land-starved community. LU NO

< LU

THE ARCHITECT'S NEWSPAPER JUNE 22, 2005

RALPH BAGLEY IV AND JONAH GAMBLIN, 25 AND 27, RESPECTIVELY. M.ARCH I 2005

YALE SCHOOL OF ARCHITECTURE ADVANCED DESIGN (SPRING) PROJECT: FASHION MUSEUM AND SCHOOL IN MILAN,ITALY ^^^^ INSTRUCTORS:STEFAN BEHNISCH AND GERALD HINES

Under the guidance of the architect Stefan Behnisch and the developer Gerald Hines, Ralph Bagley IV and Jonah 4 Gamblin developed a proposal for the Fondazione Nicola Toussardi (a fashion museum and school in Milan), which is the public element of Garibaldi Republica, a project cur• rently in development by Hines. According to Gamblin, the two spent the first half of the semester developing a soft• ware program that would help them synthesize financial information and site demographics, and used the results to develop planning strategies for the building. Only then did they begin to design the building. According to Gamblin, "We were studying the financial implications of different architectural decisions, and looking at how you can use the economic logic of a project as a way to find new design strategies, as opposed to seeing it as a restriction."

ARCHITECTSNEWSPAPER Subscribe to New York's independent architecture news source.

ARCHITECTS ARCHITECTS ARCHITECTSNEWSPAPER ARCHITECTSNEWSPAPER ARCHITECTSNEV^SPAPER 10 01 04 06 08

; IrtiTsl'.SA

(E PIANO-ISSIMO

ADOPTS TWINS

Keep up with all the news you need, the criticism you relish, the gossip you crave (you know you do). See what your colleagues are doing. Learn what makes the city tick. SUBSCRIBECDARCH PAPER.COM CO

LU > LU

work that are less known, particularly their separate work from the1950s and 60s. They are obviously, among other things, histori• Begin ans. What they are trying to do is to under• stand how their unique and history-making achievement came about. They explore the with possible answer in pre-Denise Bob, and pre-Bob Denise. Surprise number one is Venturi. He the always tends to come across as the consum• mate gentleman and scholar, upright, world• ly, soft-spoken, mild-mannered, enamored of Alberti, Michelangelo, and Borromini. Beginning A graduate of Princeton, which was then the epicenter of iconology studies under Erwin Panofsky and Rensselaer Lee, he is one of the most literate readers of the clas• sical tradition—and its mannerist re-inter• preters—as a system of signs. But here, alongside what he always refers to as his "charming and intelligent" self, his angry- young-man alter ego emerges. His pugilis• tic, almost punky style of writing in places Architecture as Signs and Systems for is in keeping with this spirit, dissing archi• a Mannerist Time tecture he doesn't like and promoting what Robert Venturi and Denise Scott Brown Belknap Press, S35.00 he does. He tosses the word Viva around so often that he almost sounds like Elvis Presley, and argues for what he once called Architecture as Signs and Systems for a the messy vitality of the built environment, Mannerist 77rr>e takes Robert Venturi and for an architecture that promotes Denise Scott Brown back to where they richness and ambiguity and deals with started: Las Vegas. Few books have shaped the complexities of the city in a contextual the architectural debate as much as their manner. Among the works presented in this 1972 Learning from Las Vegas. Their first vein are pre-Denise projects such as Grand's collaboration, co-written with Steven Drugstore (Philadelphia, 1961-62), Guild Izenour, was a pivotal book that shook big- House (Philadelphia, 1961-66), Fire Station bluff postwar "high" modernism to its roots No. 4 (Columbus, Indiana, 1966-68), and the and reoriented architectural thinking forever. unbuilt National Collegiate Football Hall of Its embrace of the lowly "ordinary and Fame (1967). This Venturi loves gas stations banal" still packs an enormous punch and and drive-in restaurants and main streets in remains one of the best-selling architecture small towns. If he had been an artist, he would books. And, at ages 83 and 78, respectively, have been Ed Ruscha. If he had been a musi• Venturi and Scott Brown can still bring down cian, he would have been Charles Ives. the house with the radical nature of their Scott Brown's section is equally if not thinking, as I recently witnessed at their lec• more surprising, especially because much tures in Delft and Vienna which drew less is known about her as a person. In a crowds of nearly 1,000 people each. series of intimately written vignettes she This new book, a catalogue raisonne of recounts how she came to Las Vegas by way their built and unbuilt work, is self-reflective of multicultural Africa, where her Jewish and introspective. Surprisingly autobio• family from Latvia had settled at the turn graphical, it delves into the history and pre• of the 20"' century. She tells of how, with her history of their encounter—they first met first husband, fellow South African architect at the University of Pennsylvania in 1960— Robert Scott Brown, who died in a car crash providing a glimpse into what prepared (and to whom Learning from Las Vegas is them for each other and what they would dedicated), she toured the Natal province accomplish together. They begin with an photographing the ordinary landscape. elegiac poem by TS. Eliot, from Ttie Four She was fascinated with popular culture, as Quartets ^944): her photographs of billboards in Zulu and English (included in the book) demonstrate. We shall not cease from exploration When she gets to her university years— And the end of all our exploring she studied at the Architectural Association Will be to arrive where we started in London and the University of And know the place for the first time. Pennsylvania—her section reads like a who's who of fascinating postwar urban planning The purpose, Denise writes, is to show figures. She was involved with Independent that "perhaps we, like him, arrive where we Group, Alison and Peter Smithson, New Venturi and Scott Brown's 2001 riff on Thomas Scott Brown's independent formation and started and know that place, if not for the Brutalism, Arthur Korn; and later in the Cole's The Architect's Dream (top) and their explaining the fusion of their ideas. The book first time, then in another way." 1994 proposal for a New York City skyscraper United States, with Paul Davidoff, Herbert is an exhilarating gush of fresh air, the most Few people have managed to keep up a (above). Gans, David Crane, Louis Kahn, and Walter rousing architecture book I have read for more harmoniously brilliant and productive Kristaller, the latter two her collaborators on her teaching post at Penn for a faculty posi• years. It's caring, humane, deeply knowledge• relationship than they. (How else could their the Chicago Area Transportation Study of tion at UC Berkeley, where she taught urban able, and bursting with architectural and partnership have survived the absurd and 1959. Her chapter "Activities as Patterns," design. In 1967 she left for UCLA. From there, urban design ideas that have only gained in deeply insulting granting of the Pritzker Prize with its emphasis on urban-geographical she invited her former Penn colleague relevance since the 1960s, as globalization to only one of them if they hadn't been har• mapping techniques, illuminates her expert• Venturi to lecture. In Venturi, she said she casts ever more doubt on the received truths monious?) Until now, however, this harmony ise in a field which has sadly disappeared found the only architect who supported the of "high" architectural culture. has taken the form of a single authorial voice from university curricula. She touches on social and political concerns of planners. in their books. In this book, their individual (but unfortunately doesn't expand upon) her She invited him to go to Las Vegas with her. MANE LEFAIVRE IS A CRITIC AND HISTORIAN. voices are clearly distinct for the first time. involvement in the civil rights movement The rest is history. SHE CHAIRS THE HISTORY AND THEORY DEPART• MENT AT THE APPLIED ARTS ACADEMY IN Venturi narrates the first section, "Signs," and and with Architects, Designers and Planners Architecture as Signs and Systems for Scott Brown the second, "Systems." This VIENNA AND IS A FELLOW AT THE TECHNISCHES for Social Responsibility. She also recounts a Mannerist Time is an intellectual history, UNIVERSITEIT IN DELFT. SHE IS PREPARING A split narrative sheds light on aspects of their her experience as a teacher. In 1965, she left charting the genealogy of Venturi's and BOOK ON DIRTY REALISM (PRESTEL. 2005). >- 00 <

