Monday, August 31, 2009

Monday, Monday

My weekly page update:
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Montauk Residence in Montauk, Long Island, New York by Pentagram Architects.

This week's book review is Le Corbusier: in his own words by Antoine Vigne and Betty Bone.

Some unrelated links for your enjoyment:
architecture buzz!!
"Buzz by architects." (added to sidebar under blogs::architecture)

Blue Architecture
The blog of "Eric McNeal, a licensed architect in the state of Colorado, a LEED Accredited Professional, and the Principal of the architecture firm S7g Architecture." (added to sidebar under blogs::architecture offices)

Emergent Urbanism
"A blog about the new science of building cities." (added to sidebar under blogs::urban)

hugeasscity
"Seductive congestion. It’s what the best cities are all about.*" (added to sidebar under blogs::urban)

Veg.itecture
A spin-off site from Jason Landscape+Urbanism King that "focuses on the representation and implementation of green roofs, living walls, and vertical farming solutions from around the world." (added to sidebar under blogs::landscape+maps)

Sunday, August 30, 2009

Today's archidose #349


Manchester Hilton, originally uploaded by Doilum.

The Hilton Manchester Deansgate Hotel by Ian Simpson Architects, 2007.

To contribute your Flickr images for consideration, just:

:: Join and add photos to the archidose pool, and/or
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Saturday, August 29, 2009

Three DVDs

Recently I saw a string of architecture-related documentaries, one on a famous building, one on a man straddling famous buildings, and one on the suburbs. Here's my thoughts on those three documentaries, all available on DVD.

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[image description | image source]

Radiant City is the first of this trio that I watched. It is a documentary on suburbia that is filmed in Canada (Calgary, Alberta) and made by Canadians, but its setting could be anywhere else in North America. Only the accents and occasional reference to "un-American" things belies the generic sprawl that is more often associated with Canada's neighbor to the south. The film is a mix of documentary and reality TV, with some of the usual experts and critics of suburbia (James Howard Kunstler, Andrés Duany) comprising the first and some families living in a subdivision in the suburbs of Calgary making up the second. Both the commentary and the statistics flashing up on the screen were second nature to this reviewer, but the actions of the parents and children of sprawl as they went about their bored and detached lives was particularly humorous, a more scathing critique than the retread lines of Kunstler. Like other books and documentaries on the suburbs, New Urbanism is the alternative that is proffered, though its deficiencies (I've critiqued NU elsewhere, so I won't go into it here) point to the need for another alternative...besides cities themselves.

Next I watched Man on Wire, the story of Philippe Petit's death-defying wire-walk between World Trade Center towers one and two in the summer of 1974. The film combines interviews with Petit and others helping on the stunt with scenes of training in France beforehand, footage of earlier feats in Paris and Sydney, and recreations of the hours before rigging the wires from roof to roof. The documentary does a great job of building the suspense, even though we know the unharnessed Petit survives; after all, he's interviewed in the film. Even though the film was released seven years after the events of September 11, they are not mentioned; in many ways they are not relevant or significant for the story here, except that his stunt cannot ever be faithfully recreated. The fit of fearless wire-walker and Twin Towers is so perfect it seems hard to imagine that it didn't happen, but watching this documentary it's even more amazing that it happened at all. Relatively insignifant events (a security guard pacing, a glitchy walkie-talkie) are painted as if they would make or break the stunt. But this film, the numerous photographs, and the book by Petit on which this film is based are testimony to the daring spectacle. Of course without these documents only stories or descriptions of a speck in the sky would be conveyed, hardly satisfactory relative to what Petit did. His actions tame those of his current-day predecessors, of the celebrities hyping and prancing about their supposedly death-defying stunts that are actually drained of danger. Petit did the opposite: he snuck into a building in the middle of the night and risked his own life nearly 1,500 feet in the air, doing what he loved and trained for all his life.

Lastly, The Edge of the Possible is a ten-year-old documentary on the design and construction of the Syndey Opera House, a masterpiece of architecture with a history almost as well known as its form. Almost everybody knows about the then young Dane Jørn Utzon (38) winning the competition in 1957; the rushed construction; the structural difficulties inherent in Utzon's design; and of course the architect's departure from the project in 1966, never to return to Sydney and see the project completed. But the details on the above tend to be blown out of proportion, particularly Utzon's resignation, which he describes here as amicable, not angry or bitter as is the norm in descriptions of it. Interviews with Utzon at his home in Denmark and archival footage of the construction make this documentary valuable -- and much more entertaining than a Wikipedia entry -- for those interested in the building. It was especially nice to see the various models made for the design, be it the roof structure, the house ceilings or the proposed plywood structure. While the quality and impact of the result is undeniable, the loss of Utzon at a crucial stage brings to the fore the need for a consistent guiding hand, a visionary if you will, but one more nuanced, more focused than today's "starchitect." Utzon moved himself and his office to Sydney in 1963; how many high-profile architects would do the same today?

(Note The Edge of the Possible is now available in a brand new Special Edition with an extended interview with Utzon, extra construction footage, and other bonus features.)

Friday, August 28, 2009

Today's archidose #348


Chips, originally uploaded by Doilum.

