THE ARCHITECTSNEWSPAP

WWW.ARCHPAPER.COM $3.95

ARCHITECTURE CRITIC LEADS LONDON,^TITUTION INTO EXPANSION PHASE HE GREAT APPEARING ACT HH

I- 10 LU REMEMBERING SIMON UN6ERS O O 19 RETHINKING NEW ORLEANS 05 EAVESDROP 18 DIARY SUDJICTO 22 MARKETPLACE LEAD DESIGN ARCHITECT AND LITIGIOUS What do you do with the last vacant lot The proposed building for Greenwich Avenue MUSEUM CLIENT SETTLE OUT OF COURT available in the Greenwich Village Historic and 8th Avenue. District? For Hines Development Company ground-floor retail spaces if all goes as The Design Museum in London has and the architecture firm Kohn Pedersen planned. appointed critic and curator Deyan Sudjic Fox Associates (KPF), you build an icon. The At a March 7'" public hearing, the Landmarks as its new director. His appointment comes Vinolyin building's site, adjacent to Jackson Square Preservation Commission (LPC) received less than two months after the abrupt at 122 Greenwich Avenue and currently public testimony on the project. The project departure of Alice Rawsthorn, who served a parking lot, will become an 11-story, needs the IPC's approval before proceed• as director from 2002 until late January 128-foot-tall residential glass tower with ing because it is within continued on page 9 this year. When Sudjic starts his new job the Clear on September 1, he will be leaving his current positions as architecture and More than three months after filing suit OBRAIS SELECTED TO DESIGN design critic of the Observer (the Sunday against Rafael Viholy Architects for breach THIS YEAR'S SUMMER PAVILION edition of the daily Guardian) and dean of of contract, Philadelphia's Kimmel Center the faculty of art, architecture and design has settled with the New York-based firm. P.S.1 COVER-UP at Kingston University, a post he's held While neither side has released details since last August. about the settlement, which is still pending -J Over the past six years, P.S.1's "warm-up" Trained as an architect, Sudjic has been approval from a federal judge, the latest S: parties on Saturdays in the summer have a widely respected voice in the architec• development is welcomed by both Viholy I become an anticipated event—along with the ture and design fields since founding and the performing arts center, whose >; unveiling of the new design scheme each year 6/uepr/nf magazine in 1983. He won early attempt to recuperate cost-overruns £ for the museum's outdoor courtyard. On praise for his curatorial abilities when he caused a public relations backfire. S March 13, Pablo Castro continued on page 5 directed Glasgow's continued on page 3 As reported in continued on page 3

STOREFRONT The Graham Foundation DIRECTOR TO LEAD for the Advancement of the SIMON UNGERS, ARTIST, CHICAGO FOUNDATION Arts recently announced the ARCHITECT, AND SON OF appointment of Sarah Herda, 0. M. UNGERS, DIES AT 48. currently director of the FOR FULL STORY, SEE PAGE 10 HERDA Storefront for Art and Architeture, as its new diroctDr. TO HEAD Herda, who has been at Storefront since 1998, succeeds the Graham's longtime GRAHAM director, continued on page 7 Work wonders:

/

Is your CAD Manager stretched too thin? With over 34 seasoned application engineers and developers at your disposal, only Microdesk can help you fill gaps in expertise and implement the improvements you need to save steps, time, and money Complete projects on time, on budget, and on target. Get more projects, win more business—and work wonders.

When you choose Microdesk as your CAD advisor, you always get:

• Complete CAD Management services that save you money on personnel

• An outside point-of-view to help you make critical, unbiased decisions

• 3-5 year CAD Master Planning to get you where you want to be

Autodesk Authorized Training Center • Billable options to provide full CAD Management services or to supplement your CAD Management staff

To find out more about how Microdesk CAD Autodesk Management can help you succeed beyond measure, Premier Solutions Provider Architectural Specialist call 866.695.2495 or visit www.microdesk.com. Waltham.MA iAIA Microdesk Succeed beyond measure.^

BOSTON IRVINE LOS ANGELES NEW YORK CITY CONNECTICUT NEW HAMPSHIRE NEW JERSEY 866.695.2495 www.microdesk.com c/0 ro 3 o LU

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

SUDJIC TO LEAD DESIGN MUSEUM continued PUBLISHER CO If not for the tireless efforts of the Greenwich Village Society for Historic Diana Darling from front page UK City of Architecture and Preservation (GVSHP), much of the district's unique beauty and charm EDITORS O Design program in 1999, which galvanized Cathy Lanq Ho J- might well have been lost by now. Under the leadership of Andrew Herman, the city culturally and launched the opening William Menking i-l the GVSHP is a model of community activism, with outreach programs, of the Lighthouse, a now-thriving design cen• ART DIRECTOR an oral history project, and more. Most importantly, since it was founded ter. Sudjic also served as editor of Domus Martin Perrin LJJ from 2000 to 2004 and curated the Venice SENIOR EDITOR in 1980, it has been an active watchdog, keeping an eye on new develop• Anne Guiney ments and renovations to ensure that they adhere to landmark laws. (The Architecture Biennale in 2002, titled Next, which had a refreshingly old-school approach, ASSOCIATE EDITOR district received historic designation in 1969, following the battles led by Andrew Yang focusing on real projects (planned or under Jane Jacobs to halt the city's plan to run an expressway through it.) PROJECTS EDITOR construction) as opposed to theoretical works. Aaron Seward While we applaud the GVSHP's work, we disagree with its opposition "It's the best possible job one could have," ASSISTANT EDITOR said Sudjic of his new position. As the Design Jaffer Kolb to a project proposed for 122 Greenwich Avenue, at the 13*'' Street and 8* Museum embarks on a £50 million relocation DESIGN AND PRODUCTION Avenue (see front page). Developed by Hines and designed by Kohn Peder- Christine Koroki sen Fox, the project is an 11 -story mixed-use building (52,000 square feet and expansion—it has its eye on a car park SALES AND MARKETING DIRECTOR in the shadow of the Tate Modern—it was are allotted for 36 residential units, and 8,000 square feet to retail space). Karen Begley reportedly seeking a director with both The GVSHP believes the building is inappropriate for the district, citing in PUBLISHING ASSISTANTS strong curatorial and administrative capabili• Teresa IHerrmann particular its lack of relationship to the historic context and its obstruction ties. Sudjic is enthusiastic about the muse• Katelyn Mueller of sighthnes from surrounding streets. um's relocation. He noted, "[The move] will EDITORIAL ASSISTANTS help us broaden what we do. We need to Gunnar Hand The downside of historic designation has always been its potential to Stephen Martin enforce nostalgia, and in this particular case, to preserve a coherence that build a museum that's a network for the sub• ject, through history and to the present. We EDITORIAL INTERN has not existed for decades. In Herman's testimony to the Landmarks Jesse Finkelstein also have to address the idea of a collection, Preservation Commission on March 7, he quoted the designation report, WEB CONSULTANT and how to deal with larger audiences." Daniil Alexandrov "The new building should relate well to its neighbors in terms of the mate• The Design Museum hopes its move will be rials that are used, the architectural proportions, the size and shape of the CONTRIBUTORS complete by 2012. MARISA BARTOLUCCI/ALAN G.BRAKE/ windows and the details on the front of the building... Essentially the The Design Museum was founded in 1989 ARIC CHEN / DAVID D'ARCY / MURRAY FRASER / most successful design in an Historic District will be the simplest. The by Sir Terence Conran with a simple mission RICHARD INGERSOLL/JULIE V. lOVINE / JOE KERR/ "to excite everyone about design." The LIANE LEFAIVRE/LUIGI PRESTINEN2A PUGLISI/ architects should avoid the use of too many different materials and the cre• museum under Rawsthorn's directorship KESTER RATTENBURY/CLAY RISEN / ation of bizarre effects." D.GRAHAME SHANE/GWEN WRIGHT/PETER ZELLNER embraced fashion, graphics, and advertising, The proposed design from KPF does not strike us as one with bizarre EDITORIAL ADVISORY BOARD while eschewing design realms that are PAOLA ANTONELLI/RAUL A. BARRENECHE/ effects. It has a curving glass facade that recedes from the street, with verti• more intimately tied to technology and engi• M. CHRISTINE BOYER/PETER COOK/ cal bronze muUions and windows of varying widths that add dimensionali• neering. Architecture did not appear to be a WHITNEY COX/ODILE OECQ/TOM HANRAHAN/ SARAH HERDA/CRAIG KONYK/REED KROLOFF/ ty to the building. Nor is this particular patch of the Village intact: It has priority to Rawsthorn, either. JAYNE MERKEL/ LISA NAFTOLIN / SIGNE NIELSEN / long been a patchwork of styles, eras, and uses. /Uong with 19"'-century While Sudjic is primarily known for his HANS ULRICH OBRIST/ JOAN OCKMAN / architectural commentary (his latest book KYONG PARK/ANNE RIESELBACH/ rowhouses, the busy intersection has an Art Deco tower, a 17-story brick is The Edifice Complex: How the Rich and TERENCE RILEY / KEN SAYLOR / MICHAEL SORKIN apartment building from 1960, and a homely gas station. Powerful Are Shaping the World), the critic GENERAL INFORMATION: INFO(?>ARCHPAPER.COM Historical continuity can be manifest in many ways: The Village "was EDITORIAL: EDITORdSARCHPAPERXOM has also written extensively on design (includ• DIARY: DIARY(3eARCHPAPER.C0M widely known as a bohemian enclave.. .with a tolerance for radicalism and ing books on Ron Arad and Rei Kawakubo) ADVERTISING: SALES*ARCHPAPER.COM nonconformity," as the GVSHP's own website states (quoting from The and urbanism. His 1993 book The 100-Mile SUBSCRIPTION: SUBSCRIBEg)ARCHPAPER.COM C/fy was a scholarly analysis of the late 20"'- REPRINTS: SALESiPARCHPAPER.COM Encyclopedia of New York, edited by Kenneth T. Jackson). By these terms, century city's crisis. Sudjic is also co-chair of PLEASE NOTIFY US IF YOU ARE RECEIVING Hines and KPF's project could be considered right at home. DUPLICATE COPIES. Urban Age, a series of conferences on the On a separate note. The Architect's Newspaper is cosponsoring, with the THE VIEWS or OUR REVICWCRS AMD COLUMNISTS 00 NOT future of cities, directed by Richard Burdett. NECESSARILY RtFLECT THOSE Or THE STAFF OR AOVISORS OF AiA New York Chapter, the New Practices Showcase, an offshoot of our THE ARCHITECT'S NEWSPAPER. "We're looking for exciting things every• VOLUME 04 ISSUE «, APRIL S, 2006 well-attended roundtable series on the practical challenges facing new where, no matter where they are," said THC ABCHirtcrs NlWSP*PCIf IISSN 1352-8081) IS PUBLISHED 20 TIMES A YEAR. BY THE APCHITtCrS MEWSPAPEff, LLC. P.O. BOX 937. NEW YORK. architectural firms. We have issued a call for entries for mini-portfolios Sudjic of his new challenge. "You want a NY 10013. PfltSORT'STANDARD POSTAGE PAID IN NEW YORK, NY. POSTMASTER: SEND ADDRESS CHANCES TO: THE ARCHITECT'S NEWSPAPER, museum that surprises you, that gives you CIRCULATION DEPARTMENT, P.O.BOX 937, NEW YORK, NY 10013. FOR (due May 10), and will select six to eight firms to exhibit at the Center for SUBSCRIBER SERVICE: CALL ZI2-966-0630. FAX 212-966-0633. what you don't expect. And those things J3.9B A COPY, $39,00 ONE YEAR, INTERNATIONAL $160.00 ONE YEAR. Architecture and the Hiifele Showroom in New York (see www.aiany.org INSTITUTIONAL 5149,00 ONE YEAR. ENTIRE CONTENTS COPYRIGHT 2003 seem crop up in the most surprising places." BY THE ARCHITECT'S NEWSPAPER. LLC. ALL RIGHTS RESERVED. for more information). We hope to see your work! CATHY LANC HO