THE ARCHITECT'S NEWSPAPER JUNE 22, 2005

Darren Almond THROUGH AUGUST 13 Matthew Marks Gallery Value Meal: 523 West 24th St. Design and (over)Eating www.matthewmarks.com Center for Architecture 536 LaGuardia PI. Wegee: Idiot Box wvvw.aiany.org Matthew Marks Gallery THROUGH AUGUST 14 521 West 21st St. Glasshouses: The www.matthewmarks.com Architecture of Light and Air THROUGH JULY 2 New York Botanical Garden 200th St. and Kazimiroll Blvd., Alan Sonfist Bronx Time Landscape: Reflection www.nybg.org (1965-1978-Present) Paul Rodgers/9W Gallery THROUGH AUGUST 19 529 West 20th St., 9th Fl. Bridge Freezes Before Road www.paulrodgers9w.com Alan Sonfist's 1965 conception of Gladstone Gallery 515 West 24th St. THROUGH JULY 3 JL project built at the corner of LaGuardia Place and Houston Street www.gladstonegallery.com Disegno: The 180th Annual ened at the Paul Rogers/9W Gallery in May. A forerunner to the land Exhibition THROUGH AUGUST 20 National Academy of t of the 1960s, Time Landscapes is an urban park that restores the Richard Hoeck, Marko Lulic, Design Museum John Miller, et al. 1083 5th Ave. namre oriNew York s pre-colonial past. The park was recognized as a landmark in Living and Working in Vienna vvww.nationalacademy.org 1998. The c\hil->ili()n leal ii res lithographs, sketches, and photographs dating from Austrian Cultural Forum 11 East 52nd St. THROUGH JULY 6 the earliest phases of the pro ject to this year, including retrospective studies such as www.acfny.org Time Landscape Past, Present, Future (2005, above). Situating: Young Architects Forum THROUGH AUGUST 26 Urban Center Alan Sonfist Arne Jon Jutrem, 457 Madison Ave. Time Landscape: Reflection (1965-1978-Present) Cathrine Maske, et al. Paul Rodgers/9W Gallery, 529 West 20th Street, 9th Floor. Through July 2 www.archleague.org Breakable Art: Contemporary Glass and Ceramics THROUGH JULY 16 from Norway What Sound Does Scandinavia House THROUGH JUNE 25 A Color Make? JUNE 28 JUNE 26-OCTOBER 9 58 Park Ave. LECTURES Isamu Noguchi, et al. Ian Burns, Adam Cvijanovic, Eyebeam David Altmejd www.scandinaviahouse.org Down the Garden Path: Gedi Sibony 540 West 21st St. JUNE 22 6:30 p.m. Artist's Gardens Since 1960 Jack www.eyebeam.org Lance Hosey, Craig Schwitter, Solomon R. Guggenheim Michael Kenna Cuchifritos Buro Happold Museum Queens Museum of An Robert Mann Gallery Flushing Meadows 120 Essex St. THROUGH JULY 18 Skin and Bones: Sustainable 1071 5th Ave. 210 nth Ave., 10th Fl. Corona Park, Queens 212-598-4124 The High Line Structural Design www.guggenheim.org www.robertmann.com www.queensmuseum.org Museum of Modern Art 6:30 p.m. Hilary Harkness 11 West 53rd St. Center for Architecture JULY U JUNE 29 - JULY 30 Mary Boone Gallery www.moma.org 536 LaGuardia PI. Patty Chang Meteorologic Phenomena Friedrich Froebel, Jeannine 745 5th Ave. www.aiany.org Shangri-La Wave Hill Glyndor Gallery Mosely, Shea Zellweger THROUGH JULY 29 6:30 p.m. West 249th St. and Philosophical Toys www.maryboonegallery.com The Subjective Figure Eric Lam New Museum of Independence Ave., Bronx apexart Robert Miller Gallery 9 to 5 Green: Contemporary Art www.wavehill.org 291 Church St. Ron Arad 524 West 26th St. Greening Your Workspace 556 West 22nd St. www.apexart.org Barry Friedman Ltd. wvvw.robertmillergallery.com 6:30 p.m. www.newmuseum.org THROUGH AUGUST 29 32 East 67th St. Hafele Showroon Friedlander JUNE 29-AUGUST 22 www.barryfriedmanltd.com THROUGH JULY 30 25 East 26th St. JULY 21 Museum of Modern Art 2005 Young Architects Antony Gormley www.greenhomenyc.org Diane