Editor-in-Chief, Jessica Sheridan
IN THE NEWS
AROUND THE AIA + THE CENTER
At the Center for Architecture
Editor's Note: Architecture Week has ended successfully. With so many events packed into one week, e-O has done its best to fill you in on what you may have missed.
REPORTS FROM THE FIELD
Mayor Bloomberg Embraces "Architecture as Public Policy"
Mayor Bloomberg contemplates public policy.
Event: "Going Public 2: City Snapshot(s) and Case Studies of the Mayor's Design and Construction Excellence Initiative" exhibition opening
With the opening of the "Going Public 2: City Snapshot(s) and Case Studies of the Mayor's Design and Construction Excellence Initiative" at the Center for Architecture (see On View), one of the highlights was a visit by Mayor Michael R. Bloomberg, who opened the exhibition.
The Mayor embraced our 2006 theme, Architecture as Public Policy. He noted that Frank Lloyd Wright once said, "Architecture is life, and I've always believed that great architecture and design can have an extremely positive impact on our city, our fellow New Yorkers, and our quality of life. Great architecture is vital to the spirit of our city—and that includes public buildings and projects, too."
"That's why," he said, "Two years ago we started the Design and Construction Excellence Initiative. Its goal is to encourage city agencies to pay extra attention to the architectural elements in their projects—both large and small. One of its strategies uses professional peers from outside the city government to help with the consultant selection and project review process. The Initiative has represented a fundamental shift in the way the city has approached the development of public works—and this new approach is already paying dividends."
Over 60 projects managed by Commissioner David Burney, AIA, and the City's Department of Design and Construction are now in the design phase, the Mayor added. Seven of them are featured in this exhibition—and they showcase the breadth and quality of construction being undertaken by New York City—but they represent just a small part of what's shaping up to be the greatest era of public and private construction in New York since World War II.
Bloomberg commended Commissioner Amanda Burden, Hon. AIANY, and the Department of City Planning for moving forward with its master plans for revitalizing business districts and residential neighborhoods around town including: The Hudson Yards, Downtown Brooklyn, Queens Plaza, Hunts Point, Staten Island's Homeport, Lower Manhattan, Williamsburg, and Greenpoint. He noted that, "We've attracted world-renowned design firms to work, for the first time, on public projects—including minority- and women owned-businesses. Taken together, these plans represent a vision of a vibrant city of the future that truly reflects our diversity, creativity, and spirit. And over the past four years, we've worked with neighborhood residents, community leaders, and the AIA New York Chapter to bring the plans to fruition."
Mayor Bloomberg waves his Architecture as Public Policy cap, presented to him by AIANY Chapter President, Mark Strauss, FAIA, AICP.
Event: Going Public Roundtable
Opening the new exhibition "Going Public 2: Case Studies of the Mayor's Design and Construction Excellence Initiative" (See On View), Mayor Michael R. Bloomberg told the one and only architect joke he says he knows:
"A beaver and a rabbit were standing at the base of Hoover Dam. The rabbit asked the beaver, 'Did you design this?' The beaver replied, 'No, but it is based on my concept.'"
The Mayor was quick to point out that the public works projects represented by the case studies of seven projects featured in this exhibition—Marble Fairbanks Architects' Glen Oaks Branch Library in Queens, Polshek Partnership Architect's Rescue Company 3 and Family Intake Center in the Bronx, Kiss + Cathcart's Remsen Yard in Brooklyn, Dean/Wolf Architects' Queens Hospital EMS Station, weisz + yoes studio's Surf Avenue Pedestrian Bridge in Brooklyn, and the team of Grimshaw/Ammann & Whitney's Queens Museum of Art—certainly are not original building types, but their message is to hire creative architects for buildings that provide everyday public services to New Yorkers.
What is an original concept for a municipality happens to be the Mayor's Design and Construction Excellence (DCE) initiative, itself a work in progress at the Department of Design and Construction (DDC), the subject of the next evening's roundtable discussion between architects participating in the program and DDC Commissioner David Burney, AIA.
The Commissioner said there is "an agonizing need for good quality, solid, modest buildings in New York City." The possible solution is the creation of the DCE, now in its second year of operation and based on the federal government's General Administration's (GSA) Design Excellence program. The initiative changes the standard fee-based method of architect selection in favor of one based on quality and design. The DDC issued an RFP and received 400 responses expressing interest. Of those, 24 small firms—with 10 or fewer professionals for projects under $10 million—and eight large firms were selected. These firms comprise a pre-qualified pool and it is the DDC's job to match firms with projects commissioned by other city agencies. Firms are invited to indicate if they are interested in a potential match, and proposals are reviewed and selected by the clients and DDC staff. Peer reviews, performed by professionals outside of government, volunteer their expertise at the early stages of the design phase. Currently, more than 60 pilot projects are underway and managed by the DDC.