WWW.ARCHPAPER.COM

VINOLY IN THE CLEAR continued from front page ing that the price tag grew because of poor towards the people who put forth their best state-of-the-art concert hall that attracts >!\/V01_01.18.2006, the suit, filed in a U.S. decision-making by Kimmel executives. efforts to complete the Kimmel Center, but world-class artists." The settlement is good district court on November 23,2005, argued In a February letter to the Kimmel's board also to the memory of Bill Rouse, who creat• news for Vinoly, who is a co-defendant in a that Vinoly failed to carry through in his members, the Philadelphia Inquirer reported, ed the vision the lawsuit now demeans." similar suit brought by the Massachusetts promise to deliver a "world-class building" Vinoly made the point that the "center's suc• However, in settling the suit the center Convention Center. Vinoly recently suffered in line with its $157 million budget, which cess has been jeopardized by a management did offer an apology of sorts, saying that it another recent setback when a building he had ballooned to $180 million by mid-2002. team that has demonstrated professional "recognizes that the Viholy-designed and designed for the Tampa Museum of Art was Vinoly counterattacked aggressively, argu• ineptitude and irresponsibility; not only -delivered Kimmel Center is a stunning, canceled due to cost overruns, CLAY RISEN

•Ti RESOLUTE network

NEW YORK • SAN FRANCISCO • SEATTLE • CHICAGO T [888] 477-9288 F [888] 882-9281 www.100watt.net Casa Da Musica / Porto, Portugal / Rem Koolhaas Architects Milwaukee Art Museum / Milwaukee, Wl / Santiago Calatrava Architects i I

Aichitt

Kursaal Arts Center / San Sebastian, Spain / Rafael Moneo Architects Greenwich Building / New York, NY / Archi-Tectonics - Winka Dubbeldam Architects

CURVING LAMINATETFD TEMPERED INSULATED SPECIALTY GLASS

[email protected] 321 West 44th Street Suite 803 New York, NY 10036 CRICUR5A Tel: 212-265-8400 Tel: 212-265-8400 1928 Web: www.cricursa.com Web: www.artextureplus.com

Artexture+ has been providing New York area architects with the nnost innovative building products for over 25 years. We are proudly announcing the opening of our new Manhattan showroom. You are welcome to visit us by appointment. CO in 15 O

THE ARCHITECT'S NEWSPAPER APRIL 5. 2006 THE KARIM SHOW, ASIA EDITION In case you haven't heard, we're big in Malaysia. That's right. Last month, we were in Malaysia, being big. Our face appeared on billboards. Fans lined up for microsol our autograph. We kid you not; this really happened. You see, we were asked to speak at the inaugural MIDI Convention in Kuala Lumpur and-besides giving us a big head, of course-it was a chance to marvel at our fellow invitee, Karim Rashid. Why Karim Rashid? Because, in a funny way, we like him. Because he's Q. also big. And there he was, in all his white-on-white, pink-on-pink, phantasma- O glory. He informed us that he and brother Hani Rashid aren't speaking-some• thing to do with sibling rivalry. He railed against style, promoted paring things down, and then demanded a bigger, fancier hotel room for himself. He said CO LU he'd had enough of signing autographs but, at a party just an hour or two later, > couldn't help scrawling his name-in permanent marker-all over the stainless < steel serving trays. (Organizers were not happy.) Rashid is a man of contradic• tions, truly a prophet of the future, we thought, as he started busting moves on the dance floor like it was 1999. MEIER'S PIANO LESSON We recently got to find out how Richard Meier really feels about Renzo Piano's new addition to Atlanta's High Museum of Art, the breakthrough building that Meier completed in 1983. "I haven't been [to Piano's addition] yet, so I have to withhold any comment," Meier told us during an interview for a forthcoming issue of Whitewall, the snazzy new art magazine. But was he disappointed that Imaeine the commission didn't go to him? "Yes, I was," he said unhesitatingly, adding that "[The museum] felt that if I did it, it would somehow...They wanted someone new." Your firm is awarded the design of a new project and you don't have a full team. So the decision to hire Piano was based as much on marketing as architecture? "Oh yes," Meier said. SEXANDTHEICKY Which flashy New York architecture firm is a sexual harassment suit waiting to happen? Exhibit A: Homosexual male principal. He's a likable fellow-except, it It's all about people. seems, when he's terrorizing an entire generation of cute young things with his predatory behavior and unsolicited late-night booty calls. "It was sort of creepy," says one victim, who confesses to being a past conguest of our hardy Microsol Resources Placement Division horndog. "Why was this man calling me at all hours?" And what of his poor interns?! We're told the interview process for one especially strapping Danish 212-465-8734 • microsolresources.com candidate included a background check to determine the direction in which the, um, Nordic winds blew. Turns out it was the wrong one, but no matter: We hear our Lothario had better luck getting into the pants of another, less fortunate assistant. Exhibit B: Graying senior designer, heterosexual male. When this dirty old man isn't grossing out female co-workers by discussing the goings-on in their nether regions, we're told he can be found inducting new office interns- those poor internsl-with visits to a nudie bar. Exhibit C: Female principal, het• erosexual (allegedly). Upon entering an elevator with a male client, who asked if Pret-a-Porter they were "going down," we're told her groaning response was "I LOOOVE going down." Control yourselves, people!

LET SLIP: ACHEN«>ARCHPAPER.COM

P.S.I COVER-UP continued architects' shop, folded up, others, MoMA director from front page and Jennifer and then expanded on site. Glenn Lowry, P.S.I director Lee, of New York-based Obra The design includes sev• Alanna Heiss, and Terence Architects, were named win• eral different climatic spaces. Riley, who left his post as ners of the Young Architects The "caldarium," which chief MoMA architecture Program, a joint venture of occupies the main court• curator on March 15. Riley the Long Island City exhibi• yard, is a large sandbox with has been instrumental in tion space and its institution• no shade; a shallow pool in the selection and realization al parent, f\/loMA. the center with radial sun• process of the summer As in years past, the big• bathing chaise lounges sur• pavilions since the program gest challenge, said Castro, rounding it. The triangular began, and it is unclear how was using limited time and entry court becomes a "tepi- the program will change budget to create "a space of darium," and the tiny rectan• without his guidance. Other interiority that you could gular side court, which will finalists in the competition, inhabit rather than see from be encased in aluminum- whose work will be on view the outside as an object." backed bubble wrap, is the at MoMA beginning June Obra's solution consists of "frigidarium," containing a 22, include Contemporary high-tech shapes made with bench made of ice. Architecture Practice (New commonplace materials: OBRA also suggested pur• York), Gnuform (Los Angeles), Their overarching canopy is chasable goods for each of Howeler + Yoon (Boston), made up of multiple "con• the spaces that are to be sold and Sotamaa Architecture & certinas"—shell-like struc• at the PS.1 gift shop: black Design (Columbus, Ohio). tures that are roughly 75 rubber duckies for the cal• "Queens is a diverse percent plywood and 25 darium pool; T-shirts with a place, and the warm-ups percent Polypropylene, and duck logo for the tepidarium; are a celebration of differ• CNC-milledto uniquely shape and butt-shaped, inflatable ence," Castro added. "It's each part. The concertinas pillows to mitigate the chill like an intimate neighbor• fold in on themselves like of the ice bench. hood block party and yet it's accordions, and can be eco• www.bermanglasseditions.com | [email protected] Obra was selected by a also an important New York nomically constructed in the jury consisting of, among event." ANNA HOLTZMAN CO NO 3 O UJ

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

UPSTATE COLLEGE ADDS GWATHMEY SIEGEL- DESIGNED MUSEUM TO CAMPUS

=31 O

A

a. oi

> FILA On February 15, the Burchfield-Penney Art Gwathmey Sieqel's design of the Burchfield- 340 Madison Avenue, New York Center and Buffalo State College unveiled the Penney Art Center at Buffalo State College. 212-726-5900 design for the museum's new facility in Buffalo, home. Seven years ago. Buffalo attorney Designers: Giorgio Borruso Design, TPG Architecture New York. Designed by Gwathmey Siegel and William J. Magavern II and his wife Louise Associates Architects, the $30 million project is Morris Magavern made a generous pledge Santa Monica architect Giorgio Borruso's design ofFila's first U.S. a 75,000-square-foot, two-story structure that towards the construction of a new building, retail store takes its cues from the tiieme "movement" and from the will be the center's first freestanding home. which led to the center's incorporation as an elite performance brand's products themselves. T'he 4,()0()-square- Located on a 5-acre site at Elmwood Avenue independent nonprofit. Currently, the muse• Ibol space is lined with walls for displaying shoes, featuring undulat• and Rockwell Road in the heart of Buffalo's um's capital campaign has raised $26.5 million museum distnct. the new art center will be the for the building, and hopes to raise an additional ing grooves in white-lacquered MDF that echo the elegant curves ot latest addition to the cultural area that includes $3 million for an endowment. Fila s footwear. The shoe wall creates an organic upward movement the Buffalo and Erie County Historical Society Gwathmey Siegel's spacious two-story, box• as the shoe clusters dissipate, while two 15-foot columns wrapped and the nearby Albright-Knox Art Gallery, which like design is divided into four intricate interior in mirrored strips continue the reach-for-the-sky motion. Benches was designed by E. B. Green in 1904 and got areas: exhibition galleries, education facilities, are topped with techno-gel cushions, the same material that appears an addition by Gordon Bunshaft in 1966. visitor amenities like the cafe and museum in Fila's sneakers. Inversed running paths hang from the ceiling and The Charles Burchfield Center was formed store, and museum storage and offices. The new museum will double its gallery space white fabric-covered metal frames are dropped 16 feet below the in 1966 as part of Buffalo State College to showcase artists who, like landscape painter from its existing 9,000-square-feet in the uni• actual ceiling to help set a theatrical atmosphere. Halide lighting, Burchfield, were based in Western New York. versity's Rockwell Hall, to 18,000 square feet. often used in sports arenas, reinforces the feeling of an athletic stage. Renamed the Burchfield-Penney Art Center in The new 'acility will create six times as much The New York-based Sport Brands International acquired Fila in 1994 to acknowledge the patronage of Charles space for educational and public activities. june 2003 and intends to open 10 tol2 stores a year throughout ihe Rand Penney the center has since been situat• Completion is expected in the fall of 2007. ed in various academic buildings, with no real GUNNAR HAND uninlrw cAch echoing Borruso's design, TERESA HERRMANN

W&W GLASS FOR OVER BO YEARS IMEW YORK'S SOURCE FOR.

ARCHITECTURAL GLASS

AMD GLAZIIMG

• Curtain Walls • Architectnjral Metal • Entrances & Storefronts • Canopies & Skylights • Pilkington Planar Systems r i

Wd^W GLASS, LLC... providing sup^erior solutions to your most challenging p^rojects. wwglass.com 1.800.452.7925 CO 1^ 3 O LU

HERDA HEADS TO GRAHAM continued from of jobs in publishing, including serving as front page Richard Solomon, who passed director of marketing for Monacelli Press in away last July. The Graham Foundation was EXCLUSIVE New York, and as an associate editor at IMPORTER OF founded in 1956,and funded by a bequest William Stout Publishers in San Francisco. from Chicago architect Ernest R. Graham, Herda's appointment, according to who designed, among others, the Wrigley Feldman, helps position the Graham for a Building in Chicago. With nearly a $45 million new direction. "The Graham's board is very me. endowment, the foundation bestows roughly interested in Sarah because one of our more STAINLESS STEEL $ I million a year in grants to architects, his• current objectives is to have a large presence torians and interdisciplinary scholars who in the public sphere—in Chicago and across are working within, or around, the field of the country." architecture. La.st year, the foundation "On any given night, a project supported awarded a total of 136 grants, worth nearly by the Graham is opening somewhere in the $960,000. Because of its generosity in archi• world," said Herda. "It's an amazing network I tectural circles, the Graham Foundation to lap into for the future development of the occupies an historic place in the architecture foundation." world both for practitioners and academics. Herda is set to depart Storefront in July. The Storefront for Art and Architecture, a Storefront's board plans to move quickly not-for-profit located on the fringes of vSoho, to fill her position, according to Belmont has long been a treasured institution in New Freeman, the board's president. "Some can• York. Under Herda's tenure, the space, which didates have already approached us or have is only about 800 square feet, has mounted been suggested to us," he said. "It's interest• dynamic shows that have come from the ing to me that largely or entirely becau.se of leading edges of architectural and interdis• Sarah's phenomenal work, the position has ciplinary research. Founded in 1982 by become very appealing to a lot of people." architectural theorist Kyong Park and arti.st Herda took over Storefront from Park, Shirin Neshat, Storefront is distinguished by who had been running it since its inception. a fai;adc of pivoting panels designed in 1993 Its role in the architecture and art scenes in by Vito Acconci and Steven Holl. New York has been ambitious, considering its "Sarah clearly knows what is going in limited financial .scope."[The appointment of ARCHITECTURAL STAIRS THAT MOVE architecture,"said Roberta Feldman,president a new director) is also an occasion for the of the (Graham's board of trustees and who board to do some serious thinking about our THE BODY, MIND AND SOUL. also served as interim director. "If we had mission and direction," said Freeman, who judged her solely by what she is doing at her al.so announced that the board had added current place of work, it might not have new members including Michael Manfredi, made as much sense. Her knowledge ba.se is Lindy Roy, and Carlos BriIlembourg."ln this daVinci much larger than what she does on a day-to• day and age,".said Freeman,"we are al.so going BY DESIGN 888 STAIRS-9 day basis at Storefront." Prior to her direc• to need someone who's got fundraising daVincibyDesign.com torship at Storefront, Herda worked a series skills." ANDREW YANG

Over a Century of Design Innovation.