Stuart Organic 11 West 53rd St. Program Proposals Sean Kelley Gallery New York's History Through Safe-T-Gallery www.moma.org Museum of Modern Art 21 East 26th St. JUNE 23 its Manholes 11 Front St., Brooklyn 11 West 53rd St. www.skny.com www.safetgallery.com Evan Lipstein 12:00 p.m. THROUGH AUGUST 31 www.moma.org High Rise Building Safety Hugo Martinez 92nd Street Y Tina Rohrer 6:30 p.m. Wall to Wall Drawings Project in the Projects 35 West 67th St. JUNE 29- SEPTEMBER 29 Nature Squared Center for Architecture www.92y.org Drawing Center Viewings by appointment Alejandro Diaz NoHo Gallery 536 LaGuardia PI. 35 Wooster St. www.martinezgallery.com A Can for All Seasons 530 West 25th St., 4th Fl. www.aiany.org www.drawingcenter.org Grand Concourse, Bronx 212-367-7063 EXHIBITIONS THROUGH SEPTEMBER 3 wvvw.publicartfund.org JUNE 25 The Joan MKchell City Art: New York's Percent JUNE 23-AUGUST 17 Long Bin-Chen Jan Avgikos Foundation 1997,1998 & 1999 for Art Program Bridge Freezes Before Road JUNE 30- SEPTEMBER 9 Buddha DNA On Agnes Martin Grant Recipients Center for Architecture Gladstone Gallery Along the Way: MTA Art For Frederieke Taylor Gallery 1:00 p.m. Cue Art Foundation 536 LaGuardia PI. 515 West 24th St. Transit, Celebrating 20 Years 535 West 22nd St., 6th Fl. Dia: Beacon 511 West 25th St. www.aiany.org gladstonegallery.com of Public Art www.frederieketaylor 3 Beekman St., Beacon www.cueartfoundation.com UBS Art Gallery gallery.com www.diaart.org THROUGH SEPTEMBER 4 JUNE 23 - SEPTEMBER 25 1285 Avenue of the Americas Aernout Mik, Dan Cameron Atomica: Making the Peter Wegner: Matisse: The Fabric of Dreams www.ubs.com THROUGH JUNE 30 Refraction Invisible Visible Lever Labyrinth Metropolitan Museum of Art Hiroshi Sugimoto Esso Gallery 2:00 p.m. 1000 5th Ave. JULY 8 - SEPTEMBER 10 Conceptual Forms Lever House Lobby 531 West 26th St., 2nd Fl. New Museum of www.metmuseum.org Patty Chang: Shangri-La Sonnabend 390 Park Ave. Contemporary Art New Museum of 536 West 22nd St. www.essogallery.com 310-586-6886 556 West 22nd St. JUNE 24-25 Contemporary Art 212-627-1018 www.newmuseum.org THROUGH AUGUST 7 A History in Stone, Brick, and 556 West 22nd St. Hella Jongerius Selects: www.newmuseum.org Chanel Wood: Architectural Artifacts Changing Streetscapes: Works from the JUNE 27 New Architecture and Metropolitan Museum of Art of Demolished Buildings Permanent Collection Mierle Laderman Ukeles, Open Space in Harlem 1000 5th Ave. Brooklyn's Other Museum JULY U - OCTOBER 9 Cooper-Hewitt, Phil Gleason, Peter Reed City College www.metmuseum.org National Design Museum of Brooklyn (B.O.M.B.) Jean Helion Fresh Kills Landfill: Art and Convent Ave. and 138th St. 2 East 91st St. Ill Hall Street, Brooklyn National Academy Museum Engineering Equals Public Art wvvw.ccny.cuny.edu THROUGH AUGUST 10 ndm.si.edu 718-789-5218 1083 5th Ave. 6:30 p.m. www.nationalacademy.org Changing Tides II: Center for Architecture THROUGH JULY 1 Envisioning the Future of THROUGH SEPTEMBER 5 JUNE 26 - SEPTEMBER 30 536 LaGuardia PI. Michael Elmgreen, the East River 2005 Young Architects CONTINUING Sunscapes: www.aiany.org EXHIBITIONS Ingar Dragset Urban Center Program Our Magnetic Star End Station 457 Madison Ave. American Museum of RS.1 Contemporary Art Center THROUGH JUNE 24 22-25 Jackson Ave., Queens Architects on Art 2005 Bohen Foundation www.mas.org Natural History LIST YOUR EVENT www.ps1.org Cooper Union 415 West 13th St. Central Park West and 79th St. DIARYC* ARCHPAPER.COM 7 East 7th St. 212-414-4575 www.amnh.org www.cimarchitects.org >- a.