Chips at New Islington in Ancoats, Manchester, England by Alsop Architects. The firm "prepared the strategic framework scheme design for New Islington" and was "commissioned by Urban Splash to design the first of the proposed residential buildings -- Chips -- by the Ashton Canal at New Islington's southern periphery." Check out the developer's handy commercial and residential brochures in PDF form for more information on Chips.

Recently Will Alsop announced he will be leaving his architectural practice to devote his time to painting and to teach at Ryerson University in Toronto, home to his Sharp Centre for Design.

To contribute your Flickr images for consideration, just:

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Wednesday, August 26, 2009

Fill Those Voids

Walking around the Nolita/Bowery area a few weeks ago, I passed by some sites to catch up on construction progress. Disappointingly, but not surprisingly, I saw either little or no progress, a clear sign of the troubles plaguing the realms of architecture, construction and development. These sites include:

Sperone Westwater Gallery on the Bowery by Norman Foster
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[site photo by archidose; right image source]

Bowery Hotel by FLANK
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[site photo by archidose; bottom image source]

Nolita Townhouse by Diller Scofidio + Renfro
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[site photo by archidose; right image source]

Some quick research on the web (i.e. Curbed) indicates that Foster's gallery is moving ahead sloooooowly (if uncertainly), FLANK's Bowery developer is in the throws of foreclosure, and the Nolita Townhouse has made zilch progress since last April. All three projects would be welcome additions to the area, so I'm hoping they don't end up like Diller + Scofidio's earlier Slow House, never to get past foundation work:

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[Slow House by Diller + Scofidio | image left source, right source]

Tuesday, August 25, 2009

Today's archidose #347


door handle, originally uploaded by d.teil.

A door handle detail in Gottfried Böhm's Maria in den Trümmern (Chapel of Madonna in the Ruins) in Cologne, Germany, 1950.

To contribute your Flickr images for consideration, just:

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Monday, August 24, 2009

Monday, Monday

My weekly page update:
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The Siamese Towers in Santiago, Chile by Alejandro Aravena.

This week's book review is The Miller|Hull Partnership: Public Works by The Miller|Hull Partnership and Pugh + Scarpa: Report 2005 edited by Bruce Q. Lan.

Some unrelated links for your enjoyment:
ReBurbia
The results are in.

urbanSHED
A competition that "challenges the global design community to re-think the current sidewalk shed standard and create a prototype worthy of today's New York City."

Millennium People
A one-month old blog from Jack Self in London. (added to sidebar under blogs::architecture)

caus
The interactive online magazine of the Virginia Tech College of Architecture and Urban Studies. (added to sidebar under blogs::aggregate)

Critique This
"Critique This at the most general level is simply about architecture, but more importantly it is about change. Our mission is to change how the architectural community discusses and views architecture." (added to sidebar under blogs::architecture)

D-Crit
The "new MFA in Design Criticism at the School of Visual Arts, [an] innovative two-year program [that] trains students to research, analyze, and evaluate design and its social and environmental implications."

Sunday, August 23, 2009

Today's archidose #346

The Dee and Charles Wyly Theatre -- "the world's only vertical theatre" -- in Dallas, Texas by REX | OMA, set to open in October.

To contribute your Flickr images for consideration, just:

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Saturday, August 22, 2009

Firm Faces #12: Jones Studio

The last firm faces looked at hands as an expression of personality, so here we're taking the other extreme and looking right into the eyes of the individuals at Jone Studio. This is one of the freakier presentations of staff that I've come across, the eyes staring right at me...following my every move!

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The people page of the firm's site is interactive, not animated like the image above. But the interactivity is limited to seeing each person's eyes and sometimes glasses; no further information is given. The names are already evident at left, so it's just a glimpse that we receive. This is unfortunate, though most likely the office wants to keep things a bit vague, letting the eyes speak. It would probably be fun (or weird) to click on a person's name when speaking to them on the phone, like an old-fashioned video call.

Friday, August 21, 2009

Firm Faces Hands #11: Marcy Wong Donn Logan Architects

As a means of presenting the people in its office, Marcy Wong Donn Logan Architects favor showing the owners' and various employees' hands instead of faces. While this might seem to deny the strength of the face in expressing personality, for an architect the hand says, and does, a lot. Traditionally the hand is the most important piece between the mind and the drawing, the skillful means of creating a design from ideas. But as can be seen by the 13 hands of 10 people below, the architect's job these days is as much -- or more -- about computers than the physical act of putting pen to paper. Only four of the ten "profiles" do not have a keyboard or mouse in the frame.

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Setting aside the effects of technology on the day-to-day activities of architectural production, do these snapshots accurately portray the individuals and what they do? Hard for me to say, but I would wager that (from top to bottom, left to right) Marcy juggles proposals, clients, and lots of other important matters, Donn is the lead designer, Kent pumps CAD, Tai-Ran is a designer, Ketki is a technical architect, Mark drinks a lot of coffee, Justin is the intern, Cari red-lines drawings, Romelo picks up Cari's red lines, and Brandon handles the accounting. Needless to say, since using a keyboard is so common in any profession and architect's roles often overlap, I'll be lucky if I bat 500 on the above guesses.

