09.15.08 Call for Entries: RE:VISION — RE:CONSTRUCT
This competition seeks ways to create new types of structures and techniques, or renovate old ones. From planning codes to toilets, dry wall to moveable walls, entrants are invited to re-imagine the building industry. The jury will award three cash prizes, seven honorable mentions, and consultations for the top three winning designs. The prize for each of the three finalists is $2,000.

09.19.08 Call for Entries: Flood Design Competition
Norwich Union, with the support of RIBA, invites submissions from international registered architects for an open ideas competition to design of a flood-proof house. New, innovative methods of preparing homes for flooding are required as the global climate changes and the possibility of flooding increases in the UK. The competition will be conducted in two stages, where five finalists will be invited to interview and meet the jury panel. It is the intention that the winning design will be developed and built after approval by a house-building partner.

10.10.08 Call for Entries: Canstruction
Canstruction is an international charity competition where architects, engineers, contractors, and students compete to design and build structures made entirely from cans of food. At the event’s close, all of the food from the NYC competition is donated to City Harvest. This year, this competition and exhibition will be held at a new venue: the World Financial Center, Battery Park City.

10.31.08 Call for Entries: REBUILD | REVIVE: The 3rd Annual Ed Bacon Student Design Competition
Open to any college or university student in North America, this competition challenges entrants to study the Ludlow Neighborhood of North Philadelphia, which was a focus area of Philadelphia’s neighborhood renewal programs in the 1950s and 1960s. Experimental ideas such as selective clearance and scattered-site public housing were ultimately unsuccessful, leaving a neighborhood with large-scale abandonment and many parcels owned by the public sector. Fresh design solutions for reviving Ludlow and similar disinvested communities are needed. Pre-registration is required by 09.30.08.

11.01.08 Call for Proposals: 9th Annual Milka Bliznakov Prize
The International Archive of Women in Architecture (IAWA) center, at Virginia Tech’s College of Architecture and Urban Studies, invites architects, scholars, and researchers to honor IAWA founder and Virginia Tech emerita faculty member Milka Bliznakov through research on women in architecture and related design fields. This research, in concert with the preservation efforts of the IAWA, helps fill the current void in historical knowledge about women’s professional achievements. The winner receives $1,000.

Center for Architecture Gallery Hours
Monday-Friday: 9:00am-8:00pm, Saturday: 11:00am-5:00pm, Sunday: CLOSED

Join an Architalker for a Hosted Tour of Center for Architecture
Exhibitions

Join us for free Architalker-hosted tours of the Center for Architecture exhibitions Fridays at 4:00pm. To join one of these tours, meet in the Public Resource Area on the ground floor of the Center for Architecture.

CURRENT EXHIBITIONS

July 17 — September 27, 2008

South Street Seaport – Re-envisioning the Urban Edge

The Emerging New York Architects Committee (ENYA) presents the Third Biennial Ideas Competition, South Street Seaport | Re-envisioning the Urban Edge. This competition encouraged participants to envision new connections, both material and metaphoric, between this richly historic neighborhood and Manhattan’s contemporary urban fabric.

South Street Seaport | Re-envisioning the Urban Edge provided an opportunity, uncommon for students and young professionals in the field of design and architecture, to engage the ongoing evolution of the South Street Seaport. More than 200 participants entered the competition, representing a broad spectrum of domestic and international architects, landscape architects, urban designers, and graphic artists. From over 100 entries, a jury selected four top prizes, five honorable mentions, and additional Jury Selections, all of which are presented in this exhibition.

ENYA partnered with the Seamen’s Church Institute (SCI), whose headquarters have been in the neighborhood since 1832. The principal element of the program is a community center for local residents and gallery space to house the SCI’s collection of maritime art and artifacts. In addition, competitors were encouraged to make community-building interventions in open spaces throughout the site in order to preserve the neighborhood’s intriguing history, while re-imagining its future edge condition on the downtown New York waterfront.