Architectural historian and this exhibition's curator, Thomas Mellins wrote "perhaps nowhere more than in the public realm does architecture constitute a narrative, telling us stories about who we are, what we value, and what we aspire to be." Many of our public works have survived generations, so it is probable that what the city builds today will continue to tell our story and should, therefore, be a source of pride for our many different constituencies. Many examples of public architecture are defined by their sameness and banality of architecture built by bureaucracy. The Mayor's design initiative advocates that "public-ness" should equal sameness in quality. So how will we define the era of the DCE initiative? How will we judge the matches they made? Time (and architectural historians) will tell.
Arquitectonica's Folds Unfold BxMA
The Bronx Museum of the Arts attempts to energize the South Bronx.
Stephen Kliment, FAIA
A mural by Assume Vivid Astro Focus was commissioned for the opening.
Event: Grand Reopening, Bronx Museum of the Arts
On a tight mid-block site at 165th Street along the Grand Concourse, the expanded Bronx Museum of the Arts (BxMA) establishes a striking profile without overwhelming its neighbors. Its folded painted aluminum panels and fritted glass, set at slightly nonparallel angles, carry multiple connotations both familiar and arcane (a theatrical curtain, an accordion, sets from The Cabinet of Dr. Caligari). Abstract and visually scaleless—the addition is actually a modest 16,700 square feet—it proclaims its local importance while welcoming the energies of a culturally diverse community.
At the ribbon-cutting, city officials stressed the museum's value as a focal point for a borough in transition. To Arquitectonica principal Bernardo Fort-Brescia, FAIA, it's an organic response to a challenging site. "It wasn't just a tough urban site; it had a tough topography." Behind the façade and front lobby lies a steep rocky hill, requiring difficult excavation. The new building adapts to this condition as it leads visitors through ramps and galleries to an outdoor sculpture garden, accessible through a dramatic second-story gallery that doubles as an event space. The sculpture court is on grade, over 30 feet higher than the Concourse. The top floor includes generous educational, multimedia, and administrative rooms with elevated views and ample natural light.
"We had a multi-story building, and we didn't want it to feel like a multi-story building," Fort-Brescia says. The unified sculptured façade thus stresses verticals and de-emphasizes layered floors, in contrast to the surrounding 1920s buildings that highlight their six stories through orderly fenestration. "As a flat façade," he explains, "it would have been static. Once we made the choice of making it dynamic…we felt we needed to do the same in each section. The slight angles give it the sense that it's moving in the wind, that it's not anchored, that it's challenging gravity."
This project is the first phase of a multistage expansion for the BxMA, the Bronx's only art museum. Eventually, according to Arquitectonica's master plan, the accordion-fold surface will extend south to 165th Street, with the folds growing steadily subtler, approaching a flat state at the corner. The side walls will be removed to accommodate projected additions including an auditorium, more galleries and classrooms, and a residential tower. Along with new park and plaza construction, renovation of the Concourse, a new courthouse (by Rafael Viñoly Architects), and the planned new Yankee Stadium, the BxMA is expected to spawn a whole new life for the neighborhood.
Bill Millard is a freelance writer and editor whose work has appeared in Oculus, Icon, Content, and other publications.
Marathon: Multiple Voices Liven Up Design-In
(l-r): Connie Fishman, President of the Hudson River Park Trust, Mark Strauss, FAIA, AICP, James McCullar, FAIA, Susan Chin, FAIA.
Event: Design-In Marathon
Architecture as Public Policy, this year's AIANY theme, seeks greater influence for architects on public policy and the public realm. Architects need to better understand the political process, and our political leaders need to become greater advocates for design excellence.
Too often lawyers and planners insensitive to design have usurped the planning process. If architects are going to make a difference in our communities, we can't wait for zoning and master plans to be in place. We can't absent ourselves from the decision-making process. We can't provide grand visions of what a place might be without leaving our studios and ivy towers and fully interacting with the public. This is how architects made a difference in the past, and this is how we must make design matter for future generations.
Our annual Design-In has been a way to get architects and designers out of the drafting room to focus on ideas and issues related to policy. The opening of the Center for Architecture represented an occasion for the design and planning community to further the advancement of physical initiatives and public policies, a need that was exposed in the aftermath of 9-11. To support this notion, the "Design-In" was conceived as an occasion to lift our voice and allow the design and planning profession to be heard. Additionally, like the "Be-Ins" and "Love-Ins" of the 1960s, the "Design-In" was envisioned as a time of celebration while showing that individuals can make a difference in this uncertain world.