FSB's unique design program allows nearly all levers to be used with our entire range of roses, escutcheons. ANSI Grade 1 and UL(3-hour) rated mortise locks and tubular latches, with matching window handles. FSB USA can provide over 100 different designs, in up to twelve finishes, from our North American distribution center.

FSB USA

Architectural Hardware

www.fsbusa.com [email protected] C/5 00 3 O UJ

THE ARCHITECTS NEWSPAPER APRIL 5, 2006

NEW 750 MILLION EURO EXHIBITION HALL, DESIGNED BY MASSIMILIANO FUKSAS, IS ONE OF THE LARGEST IN THE WORLD

IBANY ii Israel BergerCx Associates, Inc. 232 Madison Avenue, New York NY 10016 Tel: (212) 689-5389 Fax: (212) 689-6449 www.IBANY.com

BUILDING ENVELOPE CONSULTANTS Exterior Wall Consulting Controlled Inspection A FAIRER FAIRGROUND Investigations One of the mam attractions of the historic Fiera the quality of the place by how it is used." Local Law 11 Milano, the Milan Trade Fair, built in 1920, was The new Fiera is more than a convention Evaluations Its location, in the city's center But its location center; it is a city within a city." I wasn't think• v\/as also a hindrance, limiting the Fiera's ing at all about the convention hall type," said expansion and, by occupying prime real estate, Fuksas. "I was thinking about the life of a place the city's economic development. In 2001, the and how people who use it, how people meet, Fiera Milano, in partnership with municipal and socialize, work, relax. I wanted a structure that regional governments, sponsored an interna• could be a simulation of a city." The Fiera is tional competition for the design of a new fair• organized along a central a 1.5-kilometer-long ground on the site of a former oil refinery on "avenue" with a people-mover that links both the edge of the city, at Rho-Pero. Rome-based ends of the mega-complex. A spectacular, architect Massimiliano Fuksas' winning and sweeping 47,000-square-meter glass-and-steel recently completed design of the new Fiera canopy tops the promenade, which is lined IF YOU'RE NOT WORKING ON THE TYPICAL PROJECT, will be a stunning setting for the International with cafes, restaurants, a reflecting pool, and Furniture Fair opening this week (April 5-10). piazza-like sitting areas. Many areas are open to DON'T SETTLE FOR THE TYPICAL WINDOW SUPPLIER The event, which is concurrent with fairs on the general public, for the Fiera (which is linked furnishings, lighting, kitchens, baths, and office to Milan's metro system) is meant to bring life furniture, features nearly 2,500 exhibitors and to the former industnal area. is expected to attract a quarter of a million visi• Eight pavilions (six single-level and two dou• tors. Though the building was inaugurated last ble-level) radiate from the avenue; administra• year, this is the first event to utilize the entire tive offices, press areas, and services are complex, which occupies a 2-million-square- located in the middle, next to the canopy's Pella's Commercial Division is meter site (at one point it was the largest con• highest point, a dramatic 36-meter-tall volcano• dedicated to providing product struction site in Europe). "For me, this is the like form that serves as a wayfinder and a sym• and design solutions that meet the real opening," said Fuksas. "You can only check bol for the Fiera." It was the dream of my life to make a shape without geometry," said Fuksas. diverse challenges of architects "We used a lot of sculpture to develop the and contractors. From initial design form. The unconscious inspiration was a consultation and site analysis to cyclone or a black hole. I wanted something dramatic and fascinating, like the elements that custom product design and on-site have a powerful force over the world or galaxy." installation, count on the Pella To his amusement, workers on the project Commercial Division. started to call the volcano La Montagna Fuksas, or Mt. Fuksas. To construct the irregu• lar form, engineers devised a steel frame that holds thousands of triangular panes of tem• pered glass, each the same dimension. With 26,000 nodes (joints where the triangular tips meet), the canopy is strong enough to be walked on, which is necessary for maintenance. The site of the old Fiera is being redeveloped as a new quarter, with offices, housing, cultural PolU Cofpora buildings, and parks, by the competition-win• ning team of Daniel Libeskind, Zaha Hadid, Arata Isozaki, and Pier Paolo Maggiora. CATHY LANC HO 15 West 18th Street. Suite 202 New York. NY 1001 I Ypem COMMERCIAL The Fiera Rho-Pero is urban in plan, with 212-645-6486 a pedestrian spine linKInq pavilions and an www.pellacommercial.com organic qiass canopy that allows views of the sky. 3 O

DEVELOPMENT MOVES FORWARD WITH CONSULTATION ROM ARQUITECTONICA AND HARGREAVES disappearing

CONEY ISLAND'S NEXT STOP act Tho.se aching for a Coney Lsland chili dog year parks but prevents large-scale residential round will be content to know that on March 1 development on city-owned properties. the New York City's Economic Development Arquitectt)nica and Hargreaves are Corporation (EDC) entered the second charged with developing a zoning strategy part of strategic planning for Coney Island's that will preserve existing monuments and redevelopment by hiring Arquitectonica distribute density between commercial and and landscape architecture firm Hargreaves park space. Arquitectonica is focu.sing on Associates as consultants. The massive proj• commercial and retail spaces while Hargreaves ect to revitalize the area was launched in Associates is looking at streetscape and September 2003 with the city's creation of infrastructure improvements. The design the Coney Island Development Corporation groups will work in collaboration with the (CIDC), which is chaired by EDC chair Joshua NYEDC, the CIDC, and the Department of Sirefman and which received a pledge of City Planning (DCP). $83.2 million from Mayor Michael Bloomberg Kevin O'Conner, an architect at six months ago (see"Coney: Comeback Arquitectonica, noted, "We are in an early Kid?" AN 17_10.19.2005). pha.se of analysis and, as of yet, have not The city plans to spur economic growth in made any decisions |on the plans]." the area by enhancing entertainment venues, Janel Patterson, spokesperson for the EDC redesigning Steeplechase Plaxa and the famous and CI D(], confirmed the selection of the Parachute Pavilion while improving infra• designers but denied the involvement ot spe• structure, encouraging residential develop• cific developers at this time. When asked when ment, and creating a new community center developers might become involved or when to make Coney Island more active through• an RFP might be released, Patterson deflected out the year. In order to encourage new devel• further questions to the CIDC's website, opment, the CIDC hopes to revise current which was last updated in September 2005. zoning laws, which protect the amusement TERESA HERRMANN

THE VILLAGE IS THROWN A CURVE the historic district is still unresolved. continued from front page the bounds of the Andrew Berman, executive director of the Greenwich Village Historic Distric, an area (GVSHP), said, "It is very hard to draw a bound roughly by Greenwich Street and connection between the undulating design University Place to the west and east, and and the neighborhood." 13'" and West 4'" streets to the north and The building's distinctive envelope was south. The area was designated a historic shaped in part by the zoning of the two-lot district in 1969 to preserve its unique char• parcel. Along 8th Avenue, zoning calls for a acter. The designation requires the LPC's 10-foot setback after a height of 75 feet from approval of changes to existing structures the street, with a maximum height of 120 and new developments within the district. feet. Along Greenwich Avenue, the same The LPC adjourned the hearing with the setback is at 60 feet with a maximum height understanding that the final decision on the of 75 feet. In order to provide for larger ceil• development would be made at a later date, ing heights, the development is seeking still to be determined. This decision comes a variance at the Board of Standard and after Community Board 2's landmarks Appeals (BSA) for an 8-foot height limit committee, which has no binding authority extension. The zoning variance has not Transforming over the project, voted down the proposal. been discussed with Community Board 2's Amid growing preservationist outcry, zoning committee, and the BSA has not yet design aspirations into reality David Pennick, press secretary for Mines, set a date to review the request. declined to comment for this story, citing The 60,000-square-foot building is to that it was too early in the process. have 36 residential units and 8,000 square The design of the project, which was pre• feet of retail space. KPF also declined to Ornamental Metal Institute of New York sented by a representative of KPF, reflected comment for this story. 211 EAST 43RD STREET • NEW YORK. NY 10017 • 212-697-5554 • www.ominy.org changes that the Greenwich Village Society Since there are no zoning changes involved for Historic Preservation (GVSHP) pro• in the project, if the LPC and the BSA posed to the developers prior to the hearing. approve the project and its variance, the Nevertheless, the GVSHP maintains that developers can begin building immediately. For help achievini your design ^oals, contact the Ornamental Metal Institute of New York. the legibility of the building's relationship to GUNNAR HAND c/^ O 12 ^ UJ

THE ARCHITECT'S NEWSPAPER APRIL 5. 2006

DESIMONE NEW YORK MIAMI SAN FRANCISCO NEW HAVEN LAS VEGAS

DeSimone ConsuHing Engineers. PLLC is an award-winning, high-qualitv. creative structural engineering firm servicing architects, owners and developers. As we continue to A- grow, DeSimone remains dedicated to tailoring resources to meet client needs.

We hove an extensive portfolio that includes high-rise, residential, mixed-use. hospitolitv, commercial, industrial, institufional. museum and gaming projects.

www.de-simone.com

Architect and artist Simon Lingers passed According to his former collaborator away on March 6 in Cologne, Germany, Kinslow, now in Boston, Ungers became an after a long illness. He was 48 years old. important mentor to his students "because Born in Cologne in 1957, Ungers attended of his conceptual and poetic understanding an English-speaking school in Germany of architecture and his ability to excavate before moving with his family to Ithaca, the world around an idea." New York in 1969, when his father, Oswald Since 2000, he worked primarily in Mattias Ungers, became the dean of the Cologne, focusing increasingly on his school of architecture at Cornell University. artwork. Exactly a year ago, Ungers' book The young Ungers studied architecture at Autonomy and Dialogue (to which I con• Cornell from 1975 to 1980. Upon graduation, tributed) was published. Filled with new he returned to Cologne to work in his father's architectural designs, the book showed that studio, which had become a training ground Ungers' work was constantly developing for other Cornell-educated architects, new themes, with extraordinary creative including Rem Koolhaas and Hans Kollhoff. strength. Even after many years of concen• trating on his artwork, Ungers' profound and From 1985 to 2000, Ungers established prolonged wish, he confessed to me in a himself as an architect and artist in New film interview last September, was to build. York, becoming deeply involved in the experimental art circuit. Of his realized At his memorial service at the Jesuit architectural work, the T House in upstate church St. Peter in Cologne, a very poetic New York (designed with Thomas Kinslow, series of sacred buildings designed by 1988-92) and the Cube House in Ithaca (2001) Ungers—including a cathedral and a are legendary. These widely published mosque—were projected as an animated projects were exercises in minimalism and movie with specially composed organ music. inspired references to Bauhaus and Italian He was buried in a neighboring village IfelTERNATIONAL OFFICE Rationalism. where he spent the last years of his life, in a Along with his art-related projects, city that always remained his second home. Ungers also wrote and published widely. "If in Germany, then in Cologne..." was a • fragment I heard him pronounce on various His writings covered diverse subjects such r as the identities of cities, such as Bucharest occasions. and Chemnitz. In such cities, Ungers tackled He worked in his last years with two their problematic histories with restrained young dedicated architects, twin brothers architectural gestures that showed his tal• Sven and Thorsten Roettger. His sister album schiffini lema ent for interpreting memory in the public Sophia had also committed herself to bring• realm. This ability was confirmed when he ing attention to his work. won first prize in the competition for the Ungers is survived by his wife, Janet Holocaust memorial in Berlin. Never realized, O'Hair, a playwright based in New York and V i V e n d u m Ungers considered the commission's failure Berkeley, California, as well as both his par• to materialize as one of the tragedies of his life. ents, who live in Cologne. VIVENDUM Inc. ITALIAN DESIGN His sensibility and sense of interpretation DUTCH ARCHITECTURAL HISTORIAN AND AUTHOR 23/25 gteene street • New York. N.Y 10013 made him a beloved teacher in the architec• ph 212.334.4544 fax 212.334.4618 JOS BOSMAN HAS CONTRIBUTED TO ARCHIS AS lnfo(i"Vlvendumusa.com • www.vivendumusa.com tural schools of Syracuse, Rensselaer WELL AS TO BOOKS ON WIEL ARETS, LE Polytechnic Institute, and Harvard University. CORBUSIER, AND OTHERS. CO