Exhibition organized by the AIA New York Chapter and Center for Architecture Foundation in collaboration with the Emerging New York Architects Committee (ENYA)

Exhibition organized by the AIA New York Chapter and Center for Architecture Foundation in collaboration with the Emerging New York Architects Committee (ENYA)

ENYA Co-Chairs:
Megan Chusid, Assoc. AIA

Harry Gaveras, AIA

Exhibition and Competition Developers:

Anne Leonhardt, Assoc. AIA

Heather Mangrum

Joel Melton, Assoc. AIA

Sean Rasmussen, Assoc. AIA

Exhibition Design:

Steven Mosier

South Street Seaport: Re-Envisioning the Urban Edge

Emerging New York Architects (ENYA)

Underwriter: F.J. Sciame Construction

Sponsor: Gensler; Propylaea Architecture; Richter+Ratner

  
  

Friends:

Service Point USA and A. Estéban & Company


Food Sponsor:
Acqua Restaurant
Beverage Sponsor: Barefoot Wine and Brooklyn Brewery


June 23 — September 14, 2008

Buckminster Fuller Dymaxion Study Center

Galleries: Libary

The Dymaxion Study Center will display over four hundred volumes of books by and about visionary inventor and theorist, Buckminster Fuller, whose work has influenced generations of architects and environmentalists. These volumes will include the complete and extremely rare set of Buckminster Fuller’s Synergetics Dictionary edited by Ed Applewhite, as well as other well-known works by Fuller, such as Synergetics and Nine Chains to the Moon. The Study Center will include selections from Fuller’s “live book squad” of influential texts and a Dymaxion timeline, outlining the evolution of Fuller’s geodesic designs in the context of their co-evolution with the Dymaxion map, organized in collaboration with Bonnie DeVarco, former Fuller Archivist and Shoji Sadao, President of Fuller and Sadao PC.

On Monday, June 23rd, 2008, the Center for Architecture will also unveil the Buckminster Fuller’s Fly’s Eye Dome, courtesy of the Buckminster Fuller Institute and Max Protetch Gallery, New York, in conjunction with NYC Department of Transportation’s Temporary Art Program and Friends of LaGuardia Place. The dome will be temporarily displayed at LaGuardia Park between Bleecker and West 3rd Streets. Its presence will draw attention to the imminent re-design of the park by landscape architect, Adrian Smith, ASLA, working with students and Friends of LaGuardia Place.

“The Fly’s Eye domes are designed as components of a ’livingry’ service. The basic hardware components will produce a beautiful, fully equipped, air-deliverable house that weighs and costs about as much as a good automobile. Not only will it be highly efficient in its use of energy and materials, it also will be capable of harvesting incoming light and wind energies.” – Buckminster Fuller, Critical Path, 1983.

The Center for Architecture’s Dymaxion Study Center will offer audiences an in-depth view of Buckminster Fuller, his influences, his words, and works.

Organized by: AIA New York Chapter and the Center for
Architecture Foundation in association with the Buckminster Fuller Institute

Exhibition and Graphic Design: Project Projects

Underwriters: NYC Department of Transportation’s Temporary Art
Program

Friends of LaGuardia Place, Center for Architecture
Foundation
Lead Sponsors: Spring Scaffolding

Sponsor: Richter+Ratner

Supporters: New York University; Purchase College, State University of
New York
Media Sponsor: Metropolis Magazine


May 22 — September 6, 2008

Ecotones: mitigating NYC’s contentious sites

Galleries: Margaret Helfand Gallery, Gerald D Hines Gallery, Public Resource Center

Given the global and local challenges of climate change, the Landscape Architecture profession is at the forefront of New York City’s sustainability efforts. Collaborating with governments, regulatory agencies, community groups, and design professionals, Landscape Architects are transforming ecological problems into opportunities for habitation and recreation. With Mayor Michael R. Bloomberg’s sustainability plan, plaNYC, in place, the challenge is to understand the interconnectedness of the City’s green spaces.

Ecotones are transition zones between adjacent ecosystems. In urban environments they emerge as contentious sites located between disparate or opposing forces: where industry meets the river; where community and industrial uses collide; where public and private interests merge. These areas are often the unconsidered result of infrastructure improvements and building developments yet have the potential to be cultural and ecological mitigators. The projects in this exhibition show us how sustainable practices, specifically, the collecting, cleansing, and reclaiming of water, can be used to mediate conflicting circumstances, integrating technical solutions with the social and cultural considerations that make for vibrant urban spaces.