<

Enrique Norton THROUGH OCTOBER 23 JULY 9 - AUGUST 14 JULY 11-15 Three New Buildings for Extreme Textiles: Raoul Walsch Retrospective Summer Design Institute: New York City Designing For High Museum of the Moving Image What is Design? Museum of the City of Performance 35th Ave. and 36th St., Cooper-Hewitt, New York Cooper-Hewitt National Queens National Design Museum 1220 5th Ave. Design Museum www.movingimage.us 2 East 91st St. www.mcny.org 2 East 91st St. ndm.si.edu www.ndm.si.edu CONTINUING Steve Powers, Os Gemeos, FILM & THEATER JULY 11 - 29 Beatriz Barral, et al. Robert Smithson Ong Keng Sen THROUGH JULY 3 The Dreamland Artist Club Whitney Museum of Ancient Technologies, Asian Urban Youth Films Various venues in American Art Dramaturgy, and Game Museum of the Moving Image Coney Island 945 Madison Ave. The Kitchend 35th Ave. and 36th St., www.creativetime.org www.whitney.org 512 West 19th St. Queens www.thekitchen.org www.movingimage.us THROUGH SEPTEMBER 10 THROUGH OCTOBER 30 Policy and Design for Jim Hodges JULY 19 THROUGH AUGUST 22 WALL TO WALL DRAWINGS Housing: Lessons of ttie Look and See Storefront for Art and Bryant Park Summer The Drawing Center, 35 Wooster Street Urban Development Ritz-Carlton Plaza Architecture 2005 Benefit Film Festival June 18 through July 30 Corporation 1968-1975 2 West St. The Apartment Bryant Park Center for Architecture www.creativetime.org 213 West 23rd St. www.bryantpark.org The Drawing Center invited seven emerging artists to design 536 LaGuardia PI. www.storefrontnews.org site-specific works tied together by the theme of the wall, for www.udchousing.org THROUGH NOVEMBER 7 an exhibition opening June 18 titled Wall to Wall Drawings. Agnes Martin The resulting pieces are unsurprisingly eclectic and employ a Aernout Mik; Refraction ...unknown territory... WITH THE KIDS diverse range of media. The exhibition includes projects that New Museum of Dia: Beacon THROUGH SEPTEMBER 2 study how the wall connects to its environment, such as Contemporary Art 3 Beekman St., Beacon William Kentridge: 2005 Summer Saturdays Avantika Bawa's Un-Space (2003), in which large geometric 556 West 22nd St. www.diaart.org 9 Drawings for Projection on Governors Island forms relate walls to the infrastructure of their buildings and www.newmuseum.org 7:30 p.m. Open visits to suggest interior spaces, and Sun K. Kwak's piece One Hundred THROUGH DECEMBER 31 Prospect Park Bandshell, Governors Island One Hours of Conversation (2004), which uses undulating lines Sol LeWitt Brooklyn THROUGH SEPTEMBER 18 www.govisland.org to suggest walls as potentially organic bodies. Other projects Curved Wall With Towers, Tony Oursler www.publicartfund.org disrupt the space of the wall, as in Mark Licari's Portrait of Ed Circle With Towers Metropolitan Museum of Art Hamilton (2004), which invades it with mythological creatures 1000 5th Ave. Madison Square Park JUNE 25 BEYOND and objects, or in Chris Sauter's IVIind and Body (2005, above), www.metmuseum.org www.madisonsquarepark.org Kitty Brazelton, Lee Hayla, JUNE 29 - OCTOBER 17 which punches holes in its wall creating abstract constellations. Matthew Shipp: Kitchen D-Day, Modern Day Design Danny Lyons THROUGH APRIL 10 House Blend Finale Andy Warhol Center Pompidou The Destruction of 8:00 p.m. Georges Pompidou, Paris Lower Manhattan Dia's Andy: Through the The Kitchen www.cnac-gp.fr Museum of the City of Lens of Patronage 512 West 19th St. New York Vera Lutter www.thekitchen.org THROUGH JULY 1 1220 5th Ave. Nabisco Factory 1100 Architects www.mcny.org Dia: Beacon Detail et Desir 3 Beekman St., Beacon William Kentridge: Galerie Blanche THROUGH SEPTEMBER 24 www.diaart.org 9 Drawings for Projection La Premiere Rue, Unite Francisco de Goya: 9:00 p.m. d'Habitation, France Los Caprichos Central Park Bandshell www. 1100a rchitect.com Chelsea Art Museum FILM & THEATER www.publicartfund.org 556 West 22nd St. JUNE 23 - JULY 28 THROUGH JULY 31 www.cheiseaartmuseum.org New York's First Solar- JUNE 29-30 Brooklyn, Brooklyn Powered Film Festival Robert Melee's Talent Show BROOKUnVIDEO THROUGH SEPTEMBER 26 8:45 p.m. 8:00 p.m. Holeckova 49, Prague Greater New York Solar One at Stuyvesant Cove The Kitchen www.futuraprojekt.com/en WORLDVIEW: PERSPECTIVES ON ARCHITECTURE AND P.S.I Contemporary Art Center East 23rd St. and FDR Dr. 512 West 19th St. URBANISM FROM AROUND THE GLOBE (TIJUANA) 22-25 Jackson Ave., Queens www.cecenter.org www.thekitchen.org THROUGH AUGUST 14 www.worldviewcities.org/tijuana/main.html www.ps1.org Vanishing Point JUNE 27 - JULY 1 JULY 8-10 Wexner Center "Tijuana is primarily a result of illegal or illicit acts," according THROUGH OCTOBER 2 Monica Bill Barnes A City of Neighborhoods 1871 North High St., to Rene Peralta, "host" of the new Worldview Tijuana website Tolerance and Identity: Limelight: A Sightlines Cooper-Hewitt, Columbus and principal at the Tijuana-based firm Generica. The latest in a Jews in Early New York Performance National Design Museum www.wexarts.org series of websites sponsored by the Architectural League of Museum of the City of 12:30 p.m. New York and called Worldview: Perspectives on Architecture New York 2 East 91st St. Bowling Green Park and Urbanism from Around the Globe, the site looks at Tijuana 1220 5th Ave. ndm.si.edu THROUGH NOVEMBER 20 www.lmcc.net and its architecture through the eyes of its own young archi• www.mcny.org Douglas Coupland JULY 8-AUGUST 26, Super City tects. The user-friendly site carries web-surfers through a brief JUNE 28 FRIDAYS Canadian Centre for history and sketch of the developing city, focusing on how fac• THROUGH OCTOBER 9 tors such as border crossing affect local architecture. Border Lessons of Darkness Design -•• DJs + Dancing Architecture Franz Ackermann. crossing has become an increasingly potent issue since 1994, (Werner Herzog, 1992), 50 min. 6:00 p.m. 1920 rue Baile, Montreal Steve DiBenedetto, et al. when Operation Gatekeeper, an anti-illegal immigration initia• 7:30 p.m. Cooper-Hewitt, www.cca.qc.ca Remote Viewing: tive, was launched by the federal government, requiring the Anthology Film Archives National Design Museum Invented Worlds construction of border blockades such as the fence pictured 32 Second Ave. 2 East 91st St. Whitney Museum of above. The website claims that design has been secondary in www.storefrontnews.org ndm.si.edu American Art FOR COMPETITIONS GO TO Tijuana's architecture due to poverty, yet such a constraint pro• 120 Park Ave. WWW.ARCHPAPER.COM vides fertile ground for architectural innovation. The website's www.whitney.org articles and images weave together a lucid depiction of the city.