LU INTERIOR HH —I OPEN On March 31, Interior Secretary

LU

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

ARCHITECTS ARE INTE ED I EASONS WELL BEYOND ITS ABILITY TO DISAB ANNUAL GLASS ISSUE, WE LOOKED FOR PROJE THAT ICH MATERIAL PRESENC EACH OF THE FIVE PR S FEA XPLOITS A DIFFERENT QUALITY OF THIS EVE Y BUI ENT, FROM MUTABLE COLOR AND REFLECTIVITY TO BLA ESIST

PROD DC ^ 3

Shadow Box Detail Section 1 Extruded aluminum transom, painted 2 Insulated glass unit 3 Shadow box 4 Finished concrete topping slab 5 Extruded aluminum stack joint, painted 6 Painted metal spandrel panel 7 Pocket slab at anchors

framed building will have a glass curtain wall able to capture the quality of an accident." softer matte texture to the glass surface. whose surface suggests the spectrum of tone The project team began to look at glass and Another issue was color: "It is often laminat• BARNARD and texture inherent to brick. different ways of using it. They developed ed between two sheets, but the problem is Weiss/Manfredi won an invited competition a system whereby the colored glass panels that you are paying for more glass, and to design a new arts library at Barnard in 2004 would be backed by a shallow cavity closed because the panel is heavier, the curtain wall NEXUS based on a design that would rectify the long• off by sheetrock, which they began to refer to structure has to be stronger." standing problem of a dramatic grade change as a shadow box. This gap (which is still being The pattern on the facade loosely follows NEW YORK, 2009 between Broadway and the edge of the cam• determined, but could be anywhere from 3 Nexus' more public spaces, which form a WEISS/MANFREDIARCHITECTS pus at 119"" Street that created an unfriendly to 5 inches) is clearly perceptible as sunlight diagonal path through the building and ter• wall along the street. Two ideas were central passes through it; the vertical supports, which minate in a rooftop garden. To standardize to their early schemes: The first was to draw will be painted, read as somewhat darker, and construction, they developed a five-foot mod• The word "contextual" strikes fear in the the public green space up diagonally through give definition and depth to the cavity, "Like ule, but have been able to give the fa?ade a hearts of many architects, not because sensi• the building, making it visible from outside; luminous terra cotta," as Weiss described it. finer overall grain by using more or less frit as tivity to one's surroundings is a bad thing, but the second was to develop a curtain wall that They are still experimenting with the shade needed. Mindful of the lessons of the charcoal because its definition has proved to be so was a mixture of terra cotta panels and glass. of the sheetrock back panel, and Weiss said sketch, the transitions from clearto opaque are elastic, and even political. At one end of the The terra cotta would be a gesture of solidarity that it may well change over the course of the rarely abrupt. "Glass is typically treated as a spectrum, there is Prince Charles and his towards Milbank Hall (1896) next door, while building in order to give more texture to the neutral skin, and architects want to demateri- advocacy for 19'"-century buildings with 21"- the transparency of the glass would let the fa?ade. Partner Michael Manfredi described alize it and make it go away," said Weiss. century technology; others argue that scale, building light up its corner of the green and bringing endless samples to the roof of the "We got interested in its presence and poten• massing, and material should be the central encourage students to use it as a social space building and seeing how one piece of colored tial for decorative richness." concerns for architects working within a as well as an academic one. As the design glass looked 3 inches away from the back ANNE GUINEY IS AN EDITOR AT AM. developed site. For an arts building for the process progressed, however, they began to panel versus 5, or with white sheetrock behind Barnard College campus, New York's Weiss/ consider different materials. Principal Marion it versus colored. "The deeper the shadow BELOW: EXPLODED AXONOMETRIC SHOWING THE Manfredi Architects is making a strong argu• Weiss described making a series of charcoal box," Weiss said, the more expensive it is, but NEXUS' PRIMARY CIRCULATION ROUTE (BLUE). THE ment for the latter approach. When the sketches of the facade and getting interested it is also a richer effect." OPEN, PUBLIC SPACES WHICH ARE AN EXTENSION Barnard Nexus is complete in 2009, it should in the blurred quality it gave to the panels: OF THE CAMPUS GREEN OUTSIDE IGREENI, AND THE Weiss/Manfredi found a company, Sevasa, GRADATIONS OF COLORED. FRITTED, AND CLEAR show that sensibility can be more faithful to "When we were working with terra cotta and that could acid-etch or bake color onto the GLASS PANELS WHICH CLAD THE EXTERIOR context than duplication: Instead of using clear glass, it was either figure or ground," number 1 [exterior) surface of a glass panel. iGRAYSCALE!, BELOW LEFT: WEISS / MANFREDI the red brick that characterizes many of the she explained, but the charcoal suggested a "Usually the frit is on the number 2 or 3 sur• PHOTOGRAPHED VARIOUS GLASS SAMPLES ON THE ROOF college's older buildings, the architects riff on OF THEIR OFFICE IN ORDER TO BETTER UNDERSTAND less definite line. "Sometimes the tools you face, so the exterior is still highly reflective," brick's color and material qualities.The steel- use are suggestive, and it is important to be THE WAY SHADOWBOXES OF DIFFERENT DEPTHS explained Weiss. The acid-etched frit gives a WOULD AFFECT COLOR AND OPACITY IN SUNLIGHT. UJ vt

< LU

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

glass and simple massing strategies. roof is only 24 inches from top to bottom, it 13-feet, are quite large. The designers used Within the pavilion's all-glass rectangular required coordination between the structur• low-iron, Pilkington Opti-white glass in order TOLEDO box, 13 glass volumes float almost bubble• al and mechanical drawings," described to minimize green tint and provide colorless like in plan and act as various gallery, event, SANAA project manager Toshihiro Oki. transparency, and also to acknowledge their and exhibition spaces. The programmatic Also, they used V'l-inch plate steel on the cor• interest in manipulating that transparency: requirements for the space were the primary ners of the building to act as bracing for lat• "We realized that curved glass would trans• MUSEUM generator for SANAA'S emphasis on discrete eral loads. This allowed the columns to be fer light differently, and also transparency volumes in the project, explained principal smaller and support only vertical loads. would change in the building just through Ryue Nishizawa. "Our design came from the The 13-foot-high glass panels which define the layering of glass," said principal Kazuyo OF ART museum itself: Different temperatures and most of the volumes had to be shipped from Sejima. "In the mock-up we built, even two humidities were needed for various rooms, Austria to a plant in China and custom-formed layers created a certain level of opacity." including a hotshop that generates an enor• through a "slumping" process, in which the While the firm has worked with curving mous amount of heat. Also, it is a big place glass is placed above a curved mold and then glass before, Toledo's Glass Pavilion allowed a GLASS (76,000 square feet] and we needed to break heated until it settles into place. The glass new kind of experimentation. "We were able up the space." Between most volumes are panels are flat, fully, or partially curved, and to work with much thinner glass in Ohio than interstitial spaces that act as insulating pock• while many are different, the designers tried in Japan," noted Sejima. The result is both PAVILION ets, further regulating the interior conditions to standardize some of the curvatures in the greater clarity and more precision with the of the galleries. building. Oki estimated that approximately forms. The building is a perfect vessel to TOLEDO,OHIO,2006 showcase glass, itself a feat, but as Sejima While minimalism is often thought of as 30 different molds had to be fabricated to cre• KAZUYO SEaiMA + commented, "the material may be fragile, stripping down and removing the inessential, ate the panels. RYUE NISHIZAWA/SANAA but working with it is really no big deal." it is just as much about hiding the unappeal• These panels are slotted into tracks on ing but necessary. In this case, SANAA the floor and ceiling. The lower tracks are JAFFER KOLB IS AN ASSISTANT EDITOR AT AM. embedded into the structural concrete floor Like its pristine Miesian predecessors, the embedded most of the structural columns within the four rooms which are not glass with 3-inch slabs, and employ a U-track SANAA BUILT A FULL-SCALE MOCKUP ILEFTI OF Toledo Museum of Art's new Glass Pavilion THE TOLEDO MUSEUM OF ART'S GLASS PAVILION enclosed—three are built with standard a system with a rocker device at the bottom of is seductively light and deceptively simple. It [BOTTOM! TO TEST THE VISUAL EFFECT OF each track to allow the glass panels some appears to be a straightforward glass box wood frame and sheetrock, and the fourth LAYERING THE GLASS WALLS. WHICH WERE degree of movement. The rocking mecha• under a flat roof, but unlike the Barcelona is clad in rolled steel. Slender columns are 'SLUMPED* ON FRAMES [CENTER RIGHT) IN CHINA nism is stainless steel, and has a shallow Pavilion or the Farnsworth House, this build• scattered throughout the interstitial cavities, AND ARE HELD IN PLACE BY TRACK INSET INTO parabolic shape. This keeps the glass level THE CONCRETE FLOOR (TOP RIGHT). ing houses a series of discrete spaces that but sited to obstruct sightlines minimally. and vertical, and the flexibility minimizes the serve a wide range of programs including To avoid disrupting the irregularly spaced potential for breakage. The top track employs a cafe, exhibition space for light-sensitive and sized rooms, the firm, with structural Teflon slip-plates to minimize friction and objects, and a workshop for glass artists. The engineers Guy Nordensen & Associates, allow the glass to move slightly based on ver• Tokyo-based firm SANAA has used this pro• planned an intricate roofing system to tical loads. An L-shaped V2-inch steel plate is grammatic diversity to push the possibilities accommodate mechanical systems and locked into place after the glass is installed to of a glass pavilion in both scale and ambi• maximize structural capacity without requir• hold the panel in place. tion. For the firm's many admirers, the proj• ing a regular column grid. They managed ect—SANAA'S first in North America—is an this by using differently sized beams that This support system is both stable and amplification of the work they have become worked around the columns and HVAC sys• flexible, allowing the system to respond to known for, like the Kanazawa Museum of tems, all of which were locked into perpendi- external factors without discernible effect on Contemporary Art, which also uses curved cular girders through flanges. "Given that the the panels, which, with many measuring 8 by

i UJ LTi OH

o o o o o o Dr:i run n DETAIL •J o 7 WORLD TRADE CENTER

Ground Floor Plan NEW YORK, 2006 1 Permanent exhibition SKIDMORE OWINGS S MERRILL 2 Temporary exhibition 3 Hotshop 4 Lampworlcing room 5 Restaurant/cafe According to Chris Cooper of Skidmore 6 Courtyard Owings & Merrill, creating an all-glass 7 Restrooms building in New York City is a lot harder 8 Support space than it seems, especially while trying to 9 Multi-purpose room work within the financial constraints of a speculative office tower like 7 World Trade Center. "In Europe, it is becoming more and more common to use a double skin. As we were thinking about how to bright• en the exterior while still using standard construction techniques, we reached out to Jamie Carpenter of James Carpenter Q Design Associates (JCDA), and together we looked at ways to bring light into the spandrels." The solution the two firms ultimately came up with is a system whereby the window glass hangs over the finished edge of the floor slab, which is clad in galvanized steel panels. The Spandrel Detail resulting cavity—which is open to the air, 3/8 Glazing with PVB interlayer as each glass panel covers only Vh of the Spacer 3V2-foot slab depth—allows the glass to Thermal separator seemingly lighten the building's facade Blocking between floors . "Clear glass with space Aluminum mullion behind it is always brighter," said Cooper Insulation To subtly increase that effect, they added Steel fascia a strip of blue stainless steel to the base Blue stainless Steel strip Glass Track Details. Head of the sill. "You can't see it. but the blue and Shoe Gasket steel tempers the quality of the light as it 1 Primaryroof structure 10 Gutter splice 2 Shim reflects it," explained Cooper. 11 Blind pocket 3 K" Steel plate 12 Mullion wrapper 4 Head support steel Because SOM decided to use single- angle glazed windows on 7 WTC. there was 5 Stainless steel head concern that the spandrel detail would support plate cause the glass to lose its insulating 6 Teflon slip pad value: For lY2feet, each pane would be 7 Neoprene load transfer block exposed to the weather on both sides, 8 X" + X' Laminated and presumably conduct the cold in. glass with PVB interlayer Before glass manufacturer Viracon would 9 Finished floor sign off on the system, it conducted a 10 Silicone sealant temperature distribution analysis, as did Q 11 Stainless steel glazing SOM and two other consultants. All four channel found that, while the glass felt cold to the 12 Glass support rocking touch, heat transfer—and its attendant mechanism o 13 Shim condensation inside—could be kept to a 14 Blocking minimum by insulating the spandrel and using thermal separators, AG LU NO

