03.23.10 Editor’s Note

03.23.10 Editor’s Note: One of the snowiest winters on record has finally come to an end and spring has delivered warmer weather, crocuses, and the 2010 Census. Now that it is spring, it also means that New Practices New York has launched! Check out the New Deadlines section for more information.

Coming up on 04.08.10, OCULUS and e-Oculus are sponsoring a panel on the challenges, opportunities, trends, and technologies of architecture. Organized by IDNY and Designer Pages, join us at Mohawk at 6:30 PM for #FUTURTECTURE. Click the link to RSVP.

– Jessica Sheridan, Assoc. AIA, LEED AP

Note: Be sure to follow Tweets from e-Oculus and the Center for Architecture.

Also, check out the latest Podcasts produced by AIANY. The latest is the Panel Discussion on New Architecture in Historic Neighborhoods, which took place at AIA National on 03.03.10.

Call for Tributes: Norval White, FAIA

The OCULUS Committee and AIA New York Chapter will be hosting a release event for the newest edition of the AIA Guide to New York City on 06.02.10. In memory of author Norval White, FAIA, e-Oculus will be publishing a special tribute issue to coincide with the celebration. We are seeking personal anecdotes, images, and remembrances — any and all are welcome. Please e-mail them to eoculus@aiany.org by Friday, 05.14.10.

Subway Construction Cuts, Covers, Mines its Way Down 2nd Avenue

Event: The Second Avenue Subway: A Twenty-First Century Subway for the City of New York
Location: Center for Architecture, 03.12.10
Speaker: Judith Kunoff, AIA — Chief Architect, NYC Transit Authority
Organizer: AIANY Transportation & Infrastructure Committee


Second Avenue Subway platform.

Courtesy http://www.mta.info/capconstr/sas/

It is 90 years after a commission was formed to determine the feasibility of the Second Avenue Subway (SAS). Now, after a cycle of jump-starts and stalls, the TBM (tunnel boring machine) is slated to connect to the F and Q lines next year, thus paving the way for the completion of Phase 1. While it is understandable that there is a level of skepticism, Judith Kunoff, AIA, chief architect at the NYC Transit Authority, is optimistic that the 2016 deadline will be met and the new T line will soon run from 96th Street to 63rd Street.

The reasons for the delays are as cyclical as the economy. The SAS’s funding has suffered the burden of the Great Depression, WWII, the Korean War, the 1970s oil crisis, and now the latest economic downturn. Not only that, but construction itself has faced its own pitfalls due to unexpected challenges. Two 100-year-old water main feeds at 91st and 95th Streets needed to be replaced; and a Memorandum of Understanding with the NYC Department of Buildings was created to ensure that building owners are taking responsibility for their buildings’ stabilization during tunnel construction.

Nevertheless, construction has begun. Residents and business owners along Second Avenue can attest that rock excavation is well underway at 96th St. Although the “cut and cover” method that is being used is very disruptive to the Upper East Side neighborhood, it is necessary as it will allow for larger maintenance spaces, Kunoff explained. Luckily, this portion of Phase 1 is almost complete. Blasting has just begun at 72nd St. using “mined cavern” construction, which is much less disturbing as most of the work occurs under ground.

The stations themselves incorporate a combination of new sustainability goals (using green specifications) and existing standards for ease of maintenance. For example, there is an attempt to buy locally or within the U.S., the concrete mixture incorporates fly ash, and regenerative breaking is typical. Technologies are used to reduce energy consumption as well, such as heat extraction over the vehicles and air will be tempered with fans at both ends of the platforms. Also, a continuous soffit integrates mechanical, electrical, security, fire alarms, audio, and signage in one.

The design of the stations references the SAS construction. Developed by the NYC Transit Authority with AECOM, the shape of the arched canopies, escalator shafts, and egress passages represent the TBM coming to the surface. The finishes are comprised of porcelain panels and granite tiles, and flat screen panels display advertisements and Arts for Transit.

Ultimately, as has been the case throughout the SAS’s history, major funding is needed to complete the project, stated Kunoff. And while state funding and federal funding have contributed, she hoped aloud that New York State will be in the position to give more funds to help establish a capital program, or at least make a dent in the $1 billion deficit.