Av^ard-winning Images of Architecture THE NEW YELLOW PAGES FOR THE A/E/C INDUSTRIES IS HERE!

FELDER'S The first pan-industry guide of Esto COMPREHENSIVE, its kind, Felder's Comprehensive Choice of photographers and rates 2005 EDITION IS an annual desk reference, Work with colleagues for lower cost THE ANNUAL DESK REFERENCE source guide, and encyclopedic * RESOURCE GUIDE FOR resource directory with literally Archive, storage and output advice ARCHITECTS, CONTRACTORS, tens of thousands of listings ENGINEERS. AND INTERIOR for anyone involved m the busi• Press liaison & stock images available DESIGNERS ness or practice of architecture, design, design/build, construc• Coll to discuss your new projects - 914.698.4060 L. NICK FELDER tion, interior design, facility management and real-estate

7.25 X 9.5, 800 PP development. An essential

B/W. 3 FOUR-COLOR PLATES resource tor your desk or office. AVAILABLE fHOM YOUR LOCAL

$125.00 PAPERBACK BOOKSELLER OR WV/W PAPRESS COM o

LU

o

THE ARCHITECT'S NEWSPAPER JUNE 22, 2005

LU a M BOB AND JANE, PATRON SAINTS QC an For months we have been told by the city that the suc• with allusions to Jacobs' work. It calls for "reestablishing the renderings downplay the expansive shadows such -J cessful redevelopment of the Far West Side depends on the street grid," providing "the relief of green spaces," walls would inevitably cast, they accurately portray the n building a new stadium for the Jets. At the same time the "streetscape elements," and "a variety of building consequences of large-floor-plate development. These city has instructed us not to let the relentless press cover• types"—a list of well-intentioned planning techniques manicured canyons suggest a marriage of suburban ex:] age of the stadium plan obscure the deeper significance of derived from principles Jacobs articulated in her 1961 Dallas and Karl Marx Platz. "Sense of place" plus "large LXJ the Department of City Planning's (DCP) initiatives, among classic. The Death and Life of Great American Cities. floor plates" means an amalgam of festival marketplace X (flying flags, cute kiosks, well-behaved crowds) and sub• Q. which the Far West Side is only one. According to Vishaan So why claim to have defeated the past while freely O Chakrabaarti, former director of the DCP's Manhattan borrowing from it? In order to sell the city's Far West urban office park (inscrutable glass towers with land• }- office, these various initiatives offer far more than an Midtown plan, the DCP must promote itself as innova• scaping and fountains) at an unprecedented gargantuan CO engine for economic development (Shoptalk, AN tive, daring, and forward-looking. The DCP wants us to scale. Would Bob or Jane have foreseen this as the reso• M 03_2.16.2005). They promise a break with the past. With believe its vision is something new. But the DCP's vision is lution of their struggles? on the DCP's new "vision," Chakrabaarti writes, "New York essentially conservative. What they are proposing is not In short, the DCP's plans reflect a split personality has finally exorcised not only the demons of Robert new—simply bigger. Sampling from the work of Jacobs still firmly tethered to both Bob and Jane. It rejects their Moses but also of Jane Jacobs." The epitaph is prema• allows the DCP to address fears of authoritarian urban influence but offers nothing original. Jacobs is the DCP's ture, however. The thoughts and actions of Moses and redevelopment with gestures toward hometown urban- Dr. Jekyll. Intent on doing good. Dr. Jekyll exhorts us to LU CO Jacobs have so deeply influenced current urban planning ism. Nothing conjures this spirit more than the DCP's "encourage variety," "give identity," "provide context," discourse that it seems impossible to conceive of the city's incantation of "a sense of place." Its plan promises to and "restore urban fabric." Moses is the DCP's Mr. Hyde. o future without reaching back to them. Bob and Jane, as "give a sense of place to an area that has no characteris• Willfully blind to alternatives, Mr. Hyde looks at the Far Q_ Chakrabaarti refers to them, are still with us. tic built form," "foster the creation of a sense of place;" West Side and sees raw land. Though the DCP admits CO and create "a sense of place [as al critical component for there's a chronic housing shortage in Manhattan, it LU Take, for example, Chakrabaarti's own rhetoric. He sounds a lot like the master builder when he says things the area's redevelopment." This anodyne reduction of remains determined to build millions of square feet of like, "We just set the stage for a city the size of Minneapolis Jacobs' ideas is fundamental to the DCP's promotional commercial office space on this land. In the DCP's view. to be built on the West Side." Moses was famous for strategy. It is the perfect quality-of-life sound-bite. It is all New York's "preeminence as a world city" depends on arguing the virtues of hugeness. He was equally famous things to all people, whether you live in Williamsburg or dedicating the Far West Side to large-scale office devel• for dismissing the unmodernized city as wasted space. Hell's Kitchen. opment. Building on this hyperbole, the Bloomberg Decades later, we hear his voice again when the Bloomberg So what do you get when you combine "a city the size Administration has repeatedly told the public that the Administration calls the Far West Side a wasteland and of Minneapolis" with a "sense of place"? Look at the success of the entire Far West side redevelopment plan claims that "there's nothing there." animations of the future Far West Side neighborhood on depends on building a football stadium. Ergo, the pre• eminence of New York depends on building a football The ghost of Jane Jacobs, too, far from being exor• the DCP's website (www.nyc.gov/html/dcp/html/hyards/ stadium. No claim could be more Moses-like. cised, haunts the DCP. The