<

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

Curtain Wall Detail When architects Frank Barkow and 1 Steel bracket Regine Leibinger were asked to design a 2 Anti-glare blind spec office building in an area of Seoul 3 Aluminum interior joint OFFICE BUILDING that hadn't even been developed yet, 4 Register with convector they realized they wouldn't be able to 5 Double-glazed glass panels S SHOWROOM turn to the usual sources—the needs of clients, the feel of the neighborhood—to SEOUL,KOREA,2007 begin the design process. The site is a BARKOW LEIBINGER ARCHITEKTEN part of Digital Media City, a government- initiated project that will ultimately be a 2.5-square-mile business center between the airport and downtown Seoul. Since ( the only truly known quantity they had at BARKOW LEIBINGER DESIGNED AN OFFICE BUILDING IBELOWj the outset of the process was the budget, FOR A SITE IN SEOUL'S NEW Barkow Leibinger decided to plan for the DIGITAL MEDIA CITY. WHICH worst: The architects developed a highly IS A MASSIVE GOVERNMENT- reflective glazed primary fagade that INITIATED DEVELOPMENT ON would, in Barkow's words, "take the THE OUTSKIRTS OF THE CITY. AS ONE OF THE EARLIER neighbors—no matter how terrible they PROJECTS TO GO INTO might be—and pixilate them into cool• CONSTRUCTION, THE ONLY ness." A mockup they built and put in REAL CONSTRAINTS ON THE the courtyard of their Berlin office ARCHITECTS WERE ZONING showed endless fragmented images of RESTRICTIONS AND BUDGET. the brick building, small triangles of blue

A SCALE MOCKUP (RIGHT 1 sky, and cubist versions of anybody who OF THE FACETED CURTAIN happened to walk by. WALL GAVE A KALEIDOSCOPIC The polygonal geometry of the fagade REFLECTION OF ITS SUR• grew in part from conversations with ROUNDINGS, IN THIS CASE, BARKOW LEIBINGER'S BERLIN the artist Olafur Eliasson, who was also OFFICE. working on a piece called the Quasi-Brick lVa//that explored likeminded ideas. Eliasson served as an in-house critic for Barkow Leibinger while the Berlin office of Arup helped them turn the idea into a working curtain wall. For all its kaleidoscopic glory, the ll-story building's plan is actually quite straightforward, and the curtain wall is based on a single module to make con• struction easier The primary fagade is comprised of one 4-by-3.3-meter module that is rotated and flipped upside down to create a varied pattern; on the rear of the building, the curtain wall is flat to accommodate the service core, which is pushed to a rear corner to leave interior spaces open enough to accommodate any future tenant. According to Barkow, who has seen full-scale mockups in place on the construction site, "It is a shallow, economical section, but when they are put together, there is the sense of being within a volume—the fagade itself becomes volumetric." Each of the mod• ule's seven surfaces is a piece of highly reflective glass held in place with silicone. The silver-white glass may fracture every• thing that ultimately passes by it but, promised Barkow, "It's low-iron energy glass that lets in 49 percent of the sun• light—it isn't dark, 1970s stuff, like Houston in the bad old days." AC

DKote / GlassKote USA Light Points / Schott Unlike traditional image-to-glass Schott's Light Points is a laminated technologies that require an inter• PRODUCTS safety glass that incorporates a layer, the Australian company transparent conductive interlayer GlassKote's new process DKote COMPILED BY AARON SEWARD Imbedded with light-emitting diodes ^ chemically bonds a photo-quality (LEOs). Since the conductive layer o image to glass on a molecular level allows electricity to travel through• S to form a permanent and durable out the entire piece of glass, there's no need for any visible wiring. The 0 surface. This offers certain incen- 3 LEDs come in a variety of colors, • fives over the Interlayer solution: £ and do not draw much electricity— 1 It performs better around wet areas, " 12 to 24 volts for most applications. S has a cleaner edge, can be less thick, E Schott says that the lights will burn costs less, and comes in larger * for decades before they need to be sizes. DKote has been specified for several interior projects in the U.S. 0 replaced. As with any LED panel. Available through GlassKote USA, !^ the lights can be patterned and LLC (glasskoteusa.com). FOR CREDITS, VISIT 3 programmed as desired. Available 1 from Schott North America. Inc. WWW.ARCHPAPER.COM o (us.schott.com). uj

< LU

BRONX CRIMINAL COURT COMPLEX NEW YORK, 2006 RAFAEL VlfilOLY ARCHITECTS

After the United States Embassies in Kenya Due to security concerns, Wilmers was and Tanzania were bombed on August 7, unable to speak specifically about the level of 1998, leaving 224 dead and 5,000 injured, blast the court is built to withstand. He did the Government Services Administration say that the criterion for passing blast force (GSA) beefed up its biastproofing standards is that glass doesn't fly into the building more for new construction. Rafael Viholy Architects than a certain distance. This means that not had already begun design work on the Bronx only does the glass have to stand up to a 1 Criminal Court Complex in New York, and blast (a PVB interlayer on the interior pane while blast resistance was included in the prevents it from shattering), but so does program, the architects decided to team up the aluminum and silicone. The sawtooth with curtain wall fabricator Enclos shape that is so central to the building's aes• Corporation to incorporate the GSA's new thetic is also an important component of standards into the all-glass design. The court the curtain wall's blast resistance: Because complex was already under construction the blast force would presumably meet the when September 11 prompted safety glass at an angle, its impact would be more requirements to be raised yet again, but diffused than on a flat surface. The design• Viiioly's building already met most of the ers also worked with the assumption that new standards, so the architects didn't have blasts would come from street level, so the to put construction on hold. wall was designed with a vertical gradient of The building's primary street-facing cur• blast resistance. On lower floors, mullions tain wall is a series of triangular protrusions are reinforced with steel. that form a sawtooth shape in plan; structur• "Blast resistance is about protecting the al silicone holds Viracon low-E insulated people inside the building," noted Wilmers, glass panels in aluminum mullions. "We "not the building itself. After a blast, the were working with the physics of blasts," outer panes of the glass would be shattered said Fred Wilmers, project architect at and the aluminum would be distorted, Rafael Viholy Architects. "They are impulse but the people inside wouldn't be hit with forces that last a matter of seconds, so a shredded aluminum and glass shards. It is flexible surface that gives with the blast but for a one-time use, however—it couldn't remains intact, is actually more efficient resist a second blast." than a rigid surface." For example, a 1,000 The fact that a glass curtain wall is capable pounds-per-square-foot blast applied to a of meeting current security requirements is rigid surface would produce a much higher- the key lesson of this building. It offers hope static pressure than the same blast load that in this age of terrorism, civic structures applied to a flexible surface, like a curtain don't need to be concrete bunkers. wall system. AARON SEWARD IS PROJECTS EDITOR AT AN.

THE SAWTOOTH SHAPE OF THE BRONX CRIMINAL COURT'S ALL-GLASS CURTAIN WALL I ABOVE AND AT RIGHT I SERVES A DUAL PURPOSE: IT BOTH MINIMIZES THE MASS OF THE BUILDING AND HELPS DIFFUSE POTEN• TIAL BLAST THREATS.

Vertical mullion at unit break and outside corner 1 Steel reinforcing plate 2 Painted aluminum mullion 3 Structural silicone 4 Insulated laminated glass unit 5 Painted aluminum corner mullion

Glass Particle Board-Brillant / Crimar / Cricursa Eckllte / Saint-Gobain Thermopal Cricursa's Crimar is a laminated safe• Thermopal's Glass Panicle Board- Ecklite is an insulating glass that ty glass bonded to a layer of marble integrates electronically driven blinds Brillant is a non-flammable interior that's so thin light can pass through between lites to provide a higher design and construction board made it. Each layer is Vinch thick, but degree of solar and glare control than from 100 percent recycled-glass par• the low-iron glass lites provide all of is possible with room-side blinds. ticles. It is suitable for use as struc• the unit's structural strength. While tural, soundproof, and fireproof Portugal and gray Azul Lagoa marbles By sealing blinds into the glass unit, board, can be cut with standard are the standard options, although blinds are protected from dust. I woodworking tools, and comes any marble can be specified if sup• A 24-volt motor moves the blinds 5 in a variety of finishes, colors, and plied by the client. Crimar is available up and down, and adjusts the pitch I textures. Due to its soundproofing for interior and exterior uses and of the louvers. Ecklite can achieve a 8 qualities, its manufacturer Is also comes with a lO-year warranty. level of energy transmission of up to < suggesting it for ceiling applications, The glass has been used in a Miami 6 percent, which is concurrent with j; Brillant Is environmentally sensitive house by Wood + Zapata and a insulation standards. The product has I and does not off-gas when Barcelona condo by Carlos Ferrater. been used rn soveral new buildings 12 exposed to fire. The product will be Cricursa products are available in Europe, but has just become g available soon through Thermopal through Artexture-* in New York available in the U.S. through Saint- 8 (thermopal.de). (cricursa.com and artextureplus.com). Gobain Glass Exprover N.A. in Scottsdale, AZ (saint-gobain.com). >- 00 <