(via Eye Candy)

Thursday, August 20, 2009

Mark Yr Calendars

Taking place September 24-27 in Mad River Valley, Vermont is the Architecture and Design Film Festival, which describes itself as "the first film festival celebrating the creative spirit of architecture and design." Over its four days, "An exciting selection of films, including feature-length films, documentaries and shorts will engage the audience with how architects and designers think, work and create." In addition to the 20+ films to be screened, the fest also includes conversations with filmmakers, architects and designers. The Architecture & Design Film Festival will benefit the Yestermorrow Design/Build School. Yestermorrow inspires students to create a better and more sustainable world by providing an architectural education that integrates design and building into one continuous process.

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The current line-up includes these films:
The Greening of Southie

Wednesday, August 19, 2009

Stories in Stone

This post is stop number three on the "Virtual Book Tour" for David B. Williams's latest book, Stories in Stone: Travels through Urban Geology. Below is my brief description of the book, followed by some commentary from Williams on some contemporary buildings in stone. Check out Clastic Detritus's book review and interview with Williams for stops one and two.

Stories in Stone links the natural and the man-made by tracing building stones used in various parts of the United States to their origin in the earth's crust. The Seattle-based writer takes the reader from Boston to Los Angeles, from "deep time" to the late 1990's, via investigations in brownstone, granite, gneiss, limestone, travertine and other stones. Looking at Brooklyn brownstones, the Bunker Hill Monument, the City Hall-County Building in Chicago, and many more pieces of American architecture, Williams reveals how buildings in stone are naturally, not just metaphorically, rooted in their place.

Unlike now-common claddings like glass and metal, stone allows a piece of architecture to not only express its construction but also the material's making. Rough cuts or polished surfaces exhibit the excavation and workmanship of pieces of stone, but the colors, patterns, fossils and other markings of the material also give clues to how the stone itself was produced millions or, in many cases, billions of years ago. Williams helps the reader decipher these clues, making the experience of seeing and touching buildings in stone that much richer.

By virtue of the subject matter (buildings and cultural history) and the author's background (geology and natural history), the book is non-specialized, geared to a general audience without dumbing down the science at the root of many of Williams's investigations. It reminded me in many ways of John McPhee's Annals of the Former World, yet the urban angle of this book sets it apart from other writings on geology (or so I'm guessing), with its focus on human constructions. I can only hope the book helps readers appreciate the depth found in building stone, a material I believe is in need of a resurgence at a time when smooth and shallow materials predominate in architectural design.

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Outside of The Getty Center by Richard Meier and the Amoco Building (originally Standard Oil Building and now Aon Center) in Chicago, most of the buildings Williams discusses at length are more than 100 years old. So for my part of the virtual book tour for Stories in Stone I was curious to find out the author's thoughts on some fairly recent buildings in stone. Below are comments Williams has generously contributed for this blog, his responses to a handful of buildings I e-mailed him recently.

Dominus Winery in Yountville, California by Herzog & de Meuron, 1997:
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[image sources: left, top right, bottom right]
The use of a skin of locally quarried basalt allowed the architects to do what I like best in architecture; they created a building that appears to rise organically out of the land. It’s as if the gravel on the side of the road leading to the winery had organized itself and taken over the building. I also like how the architects placed the basalt cobbles and boulders in steel cages, which allows the rocks to nest against each other often with large gaps. This in turn lets light into the building and has the wonderful contradiction of using solid stone to create light.

Basalt is not a rock commonly used in architecture, even though it comprises 40 percent of the Earth’s crust. (Basalt covers most of ocean bottoms and can erupt as extensive flows that cover hundreds of square miles on continents.) Because basalt solidifies from a lava on the surface, the top layers are often peppered with holes, called vesicles or vugs, caused by gas bubbles. The holes generally make basalt a challenging stone to cut into square blocks so those who do use the stone for building generally make a mosaic of stone and mortar. In addition, when basalt cools it can form great columns of material, also challenging to cut into precise shapes.

The steel cages, or gabions, were a brilliant new way to work with basalt as a building stone. Furthermore, it’s as if they have recreated the texture of basalt—solid and holey--within the gabions.

My final comment is that I am pleased again to see the use of local stone for building. Not shipping rock goes a long way to making a smaller global footprint.
Honan-Allston Branch of Boston Public Library by Machado & Silvetti, 2001:
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[source for images]
Covered in slate, the new Honan-Allston Branch Library alludes to the Boston area’s long history of using slate. The metamorphic rock was quarried on an island in Boston Harbor as early as 1630, and in 1680, the General Court in Boston passed legislation requiring slate roofing. Originally deposited as a fine grained mud, then baked and squeezed into a stone that splits evenly into layers, slate has been used for everything from pool tables to urinals to tombstones to blackboards. (Perhaps to honor the use of slate blackboards, the library could have artists periodically chalk the building in temporary projects.)

Two types of slate clad the library. The dark gray slate comes from Vermont, whereas Norwegian quarries produced the golden rock skin on the building. Although the Norwegian rock is sold in the U.S. under the name Black Lace Rust Slate, geologists would call it a phyllite or mica schist, indicating a higher grade (greater temperature and pressure) of metamorphism than slate. The mineral biotite gives the rock its shiny sheen and oxidation of iron leads to the various hues of gold. I like how the architects gave the library a dynamic feel by using a stone with so much variation in color and which changes its face depending upon how the light strikes it.