department's proposal, Far hymain.html) and observe the massive walls containing West Midtown: A Framework for Development, is rife the romantically named "mid-block open space." Though CHRISTOPHER KILBRIDGE IS A NEW YORK-BASED ARCHITECT. col ARTIST FORREST "FROSTY" MYERS' We were winning the case hands down, but the judge, Deborah A. Batts, steered the whole process against us. a: PIECE THE UALL SERVED AS A MINIMALIST LU She didn't like me. The Wall, or my witnesses. But we won ICON AT THE SOUTHWEST CORNER OF >-j on every point. The most touching testimony was from s: HOUSTON AND BROADWAY FROM 1973 TO Charles Tanenbaum, the owner of the building in the 2002, WHEN THE CURRENT OWNER OF THE 1970s. He's 91 years old now, but he's still sharp. He got up >- BUILDING, SOHO INTERNATIONAL ARTS and testified that he always felt like he owned the piece. He said it's a fixture of the building, like the windows or r*" CONDOMINIUM,TOOK DOWN THE STRUCTURE CO the doors. The judge said his testimony wasn't credible. O TO REPAIR THE WALL. SOHO INTERNATIONAL The strange part is that the opposition called him as their SUED MYERS AND NEW YORK CITY STATING witness—he just didn't say what they wanted him to. In F R THAT RESTORING THE ART WORK WOULD the end, the landlord's lawyer found some obscure piece PREVENT THEM FROM PUTTING UP of paper that was never signed that stated that City Walls I— never transferred the title of the artwork to the landlord A LARGE ADVERTISEMENT ON THE WALL, CO and therefore the landlord does not have to put the piece LU THUS DEPRIVING THEM OF AD REVENUE. back up and take down his ads. MYERS AND THE CITY LOST THE SUIT IN Right now we're in the appeals process, which could FEDERAL COURT ON MAY 13. THEY ARE NOW take as long as a year to work through. The good news is F O GOING TO THE COURT OF APPEALS. that New York City is backing the Landmarks Preservation Commission ruling and The Wall. This case is much big• 1- ger than just this piece. The city doesn't want to lose, co LU because if they do they're afraid everyone will try to 1- UP AGAINST screw with the authority of the Landmarks Commission. o The bad news is that SoHo International asked Judge Batts to make me and the city pay their legal fees—a total 0- of $175,000 against me and $540,000 against the city. THE MALL My knees buckled when I learned this—I became sick. The disgusting part is that the group has made a fortune ized they could make millions of dollars in billboard rev• I've been tortured by this wall for 30 years. It's like an on the billboard advertising they already have in place enue if they took it down. errant child. You haven't heard from him in awhile, and on the scaffolding surrounding the building—advertising In the lawsuit, which we lost on May 13 and are then you get a call in the middle of the night: "Johnny's that the city graciously let them keep up during the trial now appealing, the landlord, SoHo International Arts been bad again." It's tired me out. I've defended it for so to help them defray their legal and restoration costs. If in many years that this time around I just wasn't up for it. Condominium, was in the funny position of arguing that fact the judge rules that I have to pay that money, I'll be The community has been the driving force behind trying it didn't own the artwork, but rather that City Walls, the ruined. This has been nothing but a tragedy for me. to save the thing. They see it as the gateway to SoHo, an nonprofit that originally commissioned the piece and emblem of the neighborhood's history and artistic culture. was disbanded over 20 years ago, was still its owner and Apparently, the lawyer handling the appeals case for New York City is the same person that won the case to There's something about this project that has made it responsible for its upkeep. The company argued that by preserve Grand Central Station in the 1960s and 70s. Let's vulnerable from the start. One past owner of the building forcing it to take care of the landmark, the Landmarks hope he can do the same for The Wall, SCULPTOR FORREST who ran a gallery wanted to project images of the work Preservation Commission was keeping it from making "FROSTY" MYERS LIVED AND WORKED IN SOHO IN THE 1960S. in his shows on The Wallirom across the street. Another money on its property. (In case you're wondering, the HIS CURRENT STUDIO IS IN WILLIAMSBURG, BROOKLYN. owner wanted to paint it his girlfriend's favorite colors. people we're fighting don't need the money. One of the company's board members is David Topping, whose But I was able to sit down with those owners, discuss the IF YOU WOULD LIKE TO WRITE A COLUMN FOR OUR COMMENT work, and convince them that it was worth preserving. father, Dan Topping, owned the New York Yankees— PAGE. PLEASE SUBMIT IDEAS TO EDITORfa^ARCHPAPER.COM The current owners liked The Wall, I think, until they real- he was the one who fired Yogi Berra in 1963.) • tarn • mink I

3^

onsiiltant: Daniel Fr

Department of Iran COMPLEX ENGINEERING SCHEME CALLS FOR New York Construction™ 2004 Project of the Year

Rebuilding Manhattan's FDR Drive while minimizing the impact on traffic flow and the surrounding community earned distinction as New York Constnjction^" 2004 Project of the Year. The complex engineering scheme called for bypassing the reconstruction area by means of a temporary roadway extending 25 feet into the East River. Innovative engineering teamed with a highly skilled workforce spelled success for this unique and challenging heavy construction project, one which involved socketing 64 90-foot steel pipe caissons into the rock of the river bottom for roadway support. To achieve project objectives, including ability to remove the bypass roadway upon project completion, the designers selected steel-the one material that could sustain the rigors of use, and be removed and recycled for

future 'ground breaking" designs. y"'"'.