Learning from Paul Rudolph: Successes, Failures, & Strategies

Event: At Risk! The John W. Chorley Elementary School, Middletown, NY
Location: Center for Architecture, 03.11.10
Speakers: Carl Abbott, FAIA — Carl Abbott FAIA Architects/Planners; Steven Forman, AIA — Senior Associate, Gwathmey Siegel & Associates Architects
Introduction: Sean Khorsandi — Co-Chair, Paul Rudolph Foundation
Moderator: Fred Bernstein — Architecture Critic
Organizers: Center for Architecture in partnership with the Paul Rudolph Foundation; Preservation League of New York; World Monuments Fund
Sponsors: Modernism at Risk is sponsored by Knoll, Inc.


John W. Chorley Elementary School.

©Andrei Halwell

“While there were several architects in the 1970s known as paper architects, Paul [Rudolph] is becoming one by default as his buildings are being removed,” warned Sean Khorsandi, co-chair of the Paul Rudolph Foundation. Calling attention to one of 13 threatened (or recently demolished) Rudolph projects, the John W. Chorley Elementary School in Middletown, NY, could be razed next year to make way for a parking lot and new school building. To identify preservation strategies, panelists drew on lessons learned from attempts to save other Rudolph buildings, most notably Riverview High School in Sarasota, FL (demolished 2009), and the Yale University Art and Architecture Building (restored in 2009 by Gwathmey Siegel to wide acclaim).

Khorsandi began by describing the architecture of the school: four open-plan classroom zones around a central circulation spine; gently terraced floor levels hug the landscape; and roof trusses and clerestory windows flood the interior with daylight. The open plan makes the school adaptable to almost any use, Khorsandi noted, and needlessly destroying the building would not only erase part of Middletown’s cultural heritage, but entail environmental costs as well.

Carl Abbott, FAIA, of Carl Abbott FAIA + Associate Architect/Planners, who helped lead the attempt to save Riverview High School in Sarasota, FL, showed photographs of Riverview’s deterioration and the alterations that ruined the original architectural concept. These misguided changes — Abbott called them “abortions” — prevented Sarasotans from understanding Riverview’s value, he said: “A big chunk of this is awareness of people realizing the masterpiece that they have in their community.” Though his team solicited support from famous architects, he said this strategy backfired: “The school board people were not looking at name recognition for the building — they wanted us to show them why it was a good building.”

On the positive side, Steven Forman, AIA, a senior associate at Gwathmey Siegel, described his experience as a senior architect restoring the Art and Architecture Building at Yale. Despite abundant technical challenges, the project was a success, he said, “because the money was there, the will was there, the client was there, the construction manager was there. They ‘bought in’ as partners in the whole construction process. In 30 years of building, I’ve never had that experience.”

Abbott simplified the checklist for successful preservation even further: “It’s awareness, it’s time, and it’s money.”

During the Q&A, an audience member pointedly asked whether people even like the Chorley school. Abbott acknowledged that Rudolph could make “demanding” and “intense” architecture, but the question was ultimately put to rest by Fred Isseks, a Middletown high school teacher in attendance: he estimated that 90% of his students love the building. Some of those students were in the audience, and one spoke passionately about her appreciation for the Chorley School.

Positive testimonies such as these, coming from members of the local community, are crucial, said moderator Fred Bernstein. “Buildings will be saved because people come to like them, not because architects say they’re important.”

Getting it Wright: Exhibition, New Restaurant Reinvent the Guggenheim

Event: AIA Member Tour: Contemplating the Void: Interventions in the Guggenheim Museum
Location: Guggenheim Museum, 03.10.10
Speakers: David van der Leer — Assistant Curator for Architecture and Design, Guggenheim Museum; Andre Kikoski, AIA — Principal, Andre Kikoski Architect
Organizer: AIANY


The Wright.

Andre Kikoski Architect

Re-imagining the spaces of the iconic Guggenheim Museum is no easy feat. However, recently AIA members toured an exhibition and the museum’s new restaurant space that accomplish just that. David van der Leer, assistant curator for architecture and design, led a group tour of the exhibition Contemplating the Void: Interventions in the Guggenheim Museum, and architect Andre Kikoski, AIA, principal of Andre Kikoski Architect, discussed his design for The Wright, a sleek dining space that occupies the museum’s former cafeteria.