Slate is an interesting building stone because it is generally used only as a two-dimensional material, which emphasizes length and width and not depth. The library exemplifies this use; every slab of slate presents the broad face of the stone. In doing so, it gives the building a lighter feel than in using stone that shows thickness.
Getty Villa in Malibu, California by Machado & Silvetti, 2006:
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[source for images]
This is the one building in the five that I have visited. Like the Getty Museum, the Villa is overwhelming: too much art, too many details to process, too much the feel of a set piece. At times it feels like stepping back into ancient times, except for the people yacking on their cell phones, planes flying over, and digital cameras chiming. But the stunning stone does stand out.

For the Romans of imperial times, there was no better way to signify status than by using colored stone obtained from the lands they had conquered. They acquired buttery marble from Numidia, purple porphyry from Egypt, green serpentine from Greece, and from the island of Chios, stone that resembles beef and bears the name portasanta, a reference to its use as door jambs at St. Peter’s. Each of these appears at the Getty Villa. Technically, most of these aren’t true marble, which geologists define as metamorphosed limestone, but the Romans used the term marble for any hard rock suitable for sculpture or architecture.

The stone is what connects the modern villa to ancient Rome, in part because the many colored marbles are real. They are not modern paintings on a wall or a modern building built to resemble an ancient villa. They are the actual stones of antiquity and they are the main feature that gives the modern Villa its gravitas and true feeling of history.
Spencer Theater in Alto, New Mexico by Antoine Predock, 1998:
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[image sources: top, bottom]
New Mexico is justifiably called the land of enchantment. Particularly in the sparsely populated, basin-and-range region of the south, the land has a spare and stark beauty, which has long fascinated me. On the typically sunny days, the light is crisp and clean, and emphasizes the geometry of the landscape.

It is clear that architect Antoine Predock understood these qualities when designing the Spencer Theater, outside of Ruidoso. Spare in ornamentation, lacking in color, and with its clear allusions to the surrounding topography, the theater fits the landscape perfectly. As Predock’s web site describes it, “The wedge-like form of the theater suggests a monolithic piece of stone that has forced its way up from beneath the crust of the mesa.” But the building is more than just an appropriate shape.

In cladding the performance center in white Spanish limestone, Predock made an inspired but unusual choice in a state known for its tan to tawny stucco architecture. The white limestone obviously acknowledges the nearby mountain peak Sierra Blanca but it also gives the building a seasonal vibrancy; the theater seems to emerge even more gracefully out of the landscape when winter snows cover the ground. And on those ever present days of crisp and clear light, the white limestone and blue sky perfectly complement each other.
Nasher Sculpture Center in Dallas, Texas by Renzo Piano Building Workshop, 2003:
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[image sources: left, right]
When I was working on my book, I was told that travertine is the most commonly used building stone in the world. The vast majority of the time, and the way it has been used since the Romans built the Colosseum with it, the travertine is cut perpendicular to its bedding planes, basically analogous to looking at the side of deck of cards, as opposed to the faces. This cutting style gives travertine its well-known resemblance to Swiss cheese.

In contrast, the travertine at the Nasher was cut to expose the face, or bedding of the stone. This creates a far more beautiful and compelling stone, teeming with textures. At the one place where I have seen this face-open cut, the Getty Museum, fossil leaves regularly occur on the panels. The leaves are so well preserved that I could see insect damage and tell if the leaf was right-side up or not. They are some of my favorite stone building panels. (For my travertine chapter, I spent a day in Tivoli, Italy, at the Mariotti family quarry, which supplied the Getty’s travertine. One of the owners told me that few architects chose to use face-cut travertine because they considered it to be Getty architect Richard Meier’s signature stone.)

At the Nasher, architect Renzo Piano made a slight variation on how Meier worked his travertine. Piano left the exterior panels alone, so that the textures and fossils give the building the look of a quarry but on the interior he used polished the panels to focus more on the art and to make the stone better complement the art. I understand why he did this, and suspect he was successful, but with my geological biases, it also saddens me to see this diminishment of the natural beauty of the stone. I guess that’s a difference between an art museum and a natural history museum.
Many thanks to David for contributing the above responses and bringing his book to my attention. Be sure to check out the previous stops on the "virtual book tour" as well as the next one, Friday, at Lyanda Lynn Haupt’s The Tangled Nest.

Tuesday, August 18, 2009

Today's archidose #345


120 copy, originally uploaded by The Think Shop.

The Flute House in Royal Oak, Michigan by The Think Shop, under construction. For more information check out The Think Shop's flickr sets on the project.

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Monday, August 17, 2009

Monday, Monday

My weekly page update:
image01sm.jpg
Messner Mountain Museum in Bozen, Italy by Werner Tscholl.

This week's book review is Five Houses, Ten Details by Edward R. Ford.