(l-r): Rockefeller Center Rooftop Garden; 7 WTC; 7 WTC; Grand Army Plaza
(l-r): Magda Biernat; Jessica Sheridan; Jessica Sheridan; Gregory Haley
(l-r): Heritage Housing Headquarters; Bronx Museum of the Arts; Moravian Cemetery; Switch Building
(l-r): Jessica Sheridan; Magda Biernat; Pollyanna Rhee; Jessica Sheridan
Alice Austin House; Snohetta architecture studio at the Cunard Building; St. George Ballroom; Common Ground
(l-r): Pollyanna Rhee; Magda Biernat; Magda Biernat; Magda Biernat
(l-r): Ling Loft; Scandanavia House; Jacob Crocheron House; Rosa Mexicano Restaurant
(l-r): Magda Biernat; Magda Biernat; Pollyanna Rhee; Magda Biernat
(l-r): Federal Hall National Memorial; Cook + Fox Architects; Birdbath; Staten Island Museum attic
(l-r): Magda Biernat; Magda Biernat; Jessica Sheridan; Pollyanna Rhee
Weiss/Manfredi Reveal Life's Layers
Event: Surface/Subsurface: Chameleon Collaborations
From the environment to wayfinding and urban diversity, Weiss/Manfredi Architects develops different aspects of design simultaneously. By not limiting themselves to one goal—such as sustainability or landscaping—they are able to achieve a complex, multi-layered architecture that comprises the many influences on human life.
The idea of "collection" is repeated throughout the Museum of the Earth in Ithaca, NY. Sited above an aquifer that discharges and directs water to the Cuyuga Lake, Weiss/Manfredi takes advantage of the water terraces that mark the property line. The gallery spaces are located in series of pavilions, situated to aid water collection and distribution. Earth berms are incorporated into the parking lot camouflaging the infrastructure with the landscape while also distributing water.
"Collective tissue for students en route to class," is how Marion Weiss, AIA, describes the Smith College Campus Center in Northampton, MA. The building contains galleries, performance spaces, dining facilities, lounges, mailrooms, and a bookstore—the epitome of people watching on campus. As students move through the core of the building, consisting of interconnected weaving passages, students have different vantage points to view others whose motion in the periphery draws attention. A series of terraces along the perimeter of the building, much of which is made of glass, allows others to be seen as people move through, within, and outside of the building. Movement becomes a performance.
Weiss/Manfredi incorporates multiple types of infrastructure, three parks, and a 40-foot drop from the city to the water's edge in the Seattle Art Museum and Olympic Sculpture Park. Visitors experience all aspects of Seattle on a zigzagging park as they are drawn from the city, over and under highways, to the water. The museum itself reacts to the splitting of the landscape as the folded plate stainless steel skin acts as a chameleon to the city reflecting light, traffic, and surrounding buildings. Sculptures are strategically placed throughout the landscape, a result of tight collaboration between the architects and artists. A Mark Dion sculpture, for example, depicts nature and culture, thus is located at the intersection between the city and park.
The cross-disciplinary approach to design highlighted in the forthcoming publication, Surface/Subsurface, can be explored through three common themes: cultivation and excavation, peripheral vision, and recovering infrastructure. Weiss/Manfredi Architects' projects incorporate the environment, movement and performance, and the urban fabric, consistently challenging the boundaries between landscape and building, function and emotion.
Science is First Full-Floor Tenant at 7 WTC
A metal sculpture that divides employee and visitor spaces shows the area's 19th century street layout.
Courtesy H³ Hardy Collaboration Architecture
Project: New York Academy of Sciences
As the first building to rise near Ground Zero since 9-11, David Childs, FAIA's sharp-angled, LEED-gold-rated 7 WTC tower is inevitably a political and cultural fishbowl; every constituency with a stake in Lower Manhattan is watching what happens here. The New York Academy of Sciences (NYAS) and Hugh Hardy, FAIA, principal of H³ Hardy Collaboration Architecture, have set a strong precedent: returning to the neighborhood where it was founded and becoming the first tenant to occupy a full floor of 7 WTC.
H³ bisected the building along a north-south axis, allocating western river views to NYAS employees and eastern urban views, beyond a porous metal sculpture-wall showing the area's 19th-century street layout, to visitors attending public functions. The ceiling-to-floor fritted windows provide stunning vistas and bring daylight into most segments of the facility, from the open-plan administrative areas (giving informal work groups multiple appealing alternatives to crowding each other's cubicles) to the panoramic multipurpose meeting spaces. Even the financial and information-technology departments have jaw-dropping views—a practical defiance of the office-space convention that normally stashes them in dull rooms without distractions.
H³ has responded to the parallelogram-shaped floor plan by repeating acute and oblique angles, possible almost everywhere thanks to computer-driven fabrication methods. An angled ceiling rises from the elevator hall to the entrance lobby and reception area, maximizing drama upon entry. Angled offices, meeting rooms, and even custom furniture sustain a sense of movement.