Organized by the AIA New York Chapter and the Center for Architecture Foundation in collaboration with the American Society of Landscape Architects New York Chapter

Curator: Tricia Martin

Exhibition Design: Moorhead & Moorhead

Graphic Design: PS New York

Patron: Alcan Composites USA

Sponsor
H.I. Interior Corp

Duggal Visual Solutions

Supporters: Delta Fountains; H.M. White Site Architects; Landscape Forms; Langan Engineering and Environmental Services; Michael Van Valkenburgh Associates, Landscape Architects

Friends: EDAW; Lee Weintraub Landscape Architecture; Mathews Nielsen Landscape Architects; Sawyer/Berson, Architecture and Landscape Architecture


June 13 — August 23, 2008

Building Connections: 12th Annual Exhibition of K-12 Design Work

Join us in celebrating our young designers! This annual exhibition of K-12 explorations into the built environment showcases models and drawings from Learning By Design:NY, our school based residency program, as well as work from our youth programs at the Center for Architecture.

Exhibition Design: Arquitectonica
Exhibition Graphics: Casey Maher

Exhibition organized by the Center for Architecture Foundation and the AIA New York.

Building Connections was made possible with generous support from the following organizations:

Sponsor: Kramer Levin Naftalis & Frankel; Robert A. M. Stern Architects

Supporters: Ingram, Yuzek, Gainen, Carroll & Bertolotti; Robert Silman Associates

Friends: Archetype Associates; Baldinger; Bentley Prince Street; Cline Bettridge Bernstein Lighting Design; Fisher Marantz Stone; InterfaceFLOR; Langan Engineering and Environmental Services; Murray Engineering; Petty Burton Associates; Pustorino, Puglisi & Co.; RMJM Hillier; Tamarkin Architecture; Weidlinger Associates; Linda Yowell, FAIA

Spend the Summer@theCenter!
For more information go to www.cfafoundation.org, or contact 212.358.6133 or info@cfafoundation.org

Exhibition Announcements

Beijing.

Steven Holl, AIA, courtesy Museum of Modern Art

Through 02.02.09
Pré: Stephen Holl

The digital installation consists of 365 drawings made by Steven Holl, AIA, between 2002 and 2008. Over the past 30 years Holl has juxtaposed form, color, shape, thought, space, and building in small sketchpads. From little details to abstract studies, this collection of drawings covers his thought processes.

Museum of Modern Art
11 West 53rd Street


Courtesy skyscraper.org

Through 02.09
Vertical Cities: Hong Kong | New York

This exhibition examines the evolving identities of two cities that embrace the skyscraper as the principal instrument of modern urbanism. Photographs, film, architectural drawings, maps, and large-scale models are on view to convey Hong Kong’s character, its iconic skyline, crowded commercial core with multi-level traffic, a network of pedestrian bridges, and vertical shopping malls. This is the second in a cycle of three related exhibitions entitled FUTURE CITY: 20 | 21 that juxtapose early 20th century American visions of the skyscraper city of the future with an exploration of Chinese cities today.

The Skyscraper Museum
39 Battery Place


SHoP Architects’ design for South Street Seaport.

SHoP Architects

Seaport Past & Future
This free public exhibition, designed by James Sanders and Associates, will take guests through two centuries of South Street Seaport’s changes. Multi-media features and scale models representing the district during crucial moments in history culminate with an architectural model of SHoP Architect’s proposed plan for the new Seaport. Visitors will be able to view archival material of vintage streetscapes — with the same views as they appear today — illustrating the continuities and change over time at the Seaport.

191 Front Street Gallery
191 Front Street, near John Street

08.05.08

08.05.08

August is here, and it’s time to savor the last month of summer. There are so many places to go around town. For some ideas, see Kristen Richards’ “Summer Walkabout” photo essay in this issue.

– Jessica Sheridan, Assoc. AIA, LEED AP


CLICK ON BLOG CENTRAL: AIANY BLOG: The AIANY Chapter has launched a new blog. Blog Central features opinion pieces on architectural issues relevant to NY-based designers, firms, and projects, along with spotlights on debates and discussions at the Center for Architecture and AIANY, and is an informal discussion board. Be sure to check it out regularly and contribute to the dialogue.