Some unrelated links for your enjoyment:
The New New York Photography Corps
The Architectural League and Esto are looking for volunteers "to participate in an important photography project that will document the changing face of New York City since 2001."

otto
"A design eye through which the the international architecture and design community sees itself and everything around it." (added to sidebar under blogs::design+technology)

Sinking Cities
"Sinking Cities is a blog dedicated to the discussion of relevant design issues. Architecture is the focus of Sinking Cities, but all aspects of design and design culture are discussed." (added to sidebar under blogs::architecture)

portland architecture
"A blog about design in the rose city." (added to sidebar under blogs::architecture)

dsgnWrld
In the world of design, vowels are optional. (added to sidebar under blogs::design+technology)

Sunday, August 16, 2009

Triple Canopy

Issue #6 of Triple Canopy is titled "Model Cities," the first of two issues devoted to "examining various forms of and approaches to urbanism, considered in relation to the current economic crisis, from the perspectives of a number of writers, researchers, artist, and architects." The various contributions are presented on a well-designed web page, formatted in a unique yet simple and straightforward manner, a mix between a slideshow and a scroll. The design and interactivity acknowledge the importance of pages in reading, even in a digital format.

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Of course one needs good content to accompany the quality design, and that is not a problem here. Some of the projects included in Issue #6, with descriptions by the editors:
:: "Index or Constructed by Way of Experiment," by artist José León Cerrillo, is an Internet-specific, interactive collage of archetypal abstract and architectural forms, drawn from the modernist idiom and from Latin American metropolises, respectively. Departing from Brazilian poet Oswald de Andrade's 1928 "Cannibalist Manifesto," the project effectively cannibalizes the sites and structures of modernism in Mexico City. Cerrillo's work has been shown at PS1's "Greater New York" and at Dispatch Projects in Manhattan and Galería OMR in Mexico City.

:: Artist and Detroit transportation scheduler Neil Greenberg’s "Boom, Bust, Burn, Blame: The Story of Fake Omaha," portrays the development of a painstakingly constructed paper-and-ink city–through maps, fabricated municipal reports, agency memos, and other internal documents–in order to explore the real urban planning issues facing American cities. Greenberg's work has been published in Espous magazine and featured at New York's Storefront for Art and Architecture.

:: In 1966, New York's new mayor, John Lindsay, launched a series of far-reaching plans to transform the city. Most of the projects, which aimed to find a middle ground between Robert Moses's grand schemes and Jane Jacobs's emphatic embrace of the neighborhood, were never realized. Ian Volner and Matico Josephson’s densely illustrated essay, "He is Fresh and Everyone Else is Tired," recovers that vision and its lessons for urban development under the Obama administration, drawing on original archival research and conversations with Lindsay-era architects and planners.

:: Joseph Clarke’s "Infrastructure for Souls" traces the parallel histories of the American megachurch and the corporate-organizational complex over the last century, from the Crystal Palace to the General Motors Technical Center to Googleplex, from Charles Spurgeon to Richard Neutra to Rick Warren. Illustrated with a striking series of images juxtaposing ecclesiastical and office buildings.

:: In "The City that Built Itself," Joshua Bauchner writes about and photographs a Caracas slum where residents have turned utopian modernism on its head, transforming a fifty-year-old superblock housing project into the locus of sprawling improvised developments.
The second "Urbanisms" issue, again per the editors, "will feature Lucy Raven on a grand Utahan suburb nurtured by coal-mine tailings; Thomas Moran and Rustam Mehta of the VPL Authority on a planned mega-eco-city in the desert Southwest; a new recording from the band Zs; and conversations with architects Teddy Cruz and Kazys Varnelis." I'm looking forward to it.

Saturday, August 15, 2009

Today's archidose #344

Here are some photos of the CCTV and TVCC buildings in Beijing, China by OMA. Photographs and commentary are by rudenoon.

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rudenoon's description for the above photo:
"This man lived in Hu Jia Lou Xi, Chaoyang District, Beijing, CN, and was one of the few remaining residents who resisted official displacement. He displays a court notice and two photos of cats that had been killed and wired to resisters' doors. The man's face has obviously been distorted to protect his identity. The CCTV (China Central Television) Headquarters project and China World Trade Center Phase 3 are in the background.

Residents of the 15-story apartment building closest to the TVCC (shown above before the conflagration and ensuing scandal) staged a protest on Monday morning August 10, 2009 after being publicly threatened with 'forced relocation' in a CCTV statement published in the Beijing Daily, a city newspaper.

This photo was taken on June 4, 2008, 6:40 AM, and it, along with more on the recent protest, is further described in my blog post A Short Eviction Story."
04955_350s
[August 8, 2009, 6:57 AM]

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[August 8, 2009, 7:12 AM]

05002_350s
[August 8, 2009, 7:37 AM]

For more on the CCTV HQ project see rudenoon's blog post A Year and an Hour On.

To contribute your Flickr images for consideration, just:

:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose

Thursday, August 13, 2009

HOUSE of CARDS

As an investigation of the potential of structural wood panels and prefabrication, Architecture W created this video for presenting the house. An stop-frame Yoda "forces" the two-story house to be assembled before our very eyes. It's very refreshing to see something in cardboard that could have been pulled off in a totally computerized environment. And while the design is preliminary, the video helps explain the general plan of the house as well as how it would be assembled. And it's fun.