The 2×4-designed photomurals are arranged by theme. Along one wall opposite the staff area, massively enlarged flower images are placed according to the color spectrum; inside the 300-seat auditorium, pixelated patterns subtly morph from representational birds to geometric forms to off-white and then morph back to birds. (The recurrent motif of barely-perceptible evolutionary change, Hardy says, is fully intended.)
The pièce de résistance along one interior corridor is an distorted projection of Joseph-Nicolas Robert-Fleury's Galileo before the Holy Office (1847), digitally warped so that the subjects are recognizable from a sharp angle, but vanish into horizontal abstractions when seen head-on. Meaningful information, this image implies, comes not from a mundane perspective, but from creative manipulation and surprise. It's an apt metaphor for scientific inquiry and the drama-driven work of Hardy and his colleagues.
Bill Millard is a freelance writer and editor whose work has appeared in Oculus, Icon, Content, and other publications.
Event: Sprawl: A Compact History, panel discussion
Sprawl may not be as bad as people think, argues writer and historian Robert Bruegmann. Driving between the major cities of the northeast, one might feel that sprawl is overtaking America. However, the past half-century has actually seen a decline, or reversal, of sprawl in the U.S. as the population of many cities becomes denser. This misconception tops the list, according to Bruegmann.
Sprawl is a not just a modern American problem—the pattern of settlement spreading outward from city centers originated with the Greeks and is endemic to most affluent nations today. These nations are seeing an unparalleled convergence in levels of social and monetary comfort, an increase in auto use, and a preference for separated, single-family living. These trends, paired with other historical data, have persuaded Bruegmann that the need to spread out is a basic human desire noting, "as people become more affluent, they seem to want more space."
In academic debates, sprawl is often the indefensible underdog, and as a result has suffered through three waves of backlash in the last century. The first anti-sprawl movement occurred in early 20th century London resulting in the creation of a greenbelt system around the city; the second took place in the U.S. during the 1950s and 1960s, partially in response to the post-war residential construction boom. Presently, we are experiencing the third movement that is responding to concerns voiced by preservationists, New Urbanists, and environmentalists.
While playing devil's advocate in support of the sprawl trend, one might hope Bruegmann could conjure more substantive claims in favor of disbursed development than "human nature." When addressing the idea that sprawl contributes to global warming and natural habitat displacement, Bruegmann's counter was somewhat cursory, saying that current data linking the trends was inconclusive.
A recent wave of literature in favor of spreading development outside cities points to the fact that the pro-sprawl movement may be gathering momentum. As a result, the debate between cities and suburbia will persist, we hope.
Shanghai's Image Thrives in Spotlight
Fashion in Shanghai reflects vibrant urban lifestyles.
Courtesy People's Architecture
Event: 3×3: A Perspective on China, Part V: Curating Shanghai: Art | Architecture | Fashion
Shanghai's residents are not married to their pasts; this allows them to push the envelope in all aspects of design. Four facets of Shanghai's thriving culture—urbanism, architecture, contemporary art, and fashion—will be highlighted in upcoming exhibition, "Shanghai Kaleidoscope," at the Royal Ontario Museum in Toronto.
City officials seek to brand Shanghai and create a recognizable image with hopes of making it an international tourist destination. The 2010 World Expo offers further incentive for development and improved infrastructure. The wooden structures that define the narrow streets of the old city in Shanghai stand in stark contrast to new housing developments that are rapidly closing in on them. A vast scale model of the city, located within the Urban Planning Exhibition Center, is updated weekly to reflect this constantly evolving mega-metropolis.
The developing skyline is symbolic of the changing urban lifestyles of Shanghai's inhabitants. In an effort to define a new vocabulary for urban clothing, and adjust to new ways of life, fashion designers experiment with fabric in two dimensions while drawing inspiration from traditional dress. Ultimately, perhaps Shanghai at night is the city's most alluring image: colorful lights and programmable building skins capture the pulsing vitality of the city and its changing inhabitants.
Murrye Bernard, Assoc. AIA, is the Proposal Manager for Polshek Partnership Architects and is Editor for AssociateNews, the national monthly newsletter of the AIA's National Associates Committee.
CONVERSATION: Scott Lauer, OHNY founder and board president
The annual openhousenewyork (OHNY) took place throughout the weekend of 10.07-10.08.06, opening buildings and construction sites to the public not usually accessible, providing walking tours, lectures with architects, and an extensive kids program—all for free. eOCULUS had the chance to discuss the origins of OHNY with its founder and board president, Scott Lauer.
eOCULUS: This was the fourth annual OHNY. What were some of the new sites? What were some of the new programs?
eO: What is your background and why did you choose to undertake OHNY?
eO: What has been the most popular site over the last four years?
The response put forth by Richard Nash Gould to a certain quote by Dean Reed Kroloff (See In Response, eOCULUS 10.03.06) is both baseless, devoid of evidence, and misleading to the rest of your readers. It seemed more motivated by a dislike for Kroloff than a reasonable opinion.