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

Parsons the New School MONDAY 10 WEDNESDAY 12 LECTURE for Design O LECTURES Michael Maltzan 66 West 12th St. WEDNESDAY 5 Frederic Levrat Breaking Points www.publicartfund.org o| EXHIBITION OPENING Afghanistan: Rebulding a Country CM! Simo Neri: Recent Works 6:00 p.m. 12:00 p.m. Princeton School WEDNESDAY 19 United States Eastern LECTURE Pratt School of Architecture of Architecture District Courthouse Suzanne Rheinstein, 200 Willoughby Ave., Betts Auditorium 225 Cadman Plaza East, Louis Oliver Gropp Brooklyn wvvw.princeton.edu/~soa < Brooklyn Dialogues on Design: www.pratt.edu The California Series EXHIBITION OPENINGS THURSDAY 6 6:00 p.m. Quentin Brathwaite Re^dis Trans: Voltage of LECTURES New York School Port Authority Planning Relocation and Displacement Hernan Diaz Alonso of Interior Design for the WTC apexart Recent Projects 69th Street Gallery 1:00 p.m. 291 Church St. 6:00 p.m. 161 East 69th St. Columbia University GSAPP www.apexart.org Pratt School of Architecture www.nysid.edu 200 Willoughby Ave., 201 Fayerweather www.arch.columbia.edu Sherril Schell: Brooklyn Unknown Modernist THURSDAY 20 www.pratt.edu LECTURES Anne Lacaton Museum of the City 197-A Plans: Consultants and Habiter of New York Tim McDonald Communities Share Lessons 5:15 p.m. 1220 5th Ave. Onion Flats. Philadelphia Learned, Bedford Stuyvesant Cornell University School www.mcny.org 6:15 p.m. 8:30 a.m. of Architecture Parsons the New School for Municipal Art Society Sibley Hall, Ithaca THURSDAY 13 Design 457 Madison Ave. www.architecture.cornell.edu LECTURE MATTHEW BARNEY: THE OCCIDENTAL GUEST 25 East 13th St. www.mas.org David Rockwell Gladstone Gallery, 515 West 24th Street www.parsons.edu Dr. Jack Eichenbaum 6:15 p.m. April 7 to May 13 Parsons the New School Gail Fenske Richard Rogers Geography of New York City for Design The Skyscraper and the City: In 1987 Matthew Barney began a series of installations Current Work 6:00 p.m. Glass Corner the Woolworth Building titled Drawing Restraint, each examining the idea that cre• 6:30 p.m. Urban Center 25 East 13th St. and the Making of Modern ativity relies on resistance. In the most literal examinations Yale School of Architecture 457 Madison Ave. www.parsons.edu New York of this idea, Barney is seen wrestling against various physi• 180 York St., New Haven www.mas.org 7:00 p.m. cal hindrances and spatial objects, impeding his attempts www.architecture.yale.edu Woolworth Building at drawing. Seventeen years later, he is still at it. Drawing Marshall Berman, MONDAY 17 233 Broadway Restraint 9 (2005) and a new site-specific performance, Christine Boyer, et al. LECTURES Joseph Scaltro www.DowntownNY.com Neville Mars, Yan Meng. Hui Drawing Restraint 13, will be at the Gladstone this month. Outdoor Lighting Design Should the Future Wang The two-hour-and-fifteen-minute Drawing Restraints 6:30 p.m. Be Designed? 3X3: A Perspective on China Michelle Fornabai features Barney, musician Bjdrk, who also scored the film, Center for Architecture 6:30 p.m. 6:00 p.m. Soft Structures and others aboard a whaling ship in Japan. The film is the 536 LaGuardia PI. New York Institute Center for Architecture 6:30 p.m. first artistic collaboration between the married couple. www.aiany.org of Technology Cornell University School Drawing from influences that include the Shinto religion 16 West 61st St. 536 LaGuardia PI. of Architecture and the history of the whaling industry, the film exposes www.nyit.edu www.aiany.org FRIDAY 7 Sibley Hall, Ithaca the relationship between Barney and Bjork—self-pro• LECTURES www.architecture.cornell.edu Svetlana Boym, Jeff Byles, claimed Occidental Guests—and their Japanese hosts. The Sheila Levrant de Bretteville Thomas Leslie and Brian Dillon exhibition also includes drawings and sculptures recalling One Woman's View Louis I. Kahn: Building Art, Ruination: A Symposium SATURDAY 22 the ship and the events that take place on it. 1970-2005 Building Science on Debris, Decay, and LECTURE Woman's Building, Agrado, 6:30 p.m. Destruction Charles Warren, Thomas Low Hear Us... University of Pennsylvania 7:00 p.m. Town Planners at Work: Meyerson Hall 5:30 p.m. The Kitchen The Legacy of John Nolen 3101 Walnut St., Philadelphia Columbia GSAPP 512 West 19th St. 10.00 a.m. www.design.upenn.edu Bueil Center www.thekitchen.org Institute of Classical 114 Avery Hall Architecture and Classical www.arch.columbia.edu TUESDAY 11 America LECTURES TUESDAY 18 LECTURES 20 West 44th St. Frank Gehry and Do-Ho Suh Francois Roche www.classicist.org Paul Goldberger 12:30 p.m. "Once upon a time" A Conversation Pratt School of Architecture 12:00 p.m. SYMPOSIUM 6:30 p.m. 200 Willoughby Ave, Pratt School of Architecture In Process: Contemporary Yale School of Architecture Brooklyn 200 Willoughby Ave., Architectural practice in 180 York St., New Haven www.pratt.edu Brooklyn Spain vmw.architecture.yale.edu Terrence Riley, Thorn Mayne, Rodney Leon www.pratt.edu Peter Eisenman, et al. Culture and Context: The EXHIBITION OPENINGS Center for Architecture NYC African Burial Ground A Tribute to William Jordy Matthew Barney 536 LaGuardia PI. 6:15 p.m. David Brownlee, The Occidental Guest www.aiany.org Alan Colquhoun, et al. Gladstone Gallery Perkins + Eastman 115 5th Ave. 2:30 p.m. 515 West 24th St. TUESDAY 25 www.gladstonegallery.com www.perkinseastman.com Columbia GSAPP Buell Center LECTURE William Cronon Ricardo Scofidio, Robert Room 300 South Luisa Lambri Saving Nature in Time Hammond, James Corner www.arch.columbia.edu Photographs 6:30 p.m. The Highline Design Team Luhring Augustine Parsons the New School 6:30 p.m. Peter Eisenman and SIMO NERI: RECENT WORKS 531 West 24th St. for Design Parsons the New School Michael Graves United States Eastern District Courthouse www.luhringaugustine.com Tishman Auditorium for Design 6:30 p.m. 225 Cadman Plaza East, Brooklyn 66 West 12th St Tishman Auditorium Steelcase Through October 8 SATURDAY 8 www.parsons.edu 66 West 12th St. 4 Columbus Cir. EVENT www.parsons.edu www.steelcase.com Paris-based Simo Neri's large photographic mosaics will Southpoint: THURSDAY 27 drape the walls of the gallery space of the new Brooklyn From Ruin to Rejuvenation LECTURE courthouse. The courthouse by Pelli, Clarke, Pelli Architects Maxwell K. Hearn Sina Najafi 12:00 p.m. Antoni Muntadas (formerly Cesar Pelli & Associates) opened in January and Forbidden City On Ruins Center for Architecture Spaces of Memory Neri's exhibit, chosen by the board of judges of the Eastern 8:00 p.m. 7:00 p.m. 536 LaGuardia PI. 5:15 p.m. District, will inaugurate the court-run public gallery. Neri, Metropolitan Museum of Art The Kitchen www. nyfa rch itecture.org Cornell University School known for her metrical, cinematic photographic deconstruc- 1000 5th Ave. 512 West 19th St. of Architecture tions, will display a variety of her recent works on nature, www.metmuseum.org www.thekitchen.org SUNDAY 9 Sibley Hall, Ithaca including Moving Lines (pictured), images of a Japanese EXHIBITION OPENING www.architecture.cornell.edu forest. The floor-to-ceiling images, mounted on canvas, alu• David Kramer, et al. EVENT minum, or sintraboard, are suspended from the ceiling. The Welcome to the Limelight, Celebration of the Centennial works demand that the viewer not only physically interact You Don't Live Here Anymore of Interior Design with the art but visually recompose the fractured image Center for Curatorial Studies 6:30 p.m. into a cohesive whole. Neri's work is also currently on view Bard College, Mandarin Oriental Hotel VISIT WWW.ARCHPAPER.COM in the exhibition M City: European Cityscapes at the Annandale-on-Hudson 80 Columbus Cir. FOR COMPETITION LISTINGS Kunsthaus in Graz, Austria. www.bard.edu www.parsons.edu CO Os 3 ^ LU >M LU a:

This photo of a New Orleans neighborhood, shot In January 2006, accompanied historian RETHINKING Carol McMichael Reese's provided introductory remarks at the Columbia symposium. NEW failed to contextualize New Orleans fully or provide a working solution. ORLEANS Tension arose between Starr and Sorkin: Starr insisted that New Orleans needed good economic practices more than good architects. Regrounding New Orleans It then became a bit of a civilized argument Columbia GSAPP with Codrescu and Sorkin attempting to gang- Wood Auditorium up on Starr and attack his position that plan• March 3 ning wasn't the issue but a good levee system

Exposing New Orleans and increased home ownership were the Princeton University answer. Considering the urgency of the situ• Betts Auditorium ation in New Orleans, it's unfortunate that Marcli 4 debate remains so theoretical, far removed from the raw reality on the ground. Some of these problems and concerns Six months after Hurricane Katrina devastated Columbia;titled "Regrounding New Orleans," of professional practice/client relationship were picked up the following day at the the Gulf Coast, much remains unknown it was meant to be an intellectual forum was called for in this case. "We need to reach Princeton leg of the symposium, "Exposing about the region's future. Countless architec• focused on uncovering the history and poli• out to some well-known architects; black, New Orleans." Though the day was envi• ture-related interests and organizations, from tics of the area and to set the groundwork for white, Hispanic architects who have ideas sioned to be a charrette, it in fact was more housing nonprofit ACORN to various AIA debate. It brought together politicians, plan• and solutions. This is not a time for Frank of an opportunity for constituents from archi• chapters to the new urban design think tank ners, architects, historians, authors, and Gehry or Thom Mayne to come in." Andres tecture schools with studios exploring design Forum for Urban Design have organized artists who offered critical perspectives on Duany's name was also bandied about sev• issues in New Orleans to have a dialogue events, symposia, excursions, charrettes, the city, environmental conditions as well as eral times as an example of a designer that about their work. Participants included Charles and publications to address the challenges of cultural and social issues the city was dealing Orleans Parish does not want. Cross and Diane Reid (City College of New rebuilding the hurricane-wrecked region. The with even before Katrina struck. The second Manning was a refreshing contribution to York), Laurie Hawkinson and Lee Ledbetter latest is a two-day symposium organized by day, at Princeton, was structured as a work• the debate: His hard-hitting statements and (Columbia), Coleman Jordon (University Columbia University's Temple Hoyne Buell shop, involving professors and students of refusal to compromise when addressing of Michigan), Miguel Lasala (University of Center for the Study of American Architecture architecture and planning from universities issues of race and class in reference to the Louisiana at Lafayette), and Sigrun Prahl and Princeton's School of Architecture, spon• in the tri-state area as well as Louisiana to problems of New Orleans were in clear con• (Cornell University). sored in part by their Woodrow Wilson exhibit and discuss projects they have been trast to more careful and politically crafted Presenters and planners from the previous School of Public and International Affairs. working on in their respective studios. positions often expressed in public forums. day, such as Jeanne Nathan, president of Anthony Fontenot, a native of New Orleans, At Columbia, after an informative introduc• The session ended with many questions Creative Industry in New Orleans, were was living there when Hurricane Katrina tory session on New Orleans' architectural about the racial and class politics of the city. joined by Michael Stanton, associate profes• struck in late August 2005. But unlike many and environmental contexts, with presenta• This theme was picked up in the final session, sor of architecture at the American University others, he already knew his evacuation desti• tions by historian Dell Upton and geographer which included Andrei Codrescu, Michael of Beirut, and Richard Campanella, assistant nation: He was leaving the city to begin a Craig Colten, there was a roundtable discus• Sorkin, and S. Frederick Starr, former vice director of the Center for Bioenvironmental PhD at Princeton in September. Soon after sion on current developments. Participants president of Tulane and author of several Research at Tulane and Xavier University in arriving at Princeton he began a mapping included Reed Kroloff, dean of the school of books on New Orleans. New Orleans, who all spoke about how to project titled "Exposing New Orleans," architecture at Tulane, as well as Raymond Codrescu read an essay that stated "it's begin the reconstruction in the city. which led him to begin organizing a sympo• Manning, principal of Manning Architects of the tourism board that markets culture and it The feeling was less tense and more open sium to explore the many critical issues and New Orleans and a member of the Bring is no hurry to bring back [the poor people]." than the previous day, allowing attendees to design efforts that have begun post-Katrina. New Orleans Back Commission, which has Starr reiterated that tourism does nothing to imagine the future of the city rather than criti• "There are people across the country work• been charged by New Orleans Mayor Ray develop human resources and that the city cize it for its failings. Skepticism gave way ing on this," he said, "but most of them Nagin to devise a plan to revive the city as a has been living off the capital of an earlier era. as professors and students presented their have never met before. The people in the cultural and economically viable destination. It was Sorkin, however, who provided the projects which, Fontenot hoped, would New York region have little contact with the The stage became heated at points and most provocative statement of the evening. inspire or guide those working on the city's people dealing with the realities on the Manning made it clear that if "a plan is not in "New Orleans has effectively become recovery. ground. We wanted to get a dialogue going place by the [hurricane's] one-year anniver• Palestine," he began. He described the city The organizers plan to follow up the sym• between the two groups." In the process of sary we will not recover as a community and as a circumscribed place whose population is posium in the coming months by inviting dif• organizing, he discovered that Buell Center a state." He went on to refute that design was defined by a way of speaking, a high majority ferent groups to travel to New Orleans and director Joan Ockman and program coordi• going to solve the situation. "I don't believe of natives, and clear provincial boundaries. install their projects in the neighborhoods for nator Salomon Frausto, along with Tulane the New Urbanists or design charrettes are This led to his main point: "Who has the which they have been designing. Maybe professor Carol McMichael Reese, were plan• the solution. We need to ask how we will authority to name it? Who has the superior then we will know if architects can become ning a major New Orleans symposium to be mend the racial and class barriers," he said. authority to claim and settle it?" He painted agents of change rather than simply genera• held at Columbia. Together, they developed a "This is not about design; if we don't reach a convincing picture of refugees confined to tors of ideas. program that would involve both schools. out, then we will lose [the city]." camps and an environment that promotes JERRY PORTWOOD IS A NEW YORK-BASED WRITER The first day of the symposium was held at Kroloff agreed and said that a different sort racist tension, but his forced comparison AND MANAGING EDITOR OF THE MEW YORK PRESS.