Wednesday, August 12, 2009

3 Magazines and 1 Comic

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Conditions Magazine | Issue 0109 | 96 pages
My favorite cover of these four publications features a gorilla in a spacesuit, an appropriate image for an issue with the theme "Strategy for Evolution." Magazines with themes usually have a hard time in getting authors to stick to topic, but here the editors do a good job of presenting various viewpoints on the subject from people in a variety of disciplines. (Unfortunately the editors don't do such a good job with the English copy, though I'll only mention it as something to improve on future issues.) The independent Scandinavian quarterly on architecture and urbanism features articles by architects and urbanists, but also a landscape architect, artist, engineer, and a professor in psychology. So with this wide-spanning input, what are the strategies for evolution? Primarily they deal with issues of sustainability, certainly not a surprising revelation. Nor is the role of technology in dealing with the same and other issues. Many strategies are echoed elsewhere, so the value of the magazine is grouping different viewpoints together rather than finding novel solutions to big problems. And even though the magazine focuses on Scandinavia as a region and as the primary -- but not exclusive -- source for authors/architects, the choice of subjects and the tactics for exploration are more universal. The highlightss in this issue are the interviews, where the editors steer the conversations in directions that illustrate their own points-of-view, all the while taking advantage of the personalities involved.

eVolo Magazine | Issue 01 | 176 pages
The twice-yearly architecture and design journal by the sponsor of housing competitions launched last month at the Storefront for Art and Architecture. Given the background of eVolo, the topic of the magazine's first issue is not a surprise: housing for the 21st century. An image of Herzog & de Meuron's 56 Leonard Street project in Manhattan graces the cover. Inside are more projects by more big names, including BIG, Steven Holl, Asymptote, and OMA. To feature projects that have already littered architecture blogs, in many cases with PR text, would guarantee the magazine would receive short shrift from aware readers. But fortunately projects by Chile's Elemental, Terreform 1, Little, and others, as well as commentaries on housing accompany the superstars. And that 's just the first half. Making up the remainder are projects from eVolo's 07 Housing Competition, which explored new ideas for new housing using new technologies. While the "new" of the competition probably won't come close to having the same direct impact on the urban fabric as the projects in the first half of the magazine, at least here they share the same space and exposure.

Mark Magazine | Issue No.20 | 224 pages
Previously I featured issue No. 17 of the popular Dutch architecture magazine, the first with its new size, graphic design and price tag. The changes have been positive, making the magazine more attractive and affordable, focusing the content on the architecture instead of the graphic design. The diversity of projects and architects in No. 20 is basically what one comes to expect from Mark, with most continents represented and a mix of young architects and familiar names. My favorites include an interview with Pezo von Ellrichshausen Architects (featured previously), Lacaton & Vassal's "void-space" architecture school, Riken Yamamoto's mushroom-roofed laboratory building, and an accountant's office in Hiroshima by Hiroshi Sambuichi. The last, with its small footprint but striking profile, I probably would not have discovered outside of Mark Magazine. Like No. 17 and most likely all issues since, an interview about books on architecture is featured, this time with Yung Ho Chang, a Chinese architect now heading MIT's architecture department. Chang finds inspiration in books outside of architecture, minus Robin Evans, who he calls "the only theorist who has ever made sense -- to me." Now I'm geared to extend my reading of Evans beyond the one essay I've come across. I can thank Mark for that.

MetroBasel Comic | ETH Zurich | 304 pages
Using comics to explain and explore architectural and urban ideas is nothing new. Archigram immediately comes to mind, though the resurgence in the format's use is rooted in technology, the limits of architectural representation, and an appreciation of narrative comics/graphic novels more than the influence of the 1960's British group. ETH Zurich's study of Basel's metropolitan area (MetroBasel) is a good example of how Photoshop can be used to create a comic without artistic talent, at least the kind needed to draw people and action. Take stills of Patricia and Michel from Jean Luc Godard's Breathless, layer them over filtered pics of MetroBasel and drawings from the ETH studio, and a comic is born. Like BIG's Yes Is More, the format helps explain complex ideas to a wider audience. In this case the past, present and future of MetroBasel veers between perspectival views of the city in real and imagined states and presentations of studio projects. Not surprisingly the first is more successful in the comic format, even though the bulk of the work went into the latter. All in all the comic does a good job of conveying the wide-ranging information from the studio. By layering the usual comic elements (speech bubbles, people, etc.) over these other pieces, one can read the product in many ways, skimming the surface -- while still learning something -- or spending the time with the sometimes dense drawings and data to learn that much more.

Tuesday, August 11, 2009

Today's archidose #343

Here are some photos of the Burnham Pavilion in Chicago's Millennium Park by Zaha Hadid. Photographs are by The New No. 2.

The pavilion sits next to another specially-commissioned pavilion by UNStudio, featured on my weekly page. UNStudio's pavilion opened on June 19th and Hadid's on August 4th; both are on display until October 31st.

Burnham Hadid Pavillion - Green 1

Burnham Hadid Pavillion - Blue

Burnham Hadid Pavillion - Green 2

Burnham Hadid Pavillion - Interior

Hadid Pavillion Detail

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Monday, August 10, 2009

Monday, Monday

My weekly page update:
image01sm.jpg
Reef at the Storefront for Art and Architecture in New York City by Rob Ley and Joshua Stein.

This week's book review is XS FUTURE: New Ideas, Small Structures by Phyllis Richardson.