On view through 04.28.10, Contemplating the Void features renderings by more than 200 international artists, designers, and architects who were asked to imagine their own interventions for the museum’s rotunda. Although the museum has installed many artists’ interventions in the past, this exhibition displays proposals without any intention of execution, freeing the artists from legal and financial constraints. The proposals range in media from detailed digital renderings to delicate hand drawings. The curators chose not to frame the works, so it looks like an “all-star studio pin up,” according to van der Leer.

The proposals are diverse: Snøhetta’s “G-String (The Guggenheim Unraveled)” depicts the unwrapped spiral re-wrapped around the neighboring Upper East Side; Toshiko Mori, FAIA’s “Soft Landing” explores her interest in textiles with nets strung across the rotunda for visitors to climb or fall into. GROUP8 imagined a Swiss chocolate extrusion of the space in its proposal “Tasting the Void,” while Tod Williams Billie Tsien Architects illustrated a giant water column shooting through the space in its work, “1000m3 of water or 2,000,000 lbs.”

Unlike the participants in Contemplating the Void, Kikoski faced many restraints for his design of The Wright, including budget, schedule, and the challenge of creating a space with longevity: the restaurant will be a permanent fixture in the museum rather than a temporary installation. The Guggenheim’s former cafeteria featured dark brown carpet and bright red walls, and visitors could see all the way through to the dishwasher from the front entrance. Kikoski’s team spent time modeling the design on the computer to correct perspectives and “bring movement into a basically square space.”

Kikoski sought to “create a space to complement the museum,” which he accomplished by developing an analogous material palette, including white Corian counters, and referencing the geometry of the iconic building with swooping arcs in the form of the bar and the layered ceiling plane. For his time, Frank Lloyd Wright used daring materials and technologies, Kikoski explained, so he approached the project as he imagined a young Wright would if he were alive today and working as a young architect.

The wall behind the bar appears to shimmer with fiber-optic walnut panels that are backlit with LEDs. Tiered banquette seating upholstered in bright blue and an art installation by artist Liam Gillick inject color into the space. Yellow, orange, red, gray, brown, and beige powder-coated horizontal aluminum bars line the walls and wrap the ceiling. They bridge the building’s distinguishable portholes, but the outlines are still visible: “I didn’t want to erase or celebrate, but leave them as memory,” Kikoski said.

Publication Looks to Locals for a Sense of Place

Event: Book Talk — Place, Race, and Story: Essays on the Past and Future of Historic Preservation
Location: Center for Architecture, 03.09.10
Speakers: Ned Kaufman — Author, Principal, Kaufman Heritage Conservation, Director of Research and Training Programs, Rafael Viñoly Architects, & Adjunct Associate Professor of Historic Preservation, Pratt Institute
Organizers: AIANY Historic Buildings Committee


Courtesy Routledge

One’s sense of place greatly varies depending on their role as either resident or visitor. In his new book, Place, Race and Story: Essays on the Past and Future of Historic Preservation (Routledge, 2009), Ned Kaufman explores these distinctions as well as the architectural and urban elements with which each type of inhabitant identifies. In his professional work and research, Kaufman has come to the conclusion that the iconic places that resonate for residents differ from those identified by outsiders. For instance, a traveler may cite a central bell tower in a city as significant, whereas a resident may refer to a local coffee shop. Professional travelers or visiting historians are interested in evaluations, according to Kaufman, and residents are interested in the experience of their setting. As architects, it is crucial to understand the aspects of a location that may be overlooked or dismissed from an outsider’s perspective.

In his book, Kaufman delves into the traditional role of architects as historians, traveling to undocumented places in the 18th century, and returning with drawings of the urban environment, collections of native items, and stories of encounters. It is in the narratives, memories, and traditions of locals that a city’s true identity resides. Kaufman concludes that the key to capturing the spirit of a place is in intangible heritage and the concept of social value.

The “living history” of a community, as Kaufman calls it, is the story-scape that is crucial to absorb when making an analysis of a society. Harnessing the power of local tradition and knowledge will allow architects to produce inspired acts of documentation, preservation, and revitalization. “If we want to leave places better than how we found them,” Kaufman stated, “…we need to get beyond the traveler’s sense of place.”