While I am no fan of the current leadership at the city level in New Orleans, there being plenty of blame to be dished to the local leaders here for their botched response to the disaster following Katrina, his comments are baseless, factually incorrect, ignorant of government processes at local, federal, and state levels (both in Louisiana and across the country), and horribly insensitive to the hard work that has been done by many of our community's good leaders. Even worse, they are misleading to those who would read eOCULUS or be influenced such comments. Here are some facts on this matter:
All implementation and upgrading of flood protections, nationwide, are the responsibility of the federal government via the U.S. Army Corps of Engineers (USACE). Specifically, the USACE is charged by Congress to organize, design, and implement all flood protection projects that are eventually owned by the local governments and communities they serve. They are also responsible for continuing operation and maintenance of such structures in conjunction with various state-chartered Levee Boards in Louisiana—these include all the levees that failed in the face of Hurricane Katrina's storm surge.
EDITOR'S SOAPBOX: OHNY for Everyone
This was the fourth year I have volunteered for openhousenewyork (OHNY), and each year is more rewarding than the previous as its popularity keeps growing. I do wonder, however, why my peers have not embraced OHNY as I have. Many of the OHNY participants, I learned from conversations with others in line, are European. This makes sense as open houses exist throughout the continent and are much more established there than the one in New York. Also, there are a large number of bloggers and photographers taking advantage of the rare opportunity to photograph parts of the city that are inaccessible (without breaking the law!).
When I asked my fellow architectural designers what sites they had seen throughout the weekend, I found few of them had participated. There were many excuses—some had to work, others were studying for a LEED exam, others had nothing to say but that maybe next year they'll get around to it. New Yorkers are busy people (and I may have apathetic friends), but as someone interested in architecture and the history and future of New York, I think OHNY should not be overlooked.
I was able to make it to six sites overall. I took a tour of the Switch Building designed by nARCHITECTS; heard Craig Dykers, AIA, partner and director of SnÆhetta (located in Lower Manhattan's Cunard Building), present recent work including a preview of the unreleased redesigned Drawing Center at Ground Zero; went to the 45th floor of 7WTC; explored Birdbath, a sustainable bakery in the East Village; took a tour of the Heritage Housing Headquarters designed by Caples Jefferson Architects; and I volunteered at the Rockefeller Center Rooftop Garden. Yes, it took up most of my weekend, but it was worth sacrificing a few hours of my time. I already have a list lined up for next year, and I can't wait to do it again.
eON THE SCENE
An Equal Opportunity Party@theCenter!
Visible Cities, featuring Andrea Haenggi and the AMDaT Dance Company, strike a pose during their performance at the Party.
Gensler associates, Susan Donohoe and Naoko Oguro toast to a night of dancing.
Roman Loretan of Diller Scofidio + Renfro and Janet Wiesen of Datesweiser mingle at the Party.
Party-goers sporting jeans and t-shirts dancing next to Heritage Ball attendees in tuxes and ball gowns may seem at first as if the "adults" have crashed a hip, youthful party. While this disparity may make some feel out of place, it is exactly why this event works and has been a perennial success.
Since the first Party@theCenter! in 2004, this Heritage Ball after-party has provided a less formal setting for professionals of all experience levels within the design profession to mingle, dance, and drink together. The event is open to anyone wishing to attend the party and attendees of the Heritage Ball are encouraged to go at no cost.
The party organizers are smart to schedule the Party@theCenter! after the Heritage Ball. The two parties work in tandem allowing seasoned professionals a chance to loosen their bowties and dance to the rock and pop music of this year's DJ Devin Vernuelan. Emerging designers and architects unable to attend the AIANY's annual gala get a chance to network over a martini or a glass of merlot. By 2am, for those still moving in sync with the dancers from Visible Cities and the architectural performance installation by media artists Dana Karwas and Liubo Borissov blanketing the walls of the main Gallery, does it matter who is wearing a bejeweled ball gown or a dazzling pair of ripped jeans?
IN THE NEWS
A Secret Garden Near Central Park
East Asia Flaunts Treasures to Western World
African American Architects Profiled
A Whale of an Aquarium for Coney Island
A Facelift for NYPL
National Study: Working Families Pay More to Commute
House of Justice for Rhode Island
AROUND THE AIA + THE CENTER
Keep an Eye Out for Fall OCULUS: Special Design Awards Issue
Pentagram Design, Inc.
The AIANY 2006 Design Awards take center stage in the fall issue of OCULUS, due to mail November 8. In the spotlight are the 30 Honor, Merit, and Citation award winners in Architecture, Interior Architecture, and Projects, selected by three juries from more than 400 entries. Also included are the winners of the annual design competition sponsored by the American Society of Landscape Architects New York Chapter (ASLANY), and the Lumen Awards presented by Illuminating Engineering Society New York Section (IESNY).