SoHo's evolution into a shopping mall and Clark and friends), Magoos, Barnabas, and the staged Downtown Manhattan: SoHoior a fes• one of the most expensive zip codes in the Mudd Club. Canal Street's history as a mine tival in Berlin. In 2001 London's Tate Modern country is remarkable given that, not long ago, FLASH BACK for cheap art materials is still visible, if fading. presented Century City: Art and Culture in the the city and property developers had basically The art produced and exhibited in down• Modern Metropolis, which selected nine dif• written off the area. Since 1940 it had been town New York from 1974 to 1984 is the sub• ferent cities at particular periods when they mapped for demolition to make way for Robert ject of two recent concurrent exhibitions at were "crucibles for innovation...and creative The Downtown Show: Moses Lower Manhattan Expressway, so New York University and Parsons The New The New York Art Scene 1974-1984 flashpoints." It focused on downtown New landlords stopped maintaining the area's Grey Art Gallery and Fales Library School for Design. The creative production of York between 1969 and 1974. Despite the old industrial buildings. In 1969, however, New York University this time and place "radically altered American exhibit's ciiched notion that one city at a partic• the freeway project was halted and the artists Closed April 1 art and culture," as the program for the NYU ular moment can sum up global artistic trends, who had been living in the area since the late show rightly asserts. Both exhibitions also the Tate show did convey how work devel• 1950s were quickly joined by galleries like Anarchy to Influence: aimed to demonstrate how the spaces of oped directly out of a particular physical space Design in New York 1974-1984 Paula Cooper, Sonnabend, Leo Castelli, Park Lower Manhattan influenced the artwork or urban context. It featured, for example, cho• Arnold and Sheila Aronson Gallery Place, and White Columns, performance generated. reographer Trisha Brown's 1973 Roof Piece, Parsons The New School for Design spaces like The Kitchen, and a retinue of Through April 2 This is not the first time that 1970s Lower which had dancers dispersed among SoHo's artists' hang-outs, including the Spring Street Manhattan has been presented as an impor• rooftops, captured in deep relief by filmmaker Bar, Food (famously created by Gordon Matta tant art center. As far back as 1976 Rene Block Babette Mangolte. continued on page 20 3 o LU (\J

> LU

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

versal narrative about the places FLASH BACK continued from page 19 where we come of age. The third The NYU exhibition, curated by Carlo Mi lii^' Holbrpwk Picrsoii section retraces, in an impression• McCormick, senior editor at Paper maga• istic style, the destruction of 26 zine, claims to unravel the "knot of multi• GO rural towns along the Hudson and ple narratives" produced by downtown Delaware rivers for New York artists and contends that their work was City's reservoir system. She links distinguished for being "populist and this destruction to the gentrification subversive as well as Utopian and raw." of upstate towns by newcomers, Downtown became an arena where DA very much like herself. "Now the notions about gender, race, privacy, public distant fields and woodlots are dot• space were challenged. One can almost ted with smartly designed farmland imagine the old scene when looking at interpretations of the International images of Colab's A More Sfore (1981), an GO Style... but these people do not art shop installed at White Columns, and know one another, do not depend Adam Purple's Garden of Eden (1984), on one another." she writes. a guerrilla garden installation on Forsyth The Place Your Love is Gone: Progress Hits Home "They make nothing, farm noth• Street, which the city bulldozed two Melissa Holbrook Pierson (Norton), $24.95 Progress ing, produce nothing." years later. In the fourth section of the book, The Parson's show, curated by exhibi• she analyzes "back to the land" tions director Christopher Mount, high• Melissa Holbrook Pierson's fierce as murderous, writing "Between IS not a power upon the earth that narratives from the early and mid lighted the fashion, graphics, and interior little book channels both Jane 1978 and 1982, 56 people, most of will stop progress. Except progress 20'' century—a literary genre, she and furniture design of the time. (The Jacobs and Patti Smith. Part mem• them children, died in highly suspi• itself. When the air can't be notes, that has become largely shows were coordinated, which explains oir, part social history, the book is cious tenement fires in Hoboken... breathed, when the psyche starts extinct alongside the notion of the division of territory.) High Tech style is a haunting meditation on the loss In five years, one-fifth of all the running amok from too many others remoteness itself She ends with a treated prominently, implying that rubber of cherished places, on dislocated rental housing stock in town had crowding the elbow, when the sampling of quotations about place flooring and exposed pipes were the major populations, on greed, and on been converted to condos and, spring comes four weeks too soon, and home from figures ranging from design initiatives of the period. The show overdevelopment. no matter their provenance.. were when the flood comes, when the trees wither... when selfishness Calvert Vaux to Emily Dickinson. fails to flesh out the relationship of the Pierson, a nonfiction writer who declared to be 'luxury.'" calls the chickens home to roost, Depending on your mood, read• physical city and the cultural production lives in the Hudson Valley, means Before you can dismiss her, then it will stop." ing this book will make you want on view. Neither show, in fact, addresses the book's subtitle, "Progress Hits Pierson beats you to it, declaring to give in to the all inevitability and architecture in the slightest, despite the Home," in the most physical sense. herself an "extremist" and a "hyp• Divided into five sections, the waste, or it may make you fight a fact that many important architects were The book is punctuated with ocrite" in the book's first section. book begins with Pierson's recol• little harder to save that old building living and working in the area at the time. images of violence, such as," Being And while it is easy to find comfort lections of her hometown of Akron, or corner of undeveloped land down Alan Buchsbaum, Hanford Yang, hit with eminent domain is a bit like in some of her occasionally Ohio (undone by deindustrialization), the street from where you live. As Michael Schwarting, Richard Gluckman, being jumped in a dark street at cloying assertions—"I can't help followed by her post-college years Pierson wntes, "I am part of the Fluxus artist and developer George night: One minute you're walking it if I want to live in the past!"— in Hoboken. Both sections are told problem, and I long for a solution." Maciunas, and James Wines were all fig• along, and the next you've got the book's unrelenting doom gets in the second person, a surprisingly ures noticeably absent from the show. someone's arm tight against your under your skin. Take, for example, effective way of translating her par• ALAN G. BRAKE IS A DESIGN WRITER WILLIAM MENKINC IS AN EDITOR AT AN. throat." She depicts gentrification this convincing passage: "There ticular experiences into a more uni• BASED IN LOUISVILLE, KENTUCKY.

05.10.2006 ICFF New materials, new products Bonus distribution ICFF and relate Space close 04.19.2006 RUDY Materials due 04.26.2006 Ing Sche

ART TING ISSUE merging technologies and cutting-edge lighting systems 1 Bonus Distribution Lightfair in Las Vegas Space close 5.3.06 GLASS aterials due 5.10.06 ISSUE 10 6.7.200

STUDIO he Architect's Newspaper covers LA! LA writers, LA stories, s the LA Issue! nus Distribution 10,000 to our regular list + 7,000 to California architects + 5,000 in bins at the AIA Convention Space close 5.17.06 Materials due 5.24.06

15 E. Philadelphia Si . York. Pft IMDl ARCHITECTSNEWSPAPER YORK ARCHITECTURE AND DESIGN WVAV.ARCHPAPtR.COM P:in-8 4 3-334 5 • P:nJ-84 6 1 (1 1 • inlo@ru(ly9lass.com DECORATIVE CLASS FAB RICAIOII SINCE ieS2 UJ o

In November 2005, Charles McKinney Peck Slip on Fulton Street in LU was named the Chief of Design for the Manhattan, a masterplan for Fort New York City Department of Parks Totten in Queens, and a community and Recreation (DPR), replacing Bonnie building in the Bronx by Toshiko Mori. Koeppel. Before taking the position, What is the DPR's role in preserving McKinney had been employed at the the ecology of the area? DPR for 20 years, working his way up Ecological diversity is a factor that we to the position of administrator of 00 consider in every project. In every city LU Riverside Park. He left the DPR in there is a huge problem with impervi• 2001 and had a brief stint working ous surfaces. Our park system plays as a landscape architect on several a huge role in ground water recharge. ARCHITECTURAL TRAINING AND RESEARCH PROGRAMS independent projects including a con• We are also responsible for the protec• ceptual plan for the redevelopment tion, preservation, and planting of An independent initiative to advance the cralt o^ architecture (lirougfi training and research. of the south end of Roosevelt Island. A street trees. About 20 percent of the < McKinney now oversees a staff of 50 city's land is under a tree canopy, and ARCHITECTURAL TRAINING Offered RESEARC FELLOWSHIP Rafael Vinoly landscape architects, 20 engineers, it is our goal to increase that figure by tor o second time, the four-month course Architects is again offering fellowships to C2f and 10 architects working on capital 10 percent. We must also consider our develops the operationol and intellectual support original research that advances projects within the city's 50,000 acres parks as wildlife habitats. New York City instruments that form the basis of the croft and practice of architecture and of parks. He is also inheriting a roster is on a major migration route for birds. professional practice. Without substituting can benefit from being carried out in the of six outside architectural firms When will the people of New York City for a formal architectural education, weekly which are guaranteed contracts of up be able to sit on the grass again? environment of an architectural office. In to $4 million each as part of the DPR's Active uses like soccer or football classes ore addressed to advanced addition to a stipend and research new design excellence program (see compact the soil and deteriorate the students and practicing architects who expenses of up to $60,CX)0, Rafael Vitioiy "Parks Get Boost," AA/20_12.14.2005). grass. It is necessary to fence off these find a significant gap between their Architects will provide space and support McKinney took time to speak with us sections in order to allow the grass to formative instruction and the challenges within the firm's New York headquarters. about his goals for the DPR. root, and let the lawn reestablish itself. they face as professionals. The course is Fellows are to be resident for terms In this sense there is a rhythm of designed around the idea that architectural of three to twelve months, between What do you hope to bring to the DPR change in our open spaces. People know-how is not on intuitive ability that September 2006 and September 2007 in your new position? need to recognize that they contribute comes only with experience but a body of Applications are due June 1, 2006. I would like to bring the legacy of to erosion and thus the destruction of knowledge that con be taught, Classes, Fredrick Law Olmstead into the 21"' soft spaces. The answer to erosion is century. He had a social agenda and an multi-faceted, but it includes creating taught principally by Rafael Virioly, egalitarian view of the park as a place places solely for active uses. To that begin in September, 2006. Tuition is free. For applications and further information, where all walks of life could rub shoul• end, we have expanded the number Applications are due July I, 2006. visit vvww.rvatr.com ders. New York City is now made up of of synthetic fields in the parks depart• 100 different nationalities, each with ment to provide consistent playfields. different recreational preferences. What is your stance on introducing There are many emerging recreational private businesses into the public trends that we have to provide facili• park system? RAFAEL VINOLY ARCHITECTS PC ties for, such as skateboarding, snow- I think that parks should not be made boarding, and BMX biking. We have commercial areas. There should not be to build parks that meet these new stores, but a cafe makes sense because demands while simultaneously main• it is an amenity. Places like the taining the many passive uses that Boathouse Cafe in Central Park and ILLUMINATING CONCEPTS IN ENERGY MANAGEMENT have become landmarks for the city. Luna Cafe in Union Square add to the How will these new facilities be vitality of these public open spaces. integrated into existing the existing While the facilities should be located park system? in a way that does not adversely affect Well, we are creating a fair number views, they are a critical part of making of new parks by converting industrial the park financially sustainable. If the areas and brownfields, like the public wants to maintain the quality of Mndows & Doors Y Y\\ Brooklyn waterfront and Fresh Kills. its parks, then we need to develop ways Ncjturai mummcrtlon U \ I JL There are also underused park areas, to have them pay for themselves. ThermoBbk'''' TeJChnokDgy I L.*«t\ and we need to look at who might use We need to reframe our views these spaces and how. Anytime you about what constitutes park ameni• Curtain Wall \ see a piece of unused parkland, it is a ties. I would rather people spend time great opportunity for adaptive reuse. in a park cafe than in any restaurant. Rented DualAirLoop"^ Systems The Parks Department, like the DDC, What are your major long-term goals has recently embarked on raising for your division? design standards for its projects. Can I want to focus on three major areas. Crystal® ffii 1 \ L you talk about this effort? I want to increase the number of new ConsuitoTive McBketing For Your Success ILA I T I L-'T Clearly in the new parks a new design uses and diversify activities in our vocabulary needs to be developed. parks. Although this goes against the New York City needs to be seen as a pastoral characteristics promulgated leader in park design, and we are cur• by Olmsted, I want to continue the rently seen as perfecting the historical legacy of parks for all citizens. I want scene. We have a lot to learn from to increase the strength and depth of places like Japan, Barcelona, and Paris. relations with the operations division. I think a major part of this new vocabu• We do not consider our parks success• lary needs to integrate art and reveal ful unless they are thriving horticultur- natural processes into the landscape. ally. Finally, I want to ensure a satisfied Our culture has changed and parks and committed workforce. I know from Manufacturing Custom Solutions With Your View In Mind. should respond to this in ways that experience that creating opportunities facilitate social life and human devel• for educated individuals in the parks opment. We are currently expanding department can change the whole Building Relationships^" our vocabulary through our design system, GUNNAR HAND IS AN EDITORIAL AIA Affiliate Toll Free: (800) 472-9988 excellence program, with projects like ASSISTANT AT AN. AAMA Certified www.crystalwindows.com/AN NAHB Member marketing®crystalwindows.com ISO 9001 WWW.ARCHPAPER.COM wm STATE-OF-THE-ART 215.000 SQ.FT. IVlANUFACTURING IN QUEENS, NY • NYC • NJ • MO • CHINA The Architect's Newspaper Marketplace showcases products and services. C\J Formatted 1/16 page, 1/8 page, or 1/4 page, black and white ads are available MARKETPLACE as at right. CONTACT: Karen Begley Advertising Sales P. 0. Box 937 New York NY 10013 TEL 212-966-0630 / FAX 212-966-0633 kbegley«>>archpaper.com

THE ARCHITECT'S NEWSPAPER APRIL 5, 2006

RATED #1

Images of Architecture & Design Magazine Esto May 12-19, 2003 See H'H'w.esto.com for the work of our assignment photograp Call to discuss photography of your new projects: 914.698. 7960

And now www.estosUKk.com, our new online image database. More than 75 photographers worldwide contribute to this archive (\iHlpicof- of important historical and contemporary material. Take a look.