AECOM Contemplates Lessons Learned in Three New Books

Event: Book Launch: The Evolution of Design + Planning in the Age of Climate Change
Location: Center for Architecture, 03.18.10
Speakers: Joe Brown, FASLA — Chief Executive, AECOM Planning, Design + Development; Christopher Benosky, PE — Principal/Regional Director of Water and Environmental Services
Organizer/Sponsor: AECOM


Courtesy AECOM

Many firms release monographs that are ideal for coffee tables, but AECOM’s three new books, Climate Design: Design and Planning for the Age of Climate Change, The Bigger Picture, and Asia Beyond Growth, include a broad focus beyond the firm’s work to convey concepts and solutions of interest to all designers, architects, planners, engineers, policy analysts, and academics. Joe Brown, FASLA, chief executive at AECOM and former EDAW chief executive officer and president, explained that these books are evidence of why EDAW chose to merge with AECOM last year: “They are invested in global and intellectual capital.”

In creating Climate Design, AECOM employees collaborated with academics including Peter Droege, professor at the Institute of Architecture and Planning, Hochschule Liechtenstein, an expert in renewable energy and sustainable design, to explore ways that the built environment — urban infrastructure, landscape design, and large-scale development — can adapt to changing climates and prevent further damage. The authors concluded that new technology isn’t necessarily the answer; rather, they promote a return to natural design instead of working against it. As Christopher Benosky, PE, principal and regional director of Water and Environmental Services, explained, this book doesn’t give specifics on the evidence of climate change, but offers a new way of thinking. For example, designers face the challenge of integrating buildings and cities with rivers and wetlands. “What if we look at cities as watersheds” by designing low impact developments, Benosky proposed.

The Bigger Picture celebrates AECOM’s many projects around the world, but also acknowledges where they have failed: the middle ground that lies between mega-projects such as the Saadiyat Island Cultural District, an entire new city complete with a Guggenheim Museum, to smaller designs for children’s gardens and the regeneration of Manchester city center. This book, written by Fay Sweet and designed by Pentagram, bridges between the practices of EDAW and AECOM, and documents projects from the research stage through concept, planning, and construction. Firms of any size can benefit from the lessons AECOM learned while executing these diverse works.

The “visual cacophony of Asia with numbers and facts to go along with it” describes Asia Beyond Growth, stated Brown. Packed with photos, statistics, and graphs, the volume shows that Asia is home to the world’s largest and fastest growing cities, and AECOM has completed many projects there. Not a monograph, this book is, instead, a compendium of knowledge gathered throughout these projects. Asia Beyond Growth may offer interesting information, but it fails to offer a remedy for growing pains.

New Code Could Build Green Future

Since the USGBC established LEED, professionals have discussed its obsolescence as new standards develop and sustainability is incorporated into building standards. Perhaps that time is near with the new International Green Construction Code (IGCC), now available for review. As I have begun to peruse its contents, I am pleased to see that the complete draft of the code is conceived of holistically. It is a positive step in the evolution of building codes to establish green standards that move beyond LEED and recognize in depth the complexities of the built environment.

Developed by a Sustainable Building Technology Committee (SBTC), established last June by the AIA, International Code Council, and ASTM International, it is clear that the IGCC was developed by professionals in the fields of architecture, engineering, urban planning, and related governing agencies nationwide for the professionals working in those industries. The chapters are organized in categories similar to LEED, such as Site Development and Land Use (Chapter 4) or Indoor Environmental Quality and Comfort (Chapter 8), but the contents relate directly to current building codes. Eventually, if and when the IGCC is incorporated into the International Building Code or Model Code, the transition will be straightforward.

The IGCC is much more specific than LEED when outlining requirements for a building, as they are related to location, type, occupation, and/or site conditions — similar to building codes. For example, there is a table in Chapter 4, Section 403: Transportation Impact, that defines the number of bicycle parking spaces based on occupancy (related to the Model Code) and use. Movie theaters in A-1 Occupancy require one short-term space per 50 seats, but no less than four spaces, and one long-term space per 50 employees, but no less than two spaces. Schools on the other hand, in E Occupancy, require one long-term space per 10 students and do not require any short-term spaces.

The public comment period for this draft of the IGCC is open until 05.14.10, after which there will be an internal review period, a code development hearing, and a revised draft issued on 08.14.10. The cycle will repeat and continue through November 2011, and hopefully the IGCC will be adopted at the beginning of 2012. I encourage everyone to take a look and participate in the discussion, as this code could significantly impact the future of the built environment at a global scale.