OCULUS is sent free to all members of AIA New York and AIA New York State, and subscriptions are available for $40 ($60 for international subscribers). Click here for the online form.
Coming Soon to the Center: PIE
Pentagram Design, Inc.
The Center for Architecture is expanding its role as a key public resource with the launch of its Public Information Exchange (PIE)—but it needs your input!
PIE will provide a nexus for information and ideas relating to New York's built environment. Serving as a virtual forum, a physical and technological installation will inform visitors of proposed developments across the five boroughs and feature information about the Center's rotating exhibitions, informal discussions, and professional dialogues.
The project is in its nascent stage. The design of the installation and its interactive interface are still in development, as are other components such as a remotely accessible website and database. The evolution of these elements will rely on the Center's community of architects, planners, designers, government representatives, and community activists to update content and commentary in the interest of public participation.
To launch PIE, the Center will host Visualizing the City, on 10.28.06. The conference will engage the public in the development of PIE and gather feedback from an invited panel of experts. For the full list of speakers, click the link.
PIE is a Legacy Project of AIA in conjunction with its 150th Anniversary in 2007. PIE and the Visualizing the City conference are sponsored by: New York City Council, National Endowment for the Arts, Carnegie Corporation, The Graham Foundation, the New York Community Trust, and the Center for Architecture Foundation.
Submit your response for the latest poll:
Results from last issue's poll:
Nine city-wide and Brooklyn-based civic and community groups have launched Brooklyn Speaks to educate New Yorkers about the proposed Atlantic Yards development and to empower them to ask decision-makers to approve a plan that works for Brooklyn. The interactive website features a blog and letter-writing options, and sets forth key urban planning principles that hopes to guide the development.
NAMES IN THE NEWS
This month, media company Hanley Wood announced the purchase of Architecture and Architectural Lighting magazines from VNU; Architecture will be merged into its new magazine, Architect, headed by editor-in-chief Ned Cramer; the publisher assures the public that the P/A Awards will live on…
New York-based Amoia Cody Architects has won the Bathing Beauties International Competition to design a beachfront restaurant/boathouse in Lincolnshire, UK… AIA Toledo has granted Ohio native Terrence E. O'Neal, AIA, a special citation for Service and Leadership to the Profession… The International Association of Lighting Designers Education Trust has selected Megan Casey, a student at Parsons The New School for Design, as one of 16 students to attend the group's annual conference…
Carlton A. Brown, Principal and COO of Full Spectrum NY, has been appointed to the Board of the New York City Office of Long-Term Planning and Sustainability… Lower Manhattan Development Corporation's John Whitehead will be honored with a leadership award given by Search for Common Ground, a Washington, D.C.-based conflict resolution group… Jenine Lepera has been named Vice President of Marketing and Business Development for Ted Moudis Associates…
Submission: City of the Future
Emerging architectural design teams are encouraged to compete for the chance to receive up to $20,000 in The City of the Future: A Design Competition, sponsored by The History Channel with support from the Van Alen Institute and the AIA (including AIANY and the Center for Architecture). Two to four teams will be chosen to present their ideas for re-envisioning the city, alongside other established design firms.
Submission: Rome Prize 2007
The American Academy in Rome, one of the leading overseas centers for independent study and advanced research in the arts and the humanities, invites applications for the Rome Prize 2007. Up to 30 winners will be selected to reside at the Academy's 11-acre center in Rome and will receive accommodations and a stipend for either a six- or eleven-month period.
Submission: GIPEC RFQ
Starting October 23, the Governors Island Preservation and Education Corporation (GIPEC) seeks Statements of Qualification from landscape architecture, architecture, and urban design firms to provide professional design services for the park, esplanade, and open space on Governors Island. The RFQ is the first stage of a two-stage solicitation. From the RFQ respondents, GIPEC will invite up to five teams to respond to a Request for Proposals for Public Open Space Design Services and to participate in a design competition by preparing conceptual designs and planning approaches.
Qualifications: Cyprus Cultural Centre
Five to eight architects will be chosen to compete for the commission of the Cyprus Cultural Centre in Nicosia, which will include two indoor theaters, an outdoor venue, and support spaces. Shortlisted firms will receive €50,000 and travel expenses to Cyprus.
At the Center for Architecture, 536 LaGuardia Place:
About Town: Exhibition Announcements
Untitled (Riverside South), 1994, gelatin-silver print collage
Courtesy Senio & Shopmaker Gallery
Spanning the fields of architecture, landscape design, sculpture, and installation art, this exhibition of Mary Miss's work challenges conventional ways of seeing the landscape we inhabit. The work focuses on Miss's photo/drawings, a technique which employs collage to depict an altered whole.