Of interest:
· AIANY Policy. Have you wondered how AIANY establishes its policy positions? Laura Manville, the AIANY Policy Coordinator explains all.

To become a regular contributor to Blog Central, please e-mail e-Oculus. Pen names are welcome.

Plazas Will Serve Low-Income Neighborhoods… But at Whose Cost?

Event: New York City Plaza Program Information Session
Location: Department of Transportation, 07.16.08
Speaker: Andy Wiley-Schwartz — Assistant Commissioner, Office of Planning and Sustainability, NYC Department of Transportation
Organizer: NYC Department of Transportation

Before and after image of the Plaza Program’s potential.

Courtesy NYC Department of Transportation

With the NYC Plaza Program, the Department of Transportation (DOT) is looking to create “vest pocket parks” — small, modestly landscaped plazas on existing marginal sites such as traffic islands and underused turning lanes. At a recent information session, Andy Wiley-Schwartz, assistant commissioner of the Office of Planning and Sustainability, presented how the department could use its authority over the public right-of-way to displace or divert streets and parking to create easily accessible plazas, complete with benches and plantings.

To be designed by the city and managed in cooperation with neighborhood nonprofit groups who will apply to DOT to enter the Plaza Program, the criteria for acceptance will favor community organizations in low-income areas with inadequate public space but with the means to maintain the proposed plazas. But there’s the catch. Local groups are expected not only to provide upkeep and programming, but also to assume liability for the new public spaces, according to the program’s proposal guidelines. The cost of insurance alone could make the plazas prohibitively costly for the very neighborhoods where they’re most needed.

However, with construction still two years away and a relatively modest $14 million on hand expected to fund about four plazas a year to start, the NYC Plaza Program is only one small piece of a much larger urban puzzle — a signal, along with the midtown Broadway Esplanade from 42nd to 34th Street opening mid-August, of a shift in the Bloomberg administration away from automobile traffic towards a more pedestrian-friendly streetscape for New York.

Firm Faces Contemporary Challenge: Restoring Modernism

Event: Restoration of Bauhaus Building
Location: Museum of Modern Art, 07.09.08
Speakers: Winfried Brenne & Franze Jaschke — Partners, Brenne Gesellschaft von Architekten (Berlin)
Moderator: Barry Bergdoll — Philip Johnson Curator of Architecture and Design, Museum of Modern Art
Organizers: The World Monuments Fund with support from Knoll

The external staircase and balcony that wrapped around the ADGB Trade Union School was walled off with concrete under East German rule (left). Brenne Gesellschaft von Architekten restored the original building to appear as intended in 1930.

Courtesy wmf.org

One of the successes of the Bauhaus school was the completion of the ADGB Trade Union School in Bernau, Germany. The building marked commercial and architectural success for the influential functionalist school. Designed by Bauhaus Director Hannes Meyer and architect Hans Wittwer, it became one of the most significant completed Bauhaus projects. Sited near Berlin in the former East Germany, its condition was for many years unknown and its existence almost forgotten by the West.

The 1930 building complex, consisting of administration, classroom, dormitory, refectory, and gymnasium space, was unlike other Bauhaus buildings of the time. Built out of butter-toned brick and stretches of red steel-framed glazing and glass block, it stood apart from the white-walled buildings associated with the Bauhaus style. In the dormitories, walls were color-coded according to floor and building — yellow, green, blue, and red.

When the project to restore the ADGB School began, these details were submerged beneath layers of architectural debris added by two totalitarian regimes. The National Socialist Party and the German Democratic Republic consecutively enclosed the complex’s broad glass walls beneath layers of brick and paint. The school was gradually surrounded with new buildings designed in the modern classical style favored by the itinerant regimes.

Rediscovering the colors locked beneath the additions was key to rehabilitating the school. The partners of Berlin’s Brenne Gesellschaft von Architekten, Winfried Brenne and Franz Jaschke, took an archeological approach to unearthing the hidden layers. Demolishing walls had to be carried out with care as clues constantly emerged about the design philosophy and how the building was originally finished. Sifting through original documentation, they re-oriented the complex to return to its original functional intent.