In this issue:

· Moynihan Station Gets Green Light for Phase 1
· Neo-Moorish Mecca for Performing Arts Gets Modernized
· MLB Slides into New Home Base
· Grand Canal Theatre Debuts in Dublin
· Diagonal Mesh Bridges Past and Future
· Extreme Eco

Moynihan Station Gets Green Light for Phase 1


Farley Post Office.


Skidmore, Owings & Merrill (SOM) has been given the green light by the Moynihan Station Development Corporation to start design work on Phase 1 of the transformation of the McKim, Mead & White-designed Farley Post Office into a new Moynihan Station. The initial phase is limited to underground infrastructure and platform expansion, thanks in part to an $83.3 million federal stimulus grant announced in February. The scope of work includes constructing two new entrances to Penn Station through the corners of the Farley Post Office Building. It will double the length and width of the West End Concourse, provide 13 new vertical access points to the platforms, and double the width of the 33rd Street Connector between Penn Station and the West End Concourse. Other critical infrastructure improvements include platform ventilation and catenary work. The late Senator Daniel Patrick Moynihan began advocating for the Penn Station expansion in the early 1990s. SOM has been involved almost as long, designing variations of the train hall in 2001 and again in 2007.

Neo-Moorish Mecca for Performing Arts Gets Modernized


View of Proposed 55th St Marquee.

Polshek Partnership Architects

New York City Center has unveiled plans by Polshek Partnership Architects to modernize the organization’s neo-Moorish Midtown building, a 1923 NYC landmark. Pending NYC Landmarks Preservation Commission approval, a new exterior canopy with lighting and signage on the façade is intended to create more street visibly and dramatically define the building within its urban context. The original box office and mezzanine lobbies will be faithfully restored and several new spaces will be introduced, including an expanded and redesigned street level lobby and patrons’ lounge that capitalizes on an existing alley space. The re-sloping of the auditorium floors will improve sightlines, and the reconfiguration and resizing of theater seating will improve comfort and accessibility. The renovation respects the original theater’s design motifs and the new design insertions are a result of a careful study and reinterpretation of the underlying geometric Islamic motifs. The performing arts complex contains a main stage, two smaller theaters, four studios, and 12-story office tower. The grand re-opening of the complex will take place in October 2011.

MLB Slides into New Home Base


MLB Midtown headquarters.

Paul Warchol

Butler Rogers Baskett in collaboration with C&G Partners has completed the redesign of Major League Baseball’s Midtown headquarters. The project includes a new 24,000-square-foot executive conference center; a 1,500-square-foot sub-dividable multi-purpose room with advanced audio-visual and teleconferencing capabilities; and eight meeting rooms. Multiple references to baseball — its history and the experience of being at a game — are part of the design. Carpet-and-terrazzo flooring reference a grass and dirt baseball diamond; conference tables are made from ash, the favored wood for baseball bats; and baseball headlines appear on LED tickers throughout the facility. A glass screen depicting a monumental Jackie Robinson stealing home in the first game of the 1955 World Series defines the lounge/breakout area.

Grand Canal Theatre Debuts in Dublin


Grand Canal Theatre.

©Ros Kavanagh

Designed by Studio Daniel Libeskind (SDL), the 2,000-seat Grand Canal Theatre in Dublin recently celebrated its grand opening. Located in the city’s Dockland’s section, the theater is sited prominently at the head of Grand Canal Dock in a large public piazza that has a five star hotel and residences on one side and an office building on the other. The concept for the angular glass-and-steel building is based on stages — the stage of the theater, the piazza, and the multiple-level lobby above the piazza. The theater becomes the main façade of the piazza, which will also serve as a stage for civic gatherings and as a grand outdoor lobby for the theater. SDL is also designing two galleria buildings for retail and commercial office space with courtyards that comprise the Grand Canal Square Theatre and Commercial Development project, expected to be complete in 2011.

Diagonal Mesh Bridges Past and Future


TGV railway tracks, La Roche-sur-Yon, France.