For more details on this project, see the Project Showcase section of our website, www.siny.org. '*».SS

I Steel Institute of New York 21 I East 43rd Street • New York. NY 10017 • 212-697-5553 • www.s Serving the New York construction industry since 1972 The Architect's Newspaper Marketplace showcases products and services. 00 Formatted 1/16 page, 1/8 page, or 1/4 page, black and white ads are available MARKETPLACE as at right.

CONTACT: Diana Darling Advertising Sales P 0. Box 937 New Yorit NY 10013 TEL 212-966-0630 / FAX 212-966-0633 ddarlinq(l>archpaper.com THE ARCHITECT'S NEWSPAPER JUNE 8, 2005

VanDeb Editions Digital Reprographics Document Management Facilities Management Service Point ETCHINGS and MONOPRINTS • Large Format • IAS: Intelligent Bond Printing Archiving Services • CAD Plotting • On-Site Services • Copying Services - Equipment, project tracking and expense 313 West 37th Street, 7 Floor • Electronic Document recovery for A/E/C firms New York, NY 10018 Management Services Ph: 212.564.5533 Fax: 212.564.5809 [email protected] John Schiff RANG SHRILL 11 E. 26th St., 10th FL New York, NY (212)213-5105 www.servicepointusa.com www.vandeb.com 30 X 44" Boston I Providence I New Haven I New York I Ptiiladelphia I Washington DC

HIGH-RISE BALCONY DOORS BY DOME'L #1 CHOICE OF BUILDERS & INSTALLERS • Meets & Exceeds HC40 Performance Requirements

• Weather-Tight In Extreme potion Weather Conditions

• Maximum Glass Area

• 5 Point Vault Latch

• Structural Thermal Break Potion is a technology design firm that specializes in interactive spaces. • Interior & Exterior Colors Potion uses technology to create aesthetic, organic Can Be Different experiences. By seamlessly integrating digital systems into physical environments. Potion opens up new spaces Dome'l Inc. that inform, educate and entertain. Potion clients include 800-603-6635 Sony Pictures Digital, Highline Restaurant. Asia Society and Museum, and IBM. For more information, please 973-814-1800 Fax 973-614-8011 email [email protected] or call 718.388.5263. 3 Gnnwaid Street, CMon, New Jersey 07013 www.domelinc.com www-potiondesign«com

THE

ARCHITECTSNEWSPAPER DEPENDABLE WWW.ARCHPAPER.COM SURVEY NEW YORK ARCHITECTURE AND DESIGN SURVEY AND CAD DRAFTING FOR THE SUBSCRIBE today to the New York's only architecture and design tabloid! DESIGN /BUILDING PROFESSION The Architect's Newspaper is published twenty times per year. SURVEY EXISTING CONDmONS DEPT. OF BUILDING DWGS. Registered architects in NY tri-state area FREE DESIGN DEVELOPMENT DRAWINGS CONSIRUCnON DOCS. You must fill out the following information. INDUSTRY • Architecture SWAN DRAFTING SERVICES, INC • Tri-state R.A. • U.S. • U.S. Students • Constuction FREE!* $39 $25** • Design CALL FOR FREE BROCHURE OR ESTIMATES. • Engineering • Institutiona • Canada / Mexico • International • Interior Designer 718 837 6800 x 203 WWW.SWANDRAFTING.COM $149 S75 $160 • Landscape Architect • Planning / Urban Design •Must provide RA number ••Must provide proof of valid student I.D. • Academic Mail this form with a check payable to: The Architect's Newspaper, LLC • Government ACCURATE The Architect's Newspaper. P.O. Box 937, New York, NY 10013 • Real Estate / Developer DRAFTING • Media ref 06.22.06 • Other

SIGNATURE REQUIRED

JOB FUIMCTIOIM Name • Firm Owner Company • Managing Partner • Architect Address • Designer • Draftsperson City/State/Zip Code • Technical Staff • Government Email • Project Manager • Academic Phone • Intern • Other RA License Number

FtBodom Tower. SOM Fiillon SI Transit Contsf, Giimshaw/James CanJenler Credit Card Number EMPLOYEES Full service scaled architecture studio specializing Credit Card Expiration • 1-4 in innovative effects witfi glass, nnetal, color and light. • 5-9 FIRM INCOME • 10-19 Contact: Ed Wood or Leszek StefanskI SUBSCRIBE • Under $500,000 • 20-49 66 Willow Ave, Hoboken, NJ 07030 • $500,000 to 1 million • 50-99 201.420.4700 (p) 201.420.4750 (I) • $1 million to 5 million • 100-249 www.radliinc.com NOW • +$5 million • 250-499 radiiinc Place a classified and reach over 20,000 architects and designers in the tri-state CLASSIFIEDS area for only $50 per column Inch. CONTACT: Diana Darling Sales and Marketing Director P. 0. Box 937 New York NY 10013 TEL 212-966-0630 / FAX 212-966-0633 ddarlingdiarchpaper.com