INTERIOR WINDOW SYSTEMS

EXISITING Choice of Leading EXTERIOR WINDOW • Up to 95% Noise Architects & Interior Reduction Designers • 99% Elimination of We Design AIR Cold, Draft, & Dirt Manufacture & PAGE ASSOCIATED FABRICATION LLC Install • Maximum Thermal Control ' All Custom Design, ODfj

Construction, and • Installations in over SERVICES Glazing 3,000 Buildings CNC milling ' Windows, Doors, CITYPROOF • Free Evaluation finishing and A/C Enclosures INTERIOP program m ing WINDOW prototyping HOW IT WORKS post-processing The Cityproof Interior Window works in conjunction with the exi.sting exterior design window to create a "BufTer Zone" (air space) that seals out noise, cold, draft, and dirt. www.cityproof.com

10-11 43rd Avenue. Long Lsland City 1 1101 info@associate(ifabrication.com T 718.387.4530 72 North 15th Street (718) 786-1600 • (800) 287-6869 • [email protected] www.associatedfabrication.corn F 718.228.6285 Brooklyn, NY 11222 "Improving the Quality of the Living & Working EnvirorAfe*Eia£6't'

621 E. nth St. NYC Fax 203.532.9727 Tel 203.53T3493 SORDETAIER T. 212.473.8050 since 1881 PK-30 syste WWW.PK30SYSTEM.C(

the Finest Materials. Extraordinary Engineering, Attention to Aesthetics, Creates A Superior -StttiTn^oor System

Custom Windows Doors Hardware

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

1 • Weather - Tight in Extreme * ! Weather Conditions

• Maximum Glass Area

• 5 Point Vault Latch residential commercial • Structural Thermal Break institiiliona • Interior & Exterior Colors Can Be Different

traditional contemporary Dome'l Inc. as you please 800-603-6635 973-614-1800 Fax 973-614-8011 i nf o@sorpetalerusa .com 3 Grunwaid Street, Cfiflon, New Ja»y 07013 www.sorpetalerusa.com new vork san (rancisco los angeles .ill.mta www.domelinc.com CLASSIFIEDS

EMPLOYMENT

• international talent acquisition ARCHITECT / PROJECT MANAGER Rulk Ilirscli Asst)ciatfS Inc. career management Architect / Project Manager experienced in microsol Listed below are some of the open positions building exterior, including restoration, inspec• for which we are currently recruiting: api partners, lie tions and documentation is needed. Ability to o Architectural Designer with ground up communicate and adjust to changing project resources WAK, i>i..:in«o)'Piutiici>'i.rom building experience to back Design Principal requirements is critical.Minimum five years Are you interested in learning about career and assist in creating a design team, experience. oppor tunities or curious about the marketplace ARCHITECTS o Seasoned Project Manager with client for Architecture & Design professionals and want We are known as team builders. We find talented persona and healthcare experience, to do so confidentially? We work with A/E/C pro• We offer a great work environment, competi• people and help them build their careers. o Project Architect competent in both design fessionals whether they are actively or passively tive salary and benefits package Microsol Resources Placement Services have and administration for high end contempo looking for a new position, want to inquire about (www.bonelevine.net). immediate openings for New York's top architec• rary retail and residential projects. the job market, or strategize about their career tural firms on a temporary and permanent basis. 0 Senior Project Architect with corporate Please send cover letter, salary requirements We have over 30 positions to fill. We have a interior experience, able to lead team, > Our client, an award winning 400 strong and resume (do not send samples of work via uniquely supportive culture that invests strategi• o Project Architect with classical residential email) to [email protected]. cally in your future and gives you the tools to get international practice with studios based in portfolio. there. We have excellent opportunities available New York, London and now in the Far East, has Please call, email or fax your resume: an enviable portfolio ranging from large inter for all levels of architects in the roles of: PROJECT ARCHITECT 212-396-0200 Fax: 212-396-0679 national master planning competitions and - Project Managers/Architects for high end [email protected] corporate tower schemes to high-profile local Mid sized NYC Architecture and Landscape custom residential projects. national projects. They are seeking talented Architecture firm seeking candidates for - Designers for hospitality and corporate interior professionals for the following positions: Project Architect positions (5 to 10 yrs, RA pre• projects REAL ESTATE ferred). Full benefits & 401k. Please fax Resume - Project Managers/Designers for high rise towers to 212-337-3567 or e-mail [email protected]. ARCHITECT - Intermediate Architects looking for growth OFFICE DESKS AVAILABLE potential with a firm (Intermediate Level) (JB-020409) MAY 1ST We offer competitive salary. Submit your ARCHITECTS Four extra desks to rent starting May 1st. The ARCHITECT resume to Anna Liza Montenegro at Motivated and talented Architects with 5 to 7 desks can be rented as a group for $2,000 per (Junior Level) (JB-020407) [email protected] years experience SoHo Office month, or as individual units for $650 a desk SENIOR ARCHITECTURAL per month. Kitchen, conference room, wireless DESIGNER Career minded professional architect compe• ROZ GOLDFARB ASSOCIATES network, fax, copy machine, and phone net• (JB-020410) tent in design, design development, construc• Leading recruitment and search consultancy with work are included. One month deposit and tion documents and presentation work needed senior design and management assignments in references required. > Our client, an international, award winning to join our firm's NYC office to work on high architecture, interiors, retail, brand environ• Please contact [email protected]. design practice, has been at the forefront of profile, large scale commercial national and ments, and exhibition design. Among them: international projects. Great opportunity to quality design for a century. Their reputation - Architectural Project Director, cultural instit- gain valuable responsibility and experience WORKSTATIONS is founded on the quality of their client relation• tions - NYC in all phases of design and construction 1 to 4 workstations in quiet studio environment ships, their creative thinking, business acumen, - Senior Interior Design Leader, hospitality - administration. available 1 May Term 1 to 4 years and pragmatic approach. They are seeking tal• NYC, Philadelphia Spectacular 28th fi financial district ented professionals for the following positions: - Project Architect / Manager, educational - Great light / views, Bermello, Ajamil & Partners, Inc. (B&A) is an NYC, New Haven $600 each incl utilities DIRECTOR OF ARCHITECTURAL internationally recognized multi-disciplinary Visit our web site and contact Margot Jacqz Shared Conference room / DSL available DESIGN A/E firm providing complete planning, design www.rgarecruiting.com Contact [email protected] (JB-020428) and construction services in the disciplines of architecture, engineering, planning, interior ARCHITECT design and landscape architecture. We special• (Intermediate Level) (JB-020429) ize in transportation, commercial, residential, THE SENIOR TECHNICAL COORDINATOR municipal healthcare, education, aviation, (JB-020413) ports, and maritime projects. Founded in 1939, B&A has offices in Miami, Ft. Lauderdale, Palm ARCHITECTSNEWSPAPER Beach and Orlando and New York City. By > Our client, an award winning international NEW YORK ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM practice with studios in NYC, DC and the Far maintaining a professional staff of over 250 personnel, B&A is able to provide all the servic• East, possess' a diverse portfolio that includes SUBSCRIBE today to the New York's only architecture and design tabloid! large hospitality and office tower commissions es in-house to take a project from concept to in addition to retail, residential and mixed use completion and deliver an extraordinary level The Architect's Newspaper is published twenty times per year. projects. They are one of the most respected of service throughout the process. global design practices and are committed to Registered arclnitects m NY tri-state area FREE You must fill out the following information. professional growth of the firm's human capi• For immediate consideration, please e mail your tal. They are seeking talented professionals for _ INDUSTRY resume to: [email protected] • Architecture the following positions: • Tri-state R.A. r' U.S. • U.S. Students • Constuction FREE!* $39 $25** • Design SENIOR ARCHITECTURAL ARCHITECTURAL DETAILER • Engineering • Institutional Hi Canada / Mexico ! J International DESIGNER Architectural Detailer needed immediately - • Interior Designer (JB-020450) NYC-based construction company w/ annual $149 $75 $160 • Landscape Architect • Planning / Urban Design PROJECT DIRECTOR sales of S15MM seeks an architectural detailer w/ •Must provide RA number "Must provide proof of valid student I D experience in high-end retail interiors/exteriors. Mail this form with a check payable to: The Architect's Newspaper, LLC • Academic (JB-020452) The Architect's Newspaper, PC. Box 937, New York. NY 10013 • Government • Real Estate / Developer ARCHITECT Position description: rol 05 04 06 • Media (Junior Level) (JB-020454) Architectural and millwork detailing SIGNATURE REQUIRED • Other . ARCHITECT Construction document production (Intermediate Level) (JB-020455) Assist PMs w/drawings, etc. Name Full-time position JOB FUNCTION Since 1995 API Partners has provided Talent Possible travel required Company • Firm Owner Recruitment and Career Management solutions Proficiency in Auto Cad 2005 or 2006 a must • Managing Partner Address • Architect to A/E/C firms and professionals locally, nation• 5 to 7 years experience preferred • Designer ally & internationally. Salary commensurate with experience City/State/Zip Code • Draftsperson Fax resume to (212) 684-7099 or email to • Technical Staff Please send your resume to careers@apipart- [email protected] Email • Government ners.com or contact Lonny Rossman, AIA or • Project Manager Greg Silk @ 610,660.6128. Phone • Academic ARCHITECT • Intern RA License Number • Other Successful small firm seeking project architect, ARCHITECT - INTERN degree + 5yrs experience. Must have good Credit Card Number Small, growing firm in Manhattan seeks junior- design sense, the ability to detail and produce level person with architectural degree and com• complete const docs, ability to work in 3D mod• Credit Card Expiration EMPLOYEES puter drafting & rendering skill. Experience a eling. Varied interesting project types: new con• • 1-4 plus, but not required for those willing to learn. dominium buildings, high-end apartment and • 5-9 FIRM INCOME • 10-19 You will gain valuable experience in all phases loft renovations, rooftop additions and of residential, commercial, institutional and sus• SUBSCRIBE • Under $500,000 • 20-49 Hollywood clientele. Paid O.T, insurance, etc.. • $500,000 to 1 million tainable design projects. Friendly, team environ• • 50-99 • $1 million to 5 million • 100-249 ment with flexible hours. Full-time with benefits. Visit our web site: www.jvarchitects.com. Send NOW • -*-$5 million • 250-499 E-mail resume to employmentcSecoarchitect.com. resume to [email protected]. 2 . 1/3 $ O ^ 9 O O 5 ° i S »> -r ~ "O -5 $ c « 1 I ^ I 1 I C ,c ut: cn « eg^ o ? 7^ P £ o jj 3 fc t/3 3 ra E .2 n rt \-

o — 3 •5 c ^ O " o — > • •^ o T3 / c £ c o ^ E — f a n£ £o I S !f = SI Ij — — e\ ^ — r- •

V. a;

5 « V > = o T3 — GO y p IS u c S i: := E u, a 1 ^ - •Sr. o « c = H — = o C ^ c .X CO 0 3 5 J •_ — •E ^ t ,.0 .2 c 1; 1) •z re c — -1 y — — 3 £ t O in P — n c - -TV C: O 5- 1) C c _ 2^ X c 2 = -= •= C « 7 ^. .= i) £ 1 I