For the office of Brenne Gesellschaft, confronting a historic puzzle proved to be an ongoing challenge. Many original details featured construction methods and materials no longer available, requiring in-depth research on how to reproduce them. Facing budgetary constraints and constant new discoveries, the architects were continually involved in the process of evaluating information and creating solutions on the fly.

The inaugural World Monuments Fund/Knoll Modernism Prize, awarded for the preservation of modern architecture as part of the Modernism at Risk Initiative, was awarded to the Berlin firm for their work in revitalizing the ADGB School, representing a new focus on the forgotten challenges facing Modern buildings.

Summer Walkabouts

In the last few weeks I was fortunate to get sneak-peaks of two projects. First, the recently opened (and oooh-inspiring) “Madagascar!” habitat. FXFOWLE Architects’ transformation of the Bronx Zoo’s 1903 Heins & LaFarge-designed Lion House into a LEED Gold fantasyland of lemurs, crocks (13 feet!), and oh-so-Art Deco-looking (really!) hissing cockroaches. This should be on everyone’s “must-see” list this summer.

Welcome to “Madagascar!” No kidding about the magic — there’s no visible barrier between humans and lemurs.

Kristen Richards

Sustainable features such as geothermal wells and gray water re-use make this the first NYC landmarked building to achieve LEED Gold.

Kristen Richards

The restored 1963 Paul Rudolph Art & Architecture building and the new Jeffrey Loria Center for the History of Art, Gwathmey Siegel & Associates Architects’ tour-de-force at Yale, is set to open soon. A recent hard-hat tour led by Charles Gwathmey, FAIA, offered a peek at what’s in store.

Abutting Rudolph’s Brutalist concrete and glass, Gwathmey’s contemporary Loria Center clad in limestone, glass, and zinc holds its own very comfortably. Over the years, the Rudolph building had been partitioned into warrens of work spaces; now the light pours in.

Kristen Richards

Stairways have been restored, some floors have been raised, and unobtrusive ramps installed to make all 37 levels in the nine-story building fully accessible; personal experience of the levels: at one point we kept going up and down stairs, but always ended up on the 3rd floor.

Kristen Richards

MoMA is Stuck in Prefab Past

Home Delivery at MoMA.

Jessica Sheridan

As much as I have learned about prefabricated housing, never have I seen a comprehensive overview spanning eras dating back to the early 1900s. The Museum of Modern Art’s Home Delivery: Fabricating the Modern Dwelling exhibition does just that; however, the curators (Barry Bergdoll, the Philip Johnson Chief Curator of Architecture and Design, and Peter Christensen, curatorial assistant in the Department of Architecture and Design) present a one-sided review that seems to discredit contemporary efforts.

MoMA divides the exhibition into five eras broken down into categories relevant to the time periods — from prefabrication and the spirit of invention, through prefabrication and necessity, to postfabrication and the digital era. The exhibition’s strengths are in the survey of Modern architects exploring prefabricated ideas. Included are: a model of Thomas Edison’s Single Pour Concrete House (1906), Le Corbusier’s drawing on trace paper of Maison Dom-Ino (1914), and intricate details of the General Panel System developed by Walter Gropius and Konrad Wachsmann (1942). There is even a full-scale mock-up and images of a series of prefabricated homes exhibited in MoMA’s museum garden in the 1950s, placing MoMA at the center of prefab design.

With such a complete collection of drawings, models, ideas, and mock-ups, I got a real sense of the complex thought that has gone into developing prefabricated housing over the last 100 years. When I approached the contemporary examples, however, the complexity falls short. Full-scale prototypes exhibit how the digital age has influenced design. Wall prototypes made with laser cutters and CNC milling machines inhabit the space leading to the exhibition. In an empty lot down the block, Burst*008, one of five prototypes in the lot, by Jeremy Edmiston and Douglas Gauthier is comprised of laser-cut wood pieces, specified down to holes under the house to store umbrellas. KieranTimberlake Architects designed the Cellophane House, complete with solar strips integrated into the façade. But nowhere do we see the thought process — study models, sketches, ideas. Without this, the prototypes seem almost unplanned, as if the architects plugged a formula into a computer and out came a building.