EMPLOYMENT

ARCHITECT ARCHITECTS For well-regarded 4-person firm in Princeton, Soho design firm seeks experienced architects THE NJ. Versatile individual for Project Management, with strong design, technical and managerial CAD, and Construction Coordination. Min. 5 yrs. skills. Individual must possess at least 6-8 experience in wood frame construction; able to years of experience and be skilled in exterior ARCHITECTSNEWSPAPER NEW YORK ARCHITECTURE AND DESIGN develop construction docs, from design dwgs; building envelope design and detailing. Long- mainly residential, some commercial; locations term growth prospects for talented and moti• range from Pennsylvania to Park Avenue to vated individuals. Proficiency with AutoCAD 8i Poland. Excellent benefits, informal workplace, 3D Modeling required. Please send cover letter and the pleasures of a lively university town. & resume to Guggenheimer Architects, Attn. [email protected] Kathryn Reeves 428 Broadway, 2nd Floor NYC 609.921.1800 10013 or email [email protected] (.pdf and .doc files only, please)

PROJECT ARCHITECT SEEKS EDITORIAL ASSISTANT Mid size design and architecture firm looking for PROJECT ARCHITECT/DESIGNER individual with 4 to 6 years architecture experi• Small Chelsea firm with variety of residential, The Architect's Newspaper, a biweekly publication serving the New York tristate ence to design, manage and produce construc• retail, & educational projects, seeks project area, seeks a fulltime assistant editor. Responsibilities include researching and writ• tion documents for hospitality projects and architect/designer with 3 to 5 years experience. ing stories, fact-checking, and office projects. Excellent writing and communication residential interiors. Proficiency with AutoCad Excellent opportunities for responsibility & and good construction administration skills growth. Proficiency in Autocad required. Mail skills reqiured; journalism/reporting experience preferred, and an interest in archi• required. or email resume to: tecture and design desirable. Please send resume, cover letter and writing sample (s) Our office is fun and hard working with long to: hours. We are looking for someone with a James Harb [email protected]. great deal of passion and enthusiasm and who Jamesh Harb Architects also works very well in a team environment. 230 West 17th Street, 5th Floor Some travel will be required. New York, NY 10011 Please email resumes and work samples to [email protected] ARCHITECTURAL CONSULTANT BUSINESS SERVICES [email protected] Super Enterprises, a leader in the distribution of Marvin Window and Door products, is seek• ing experienced, self-motivated Architectural Ruth Hirsch Associates Inc. Consultants to promote our product to STEVE NEWMAN INTERIOR DESIGNER/ARCHITECT Architectural and Design firms in NYC. ATTORNEY Gluckman Mayner Architects seeks versatile We have many diverse positions available for Responsibilities include delivering new busi• Litigation • Arbitration Interior Designer/Architect for a variety of proj• Senior level Project Architects, Project ness; increasing profitability and expanding ects, including preparation of specifications for Managers and Designers. These positions are into new market segments. Mediation • Mechanic's Liens commercial furnishings. 3-5 years experience with a broad cross-section of Architectural and 65 Broadway, Suite 825, NYC preferred, AutoCAD and 3D rendering skills Design firms. The ideal candidate will possess the following T: 212-405-1000 C: 917-215-1817 important. attributes: excellent communication, presenta• Mail resumes to Gluckman Mayner Architects Please call, fax or E-mail your resume: tion and organizational skills; strategic and tac• 250 Hudson Street, 10th Floor 212-396-2000 Fax: 212-396-0679 tical planning ability; experience in prospecting New York, NY 10013 E-Mail: [email protected] and developing leads; proficient in Microsoft Office in a networked environment. ANDREA BRIZZI Enjoy a competitive salary, comprehensive ben• PHOTOGRAPHY efit package, mileage reimbursement and state- of-the-art company equipment. of Architecture and Interiors 917/ 699-Q512 ab@andreaDri?zi,com Introducing: classifieds online Please email your resume to: www.anareabrizzi.com [email protected]

OVERWHELMED BY YOUR ' CLASSIFIEDS REAL ESTATE SLIDE LIBRARY? • Digitize your collection and put search capabilities at your fingertips. SPACIOUS WORKSTATIONS .,•;„:•• • 35mm slide scanning for as low as $3.50 4 large, bright and comfortable workstations per slide. available in Architectural firm on Union Square. • Database consultation and design upon Bright, clean and comfortable spaces equipped request. with library shelves. Potental tenants will have access to office equipment, conference room, Call Francis Dzikowski: 718-541-9637 or email: [email protected] resource library, kitchen and reception. Please contact L. Rondon @ (212) 253-7820. Broadcast Video Commercial / Residential Graphic Design Construction Progress Photography Exterior / Interior Website Design Insurance / Legal Carlo Buscemi D.S. Tel:917239 1219 ^^^ http://www.cariobus.com ///

Walter J. Lee - APA, NOMA

Architectural Photographer - 718/441.6893 WJLeePholography@aol. com unvw. WJI.eePhotography.com Prudential Douglas Eiliman Real Estate Interiors / Exteriors / Portfolio Package Deals

Call for a free Market Analysis.

Sunhae Haughney You can click on them now 3 East 54th Street New York, NY 10022 Office: 212.224.7306 WWW.ARCHPAPER.COM Mobile: 917.548.4966 [email protected] Go to www.archpaper.com/classifleds www.elliman.com smal quiet precise new

LIliHIUII 2005 winner best of category Award for Daylighting Integration Products

NEWSivoia QEJ roller 64

Quiet, controllable precision shades to fit any window

Adjust shade position at the touch of a button for effortless control of sunlight, minimize glare provide privacy or view as desired protect furnishings from sun-damage NEW 1 5/8"- integrate with electric lighting controls roller tube easily installs inside shallow window jambs Fits into a 3 1/2" x 3 1/2" pocket. For more information on the Sivoia QED family of precision drives for roller shades, draperies and Roman shades call 1.877.258.8766 ext. 539 or visit www.lutron.com. LUTRON Lutron controls your light. © 2005 Lutron Electronics Co,, Inc.