Some unrelated links for your enjoyment:
architects who eat their young
"Exposing intern exploitation one firm at a time." (added to sidebar under blogs::architecture)

archeyes
"a space for visual discovery through the eyes of an architect.
Architectural concepts, visions, spaces, and perceptions will be
discussed, critiqued, and posted." (added to sidebar under blogs::architecture)

Why Architects Drink
"Here, I reveal the painful, ugly truth about why it takes so long to build a building, what it is exactly that we do, and why that's not creamer you smell in my coffee." (added to sidebar under blogs::architecture)

Sensing Architecture
A website "for those interested in architectural design, science and new technologies." (added to sidebar under blogs::architecture)

TechRoar
"Insights into today's nifty gadgets, cutting-edge prototypes and hypothesized creations that we can currently only dream about." (added to sidebar under blogs::design+technology)

Saturday, August 08, 2009

Today's archidose #342

Here are some photos of the I am so sorry. Goodbye. installation by Heather and Ivan Morison that is part of the Barbican's Radical Nature exhibition in London. The piece was originally commissioned for the Tatton Park Biennial 2008. Photographs are by suburbanslice.

I am so sorry. Goodbye

I am so sorry. Goodbye

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Friday, August 07, 2009

Literary Dose #39

"My entry into the profession in 1972 coincided with a number of important architectural events, most dramatically, perhaps, the first energy crisis of the decade, which began with the oil embargo in October, the beginning of a long-term and severe increase in the cost of energy. Its immediate architectural effects were formally dramatic if somewhat short-lived -- the incorporation of solar panels, earth berms, Trombe walls, and a variety of other gadgets to create passive energy sources. Its long-term effects were more subtle bu more permanent -- a dramatic increase in the importance of the wall as a thermal barrier, resulting in not only a lot more insulation but also the decline or even disappearance of single glazing, uninsulated spandrels, exposed columns and beams, and thermal bridges. Whole architectural vocabularies -- the exposed steel frames of the Case Study Houses, the exposed concrete frames and mullionless glazing of the brutalist era -- declined or disappeared, and the structural frame retreated behind the building envelope. The wall, at least in large-scale buildings, had long ago lost most of its structural importance, and once the wall became primarily an environmental membrane, everything changed. The solid wall devoid of insulation was replaced by the multilayered multifunctional wall. It is no accident that the advent of postmodernism and the decline, if not the disappearance, of any interest in structural expression followed soon after, for it is difficult to express a structure you cannot expose."
- Edward R. Ford from Five Houses, Ten Details (Princeton Architectural Press, 2009, pp. 113-114)

Thursday, August 06, 2009

Today's archidose #341

Here are some photos of the Remota Hotel in Patagonia, Torres del Paine, Puerto Natales-Chile by Germán del Sol. Photographs are by #freelance.











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Wednesday, August 05, 2009

Crisis Modes

Crisis Modes: Protocols + Future Ecologies | Intensive Design Workshop | New York City | August 2009

modelab.jpg

Crisis Modes is a one-week intensive design workshop to be held in New York City from August 17-21. Registration closes August 9.

The details:
The workshop will take place in a studio setting and will be devoted to exploring relational design strategies and digital design methodologies for speculative infrastructures. New York City, with its breadth of ecological and urban complexity and in particular its urbanizing industrialized waterways, will be the primary context explored.

The aim of the workshop will be to empower designers to negotiate the complex and data-rich environments that are available through professional mapping and information systems and to develop speculative design proposals through the use of computational techniques and methodologies. Participants will develop design interventions that address emerging ecological crises and opportunities found in New York ecologies of the present and near-future.

The format of the workshop will include daily intensive workshop sessions focusing primarily on Grasshopper, Rhino’s parametric design plug-in, and evening lectures and presentations from practitioners and experts in the fields of sustainability and computational design. The workshop will cover strategic workflows for data set analysis and mapping, complex rule-based geometries, as well as techniques for digital fabrication.

The instructors of the workshop are Michael Chen + Jason Lee [Crisis Fronts] & Ronnie Parsons + Gil Akos [Studio Mode | modeLab]. They have taught design studios, seminars, and workshops at institutions throughout North America, including California College of the Arts, Columbia University, Cooper Union, Cornell University, Pratt Institute, Princeton University, Stevens Institute, and University of Toronto.

The workshop will culminate in a public exhibition and opening event on the evening of Friday, August 21.

Details:
All interested students and professionals are encouraged to attend. All experience levels are welcome.
All participants are required to bring their own laptops. Trial software will be made available.
Registration Pricing (limited enrollment) : $750 Academic | $1000 Professional.
Workshop Location : Terminal Building | 11th Ave at W 26th St. | Chelsea, Manhattan.

*Pricing Includes Material and Fabrication Costs.

Schedule:
2009.August.17 | Evening Question + Answer : Riverkeeper | Public Event. 7PM.
2009.August.18 | Evening Screening : "The City Concealed" + "Heart of Gowanus" | Greenpont Video Project | Public Event. 7PM.
2009.August.19 | Evening Presentation : "Dining By Design" | Zach Downey | Applied Technology Group at SHoP + designalyze | Public Event. 7PM.
2009.August.20 | Evening Presentation : Speaker TBA | Public Event. 7PM.
2009.August.21 | Cocktail Hour with conversation and work on display. Public Event. 7PM.
2009.August.22 | Gowanus Canoe Trip for interested attendees | Gowanus Dredgers Canoe Club | Free Event 1PM.

Dates:
2009.June.05 | Crisis Modes Workshop Announced.
2009.June.22 | Registration Opens.
2009.August.09 | Registration Closes.