Senior & Shopmaker Gallery; 21 East 26th Street
10.27.07 through 12.02.06
This exhibition will feature the work of five young, european architecture firms, each which share a common attitude toward architecture. Highlighted firms include: Sadar Vuga Arhitekti (Ljubljana, Slovenia), R&Sie (n) (Paris, France), Jørgen Mayer H. Architects (Berlin, Germany), IaN+ (Rome, Italy), and Archi-Tectonics (New York). The exhibition was curated by Winka Dubbeldam and Helene Furjan, and a symposium corresponding to the exhibition will be held at Columbia University 10.23.06.
Frederieke Taylor Gallery; 535 west 22nd street, 6th floor
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Mid-Sr. Level Architect and Interior Designers
Please submit resumes to:
The Assistant Chairperson will assist the chairpersons in developing, implementing and managing curricular administration and cultural programs that sustain, support and improve the educational life of the students, faculty and administration of the graduate architecture departments. Masters degree or equivalent in architecture or a related field required. Applicants must have a minimum of two to four years' administrative experience in a college or university setting and two to four years' teaching experience at the college level. He/She Must have demonstrated familiarity with curricular content and fundamental issues of Architectural and Planning education and professions.
For more information, please visit our employment website at www.pratt.edu/jobs.
Seeking Exhibition Design Services
Full-time Lecturer position; three-year contract with option for renewal. We seek an architect to teach a sequence of studio courses and to direct an undergraduate architecture program. The architecture major at Smith consists of the architecture studio sequence combined with courses drawn from the other two academic wings of the Art Department: art and architectural history, and studio art. M. Arch. Or equivalent degree preferred. Teaching experience required. Start date: September, 2007. Send letter, CV, visual materials, and names and addresses of three references to Chair, Architecture Search Committee, Dept. of Art, Smith College, 22 Elm Street, Northampton, MA 01063. Review of applications to begin on Monday 30 October and continue until the position is filled. Smith College is an equal opportunity employer encouraging excellence through diversity.
SENIOR PROJECT MANAGER and PROJECT MANAGER
Stimulating team oriented office environment. Excellent opportunities for advancement. Competitive salary and benefits, with generous bonus potential. Send Resumes to firstname.lastname@example.org and indicate position sought in Cover Letter.
Responsibilities include designing residential buildings and preparing drawings and specifications; reviewing private architects' plans, specifications and scopes of work; participating in the inspection of residential buildings to develop scopes of work for in-house design; measuring buildings to develop plans and construction documents for in-house designs; and completing inspection forms.
To apply for consideration, please write: Mr. Ira Chinsky, The Department of Housing Preservation and Development Division of Architecture, Construction and Engineering (DACE), 100 Gold Street, Room 7-A4, New York, NY 10038. Please indicate transmittal number 806-07-064 on your resume or cover letter when responding. While we appreciate every applicant's interest, only those under consideration will be contacted.
Our clients, NYC's most desired architectural practices, have requests at all levels for design and production:
CFA has been building consulting careers for 22 years. Our project and permanent positions offer great opportunities for career path development.
As an architect working on a consulting basis, you benefit by working on a per-project basis, setting your own fees and schedule, while building your portfolio and experience, for a greater long-term career purpose.
We have openings at New York's most desired practices, and have successfully matched over 5000 people, since 1984, with firms that share likeminded design sensibilities such as yours.
Must have architecture degree and excellent CAD skills.
Peter Gluck and Partners, a design-focused architectural office with a unique emphasis on design-build construction management, is seeking self-motivated and team-oriented people to work on high-end private residential projects. Candidates should have an MArch or BArch and 3+ years of experience with DD and CD phases of a project.
Please send resumes and sample portfolio pages to: email@example.com subject: "Architect position"
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The Mayor finished by stating: "It has often been a balancing act between building for the future and preserving the traditional character of our great city. But, as you'll see from the work on display here, I like to think we've struck that balance tremendously."
Following the Mayor, Burney acknowledged, "The Department of Design and Construction is delighted to be a partner in AIA New York's theme, Architecture as Public Policy. An important part of this theme is the idea of public/private partnership, and I am very pleased with the partnership that has developed between DDC and the Chapter. LaGuardia Place has become a showcase for public work, and its meeting rooms a forum for debate on public policy."
Mark Strauss, FAIA, AICP, is the 2006 AIA New York Chapter President and is a Principal at FXFOWLE Architects.
The Design-In was created as a forum to allow multiple voices to reflect the diversity and breadth of the design community. In 2003, the first Design-In lasted 16 hours, drew 80 speakers, and 1,500 people to the Center throughout the day. The program was organized around three basic themes: Design-In Community, Design-In the Trenches, and Design-In Theory and Practice. Within each theme, every hour focused on a sub-theme that related to the speakers' expertise and/or interests. The sub-themes were intended to illustrate the diversity of design voices in the City of New York.