Even though digital fabrication is interesting, I believe there is so much more that goes into prefab housing today than mass production. The eras represented in the exhibition are coming together to create contemporary prefabrication that exists out of necessity, invention, experimentation, as well as digital design. If MoMA had chosen to include examples of buildings that are built, or at least in planning phases, such as MVRDV’s Silodam in Rotterdam or the 150 Make It Right prototypes being built in New Orleans, the exhibition would have more relevance and urgency needed to put the many current prefab ideas into production.

In this issue:
· Visitors Will Experience Chanel Handbag… from the Inside
· Light Reflects From Tribeca Rooftop
· Canadians Renovate The Garden
· Health Department Breathes New Life into Landmark Quality Buildings
· West Point Salutes New Library and Learning Center
· NJ Students Given Room for their Robots to Compete
· A “Rocky” Start to New Natural History Museum


Visitors Will Experience Chanel Handbag… from the Inside

Zaha Hadid’s rendering of the Mobile Art pavilion to be installed in Central Park’s Rumsey Playfield this fall.

Courtesy CHANEL

Central Park will serve as the sole American venue for Mobile Art, a traveling international exhibition housed in a pavilion designed by London-based Zaha Hadid, Hon. FAIA. Commissioned by CHANEL, and conceived by the company’s designer, Karl Lagerfeld, Mobile Art presents changing installations by contemporary artists from around the world, each of whom has designed a unique piece for the project exploring the convergence of fashion and art. Marking the 50th anniversary of the iconic CHANEL “2.55” stitched-leather handbag designed by Coco Chanel, the handbag was presented to participating artists as jumping off points. Assembled from 700 components, Hadid’s pavilion is designed to appear as an abstracted handbag. According to Hadid, the 20-foot-tall, 95-foot-wide organic form of the building is a torus, a donut-like circular geometry found in nautilus shells. The pavilion’s 2,300 square feet of interior exhibition space wrap a central court illuminated by a translucent plastic skylight. The pavilion will be open and free to the public from 10.20-11.09.08.


Light Reflects From Tribeca Rooftop

Skyloft Penthouse.

Courtesy Stribling & Associates

The Skyloft Penthouse at 145 Hudson Street, crowning a 14-story Art Deco building in Tribeca, is on the market. The circa 1920s former printing factory was redeveloped into a mixed-use commercial and residential condo. The 7,500-square-foot rectilinear duplex is sheathed in glass within a metal framework designed by James Carpenter Design Associates. The northern and southern exposures are composed of vertical glass modules with glass “fins” that redirect and refract light, while the eastern wall has two rows of 10-foot-high high-performance glass panels interspersed with operable windows. In addition, the windows are equipped with a sensor system to automatically close in inclement weather. The four-bedroom residence, with interiors and finishes designed by Rogers Marvel Architects, includes a double-height library/observatory that cantilevers over the spa area with a hot tub and shower.


Canadians Renovate The Garden
Madison Square Garden has selected Ottawa-based Brisbin Brook Beynon as the project architect and Skanska as construction manager for the arena’s $500 million renovation. Using existing space, the project will include: a redesigned Seventh Avenue entrance; more seating with better sightlines; wider and more spacious public concourses; new lighting, sound, and LED video systems in HDTV; 68 new mid-level suites; and 20 new floor-level suites. Construction is slated to begin in Spring 2009. The Garden will continue to operate during the renovation, with no impact on the New York Knicks’ or New York Rangers’ schedules, and should be complete in time for the 2011-2012 sports seasons.


Health Department Breathes New Life into Landmark Quality Buildings
The NYC Department of Design and Construction (DDC) has contracted Swanke Hayden Connell Architects (SHCA) to design the rehabilitation of three health centers located in “landmark quality” buildings run by the NYC Department of Health. The facilities include: the Astoria District Health Center (circa 1935), a Classical Revival building in Queens; Bedford District Health Center (1950), a Modern/Art Deco building in the Bedford-Stuyvesant neighborhood of Brooklyn; and the Fort Green Health Clinic (1938), an Art Deco style building, also in Brooklyn. The scope of the work primarily involves exterior building envelope rehabilitation and ADA-accessibility upgrades. The NYC Public Design Commission (formerly the Art Commission) approved the proposed changes. Construction is under way, with completion slated for October 2008.