Half Dose #66: Kortrijk Central Library

NEW YORK, August 4 — REX and Principal in Charge Joshua Prince-Ramus have been named the winner of the BibLLLiotheek competition to build a "Library of the Future" for the city of Kortrijk, Belgium. REX partnered with landscape architects Bureau Bas Smets in entering the competition, which included both a building and master plan.

In making its decision, the BibLLLiotheek jury noted that the REX design was "the most inspiring model," and praised "the originality of the design approach compared to other design teams."

The city of Kortrijk sought to create a library that would combine the functions of a traditional central library with a Life-Long Learning Center and bring in the city’s Music Center as an equal partner. The new combination was named the "LLLibrary."

The city’s proposed site for the LLLibrary, however, was blocked from the cultural axis of the Casinoplein, a prominent Kortrijk public square, by the existing Music Center building. REX proposed shifting the LLLibrary to the Music Center site itself and enveloping portions of the existing building. This move would free up the original site (the Conservatoriumplein) for commercial development, helping offset the capital cost of the LLLibrary project.

REX_LLL1sm.jpg
[site plan (detail) | click image for larger, expanded view | image courtesy REX]

Departing from the press release, I'm not at first glance particularly impressed. Sure, the competition is basically just renderings at this stage, but I'm hard-pressed to apply words like inspiring to what I see. I'll admit the decision to reuse portions of the existing Music Center is an interesting one, giving the LLLibrary a prominence in the urban fabric and adding facilities to the program, but this gesture still requires a good deal of demolition, adding to the overall cost of the project. Those costs will probably be offset by the sale of the adjacent lot, though if the latter will be developed per the diagrams on REX's site (where many more images help explain the winning design) or if it will be a less than flattering neighbor to the LLLibrary remains to be seen. The view below illustrates how the LLLibrary will be seen on the Casinoplein axis described above.

REX_LLL2sm.jpg
[exterior rendering (detail) | click image for larger, expanded view | image courtesy REX]

The desire for holistic education is often undermined by dividing learning into separate institutions. Typically, media-based learning is assigned to libraries; instructor-based learning is delegated to schools, and practice-based learning is monopolized by performance venues. REX’s LLLibrary aims to heal these divisions by weaving together the cumulative human and technological intelligence of the Library, the Life-Long Learning Center and the Music Center.

REX’s design collectively groups the functions of the Library, the Life-Long Learning Center and the Music Center into an enclosed half and a free-plan half, each layered into a linear, educational "Ribbon."

The enclosed functions — classrooms, meeting spaces, offices and auditoriums — are organized within the Ribbon’s interior. The Library’s public space and book stacks form the Ribbon’s free-plan rooftop and can be wholly reconceived as necessary.

REX_LLL3sm.jpg
[exterior night rendering (detail) | click image for larger, expanded view | image courtesy REX]

When dealing with the projects of REX it's practically impossible to not mention OMA (Joshua Prince-Ramus's former employer), in this case the unbuilt Jussieu Libraries. In that project, "floor planes are manipulated to connect; thus forming a single trajectory - much like an interior boulevard that winds its way through the entire building." In other words, a ribbon. This technique was also used in the Seattle Public Library, on which Ramus was partner-in-charge. Obviously this does not make the design bad, but deeming the design "original" is in this case relative only to the other competitors.

REX_LLL4sm.jpg
[interior rendering (detail) | click image for larger, expanded view | image courtesy REX]

Many of the LLLibrary’s subject-area and institutional specialists are now brought together in a zone of concentrated interdisciplinary expertise, named the Synter (Center + Synergy). Located in the heart of the building’s atrium, the Synter will serve as a hub for efficient, in-depth information exchange, and as the gateway to the larger offerings of the Library, the Life-Long Learning Center and the Music Center.

And by incorporating the existing Music Center’s auditoriums into the new building, REX’s plan makes cost-effective use of recently renovated performance infrastructure.

REX’s proposal, the jury stated, met all of the BibLLLiotheek award criteria and the "expectations and aspirations of the client." The jury appreciated in particular that the design resulted in a cultural complex which "fully integrated" the Music Center itself.

Having looked at the project a little bit more in depth, I'll admit first impressions can be deceiving. The design is derivative in certain ways, but the winding ribbon makes sense in this location. It responds to the portions of the Music Center that are retained, as well as the Casinoplein axis, though I think the latter's relationship could be stronger; a top-floor "lookout" works well for those inside but is too subtle in the urban realm. Like OMA's designs, the formal result is not what is important, it is the functional relationships that drive the project towards its final shape. It sounds organic, like Frank Lloyd Wright's design process but with much different results. Though I could see the architect of the Guggenheim's spiral ramp appreciating the Kortrijk Ribbon.

Tuesday, August 04, 2009

Today's archidose #340

Here are some photos of the "Table of Contents" installation at Form + Content Gallery in Minneapolis, Minnesota. Project and photos are by LOOMstudio. Their description:
"Table of Contents is a machine to decipher the housing crisis; a hybrid of game board, dining table, and scale model. It records evocative and uncanny housing "values" within a neighborhood in North Minneapolis through interactive discovery and play."
Table of Contents

Table of Contents

Table of Contents

Table of Contents

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