Because of the success of the first year's program, we made the Design-In an annual event. For 2004, we chose the theme, "Design-In Collaboration," which reflected the collaborative spirit that defines recent architecture practice in New York. Last year, concurrent with 2005 AIANY President Susan Chin, FAIA's theme, Architecture: Bringing Cultures Together, the Design-In focused on the Center's exhibition, "Hombroich spacelab." Three explored how the arts and culture can be incubators for community revitalization.
This year, Design-In Public reinforced our 2006 theme, Architecture as Public Policy. Instead of focusing on policy concerns, the hours were organized around the activities that define our interaction with community: Live, Work, Play, Learn, and Movement. Participants included Alexandros Washburn, AIA, Joan Blumenfeld, FAIA, Susan Szenasy, Nicholas Goldsmith, FAIA, Susan Chin, FAIA, and James McCullar, FAIA. In total, nearly 35 speakers highlighted the designers' objectives in creating—and the public's perspective in experiencing—various types of spaces and places in New York City in which we move, work, live, learn, and play.
With that, I say, let the work continue!
Mark Strauss, FAIA, AICP, is the 2006 AIANY Chapter President and principal of FXFOWLE Architects.
eO: What is your favorite site that might have been beyond some people's radar?
eO: How has OHNY grown and what are your goals for future OHNYs?
eO: How can the design community become more involved in OHNY's efforts?
Contrary to popular belief, the numerous Levee Boards are not under the control of the City of New Orleans; they are organized under the direct control of the State of Louisiana and they enter into cost-sharing plans with the USACE. Most funding comes from the federal level and must be appropriated by the joint houses in U.S. Congress. Typically, the levee boards work to raise local taxes and revenue to put toward maintenance of levees. Initial implementation costs (design and construction)—because they are typically so high—are sourced by U.S. Congressional appropriations in answer to requests by the USACE once the projects have been designed and garnered local community approvals. Local leaders and governments participate at great length to ensure that the design and construction of these projects not only give adequate flood protection, but also do the least damage to community environments. In most cases, they are watching to protect against USACE 's projects that either go too far or not far enough in protecting the environment, property, and economic interests.
The levee failures in question have been almost completely attributed to a failure of design, not of maintenance, thus leaving the Levee Boards (however corrupt they may have been pre-Katrina) and, more importantly, the City of New Orleans, largely blameless. Therefore, it is morally and logically inconsistent to place more blame on the shoulders of local leaders who were under the impression that the USACE delivered to them a system of levees and flood protections equal to a Category 3 storm.
Levees don't fail because the contractor you hire didn't do his job—even if that levee is within the bounds of the city of New Orleans. They fail because they weren't designed correctly and because Congress simply found other funding priorities over the past 25 years that seemed much more important than upgrading an already elaborate system of levees. This is despite continued efforts by the USACE and local leaders lobbying Congress to fund those projects. If anyone is squarely in the crosshairs, it is the USACE and the U.S. Congress (in my eyes, one of the most inept fiscal mechanisms in our government).
All flood insurance provided in this country is financially guaranteed by the federal government. This is in direct response to the fact that it is the federal government who—through the USACE—is charged with flood protection. The premise—and you will find this logic in every description of the National Flood Insurance Program (NFIP)—is to force communities to adopt flood protections, strict building practices, environmental protections, and floodplain management techniques in an effort to protect lives and property as well as limit federal expenditures for disaster assistance and flood control.
Federal leaders determined that it was in their best interests to dangle the carrot of flood insurance in front of local communities in an effort to force them into adopting federal flood control management strategies (aka: USACE-sourced flood protections) that would keep them from having to eventually pay for a disaster or pay out all that insurance.
Two evils are present: the fact that federal leaders used flood insurance as a way to straight jacket communities into utilizing (and relying upon) federal flood control protections, and the fact that those flood protections, in the end, failed by faulty design. In the case of Katrina, we helped pay for the levees, we worked with federal leaders to establish better building practices, we bought flood insurance backed by the federal government at great expense to homeowners and businesses, and then all the federal protections we invested in (remember we pay income taxes too) failed us.
Lastly, I would make the point that this story of blame is less about "corrupt Louisiana politicians" and more about a national culture of greed, belief in our own invincibility, and unbridled pursuit of economic prosperity despite the consequences for communities, environments, and future generations. Louisiana and New Orleans have been victimized by over 200 years of "colonial treatment" in federal politics. You can drive your SUV for $3 per gallon and your power plants can burn coal shipped up the Mississippi. Louisiana's natural flood protections (i.e.: marshes, swamps, barrier islands, river sediment flows, and deposits) have been trapped, raped, and pillaged by big business (with the consent of the U.S.) so that the only choice we had left, as a poor southern state with little political might in Congress, was to place our trust in the last remaining protections available—those designed and implemented by the USACE and their bosses, the U.S. Congress, and the President. So I guess we are guilty of one thing: taking the federal government at its word that we were safe.
Blaise Durio, Assoc. AIA