West Point Salutes New Library and Learning Center

Jefferson Hall-USMA Library and Learning Center.

Holzman Moss Architecture

This September, West Point will open the new Jefferson Hall-U.S. Military Academy Library and Learning Center, planned and designed by NY-based STV in collaboration with Holzman Moss Architecture for the U.S. Army Corps of Engineers. Sited on the edge of academy’s 70-acre training field and athletic space known as the “Plain” (a historical landmark), the $62-million, 141,000-square-foot building will serve the institution’s 4,400 cadets and faculty. Divided into three masses with step-backs echoing the form of surrounding structures, the six-story granite and glass building keeps with West Point’s Gothic tradition. Two granite-block end towers bookend a full-height curtain wall comprised of blast-resistant glass and pre-cast concrete mullions, framing views of the campus and Hudson River. Additional design elements include amber-colored glass brick to filter light into an archival area, and exposed structural clay tile walls in the entry lobby and collection areas. The building has achieved a bronze rating under the Army’s SPiRiT program — the equivalent of LEED certification.


NJ Students Given Room for their Robots to Compete

Robotics Center.

Terrence O’Neal Architect

Construction is underway on the 6,500-square-foot Robotics Center in the Central Ward in Newark. Designed by Terrence O’Neal Architect and commissioned by Newark Public Schools, the facility will provide a dedicated space for high school students who excel in math and science to design and build robots able to compete in robotics tournaments. The building, which can accommodate 65 students, will include a robotics practice and competition field, computer lab, and machine shops. Completion is slated by September 2009.


A “Rocky” Start to New Natural History Museum

The Utah Museum of Natural History.

© Red Square, inc. for Polshek Partnership Architects, LLP, and GSBS Architects

Ground was broken for the Utah Museum of Natural History at The Rio Tinto Center overlooking the Salt Lake Valley. The new 161,000-square-foot building, designed by NY-based Polshek Partnership Architects with UT-based Gillies Stransky Brems Smith Architects, and exhibitions designed by NY-based Ralph Appelbaum Associates, will double the size of its current facility and allow the display of 1.2 million objects. Conceived as an abstract extension and transformation of the land, the building rests on a series of terraces that lay along the site’s contours. The use of concrete, stone, and copper is intended to illuminate Utah’s geological and mineralogical history. The exhibitions will be organized in a series of eight thematic areas and three embedded learning labs; media is integrated throughout, from reflective sit-down experiences and multi-player interactive installations, to ambient soundscapes. The museum will open to the public in winter 2010-2011 and is anticipated to be certified LEED Gold.

In this issue:
· Passing: Paul S. Byard, FAIA
· Passing: Michael Goldsmith, AIA


Passing: Paul S. Byard, FAIA
Paul S. Byard, FAIA, died on Tuesday 07.15.08. He is remembered as the Director of the Historic Preservation Program at the Columbia Graduate School of Architecture, Planning and Preservation, an adjunct professor for over 30 years, and a partner at Platt, Byard, Dovell & White. Most of all, he is remembered for his enthusiasm for the field of architecture and preservation, and his dedication to his students and colleagues. Please click here to read the New York Times article about his life.

A memorial service at Columbia University is being planned for the fall. In the meantime, send thoughts and condolences to Rosalie Byard at 50 Plaza Street East, Brooklyn, NY 10024.


Passing: Michael Goldsmith, AIA
Ludwig Michael Goldsmith, known as Michael, of Upper Montclair, NJ, died 07.23.08 of complications resulting from open-heart surgery. The 57-year-old architect was the owner of Ludwig Michael Goldsmith, Architects, an award-winning, Manhattan firm he founded in 1991. A registered architect in NY, NJ, and CT, Goldsmith specialized in interior design, architecture, and planning in both the private and public sectors.

Goldsmith earned a Bachelor of Architecture from Cornell University and a Masters in Urban Planning from City College of the City University of New York. He served as an engineering officer in the U.S. Navy for over four years. Throughout his 30-year career, Goldsmith donated countless hours to pro bono projects, giving his time, advice, and professional assistance. Goldsmith’s funeral was held on 07.24.08. Donations can be made to Cornell University, College of Architecture, Art & Planning; Planned Parenthood; and any organization dedicated to fighting AIDS.