©Christian Richters

A new 67-meter footbridge designed by Bernard Tschumi Architects and Paris-based Hugh Dutton Associates was recently opened above high-speed TGV railway tracks in La Roche-sur-Yon, France. The diagonal mesh design is reminiscent of the circa 1890s bridge it replaced, but in a tubular form to create a cylindrical volume through which pedestrians pass. The basic design objective was to find a geometric composition that expresses the natural passage of forces. The volume provides a single solution that both spans between the available support points and provides structure for the required protective screens and canopy cover. The bridge design is an homage to the city’s native son Robert Le Ricolais, an innovator in architectural and engineering design known for research in the development of three-dimensional structures.

Extreme Eco


Ecorium Project.

Grimshaw Architects

Following a concept design competition, The Ministry of Environment in South Korea selected Grimshaw Architects, in association Seoul-based Samoo Architects & Engineers, to realize their scheme for the “Ecorium Project,” a 33,000-square-meter nature reserve and educational center. The proposal features arched biome enclosures optimized to maintain tropical plants during the winter by capturing as much low-angle sunlight as possible. A cable-supported glass envelope is suspended from parabolic steel compression arches, and the structures mimic a meandering river. Visitors will move through exhibitions, a 3-D theater, and restaurants, and re-emerge by way of a rooftop garden. The building and outdoor eco-park is intended to showcase global climate change and its impacts on ecosystems.

In this issue:
· Renew or Miss Out!
· AIANY Launches New Practices New York 2010
· AIA Calls on Architects to Review International Green Construction Code (IGCC)
· AIA Seeks Architects for TV Feature on Kitchens & Baths
· IES Training Comes to the Center for Architecture
· Passing: Der Scutt, 1934-2010

Renew or Miss Out!
Associate, Architect, and International Associate members: don’t forget to renew your membership by 03.31.10. If you don’t want to miss any issues of Architectural Record, recording of CES credits on your transcript, member rates for programs, and other member benefits, act now. Visit www.aia.org/renew to renew today.

AIANY Launches New Practices New York 2010
The 2010 New Practices New York competition is underway! Tuesday, 03.30.10, the Center for Architecture will host an information session with New Practices Committee Co-chairs Matthew Bremer, AIA, and Marc Clemenceau Bailly, AIA, and 2008 winner Sandra Wheeler of Matter Practice. Entrants’ $100 registration fee is due by 04.23.10, but registration will be open until the end of April ($50 late fee between 04.23.10 and 04.30.10). New Practices are defined as architecture and design firms that were founded after 01.01.04, and firms must be located in NYC. Visit aiany.org/newpractices for more details.

AIA Calls on Architects to Review International Green Construction Code (IGCC)
Last June, AIA, the International Code Council, and ASTM International unveiled the Sustainable Building Technology Committee (SBTC). The SBTC was tasked with creating a new construction code for the future of green building.

The International Green Construction Code (IGCC), as it has developed, is now complete in draft form. AIA’s role in the development of this document ensured that architects had a say in what, and how, future buildings are designed. Last week, AIA President George Miller, FAIA, called on members to further influence this important document by weighing in on the draft. AIA has set up a website to read, review, and comment on the first public version. Subsequent drafts will also be available at this site.

AIA Seeks Architects for TV Feature on Kitchens & Baths
Every quarter, AIA issues a Home Design Trend Survey, based on the work of 500 architecture firms that concentrate on the residential sector. The last report, issued 03.09.10, showed that kitchen and bathroom designs were more modest than before. However, according to AIA Chief Economist Kermit Baker, Ph.D., Hon. AIA, because “kitchens remain the nerve center of the home, doing more with less space is a key consideration. Integrating kitchens with family space remains a design priority, as does including areas devoted to recycling, pantries, computer workstations, and spaces devoted to recharging laptops, cell phones, and PDAs.” AIA National’s media relations team is looking for architect members in the tri-state area that have recently completed kitchen or bath projects that reflect these trends, for possible inclusion in a CNBC television feature. If you are interested, contact Scott Frank, sfrank@aia.org

IES Training Comes to the Center for Architecture
Integrated Environmental Solutions (IES), a provider of integrated performance analysis software and consulting services for sustainable building design, will be hosting training courses at the Center for Architecture starting in April. These courses will be held over two days, 04.07-08.10, and will focus on BIM and performance analysis, utilizing IES’s Virtual Environment software.

Attendees can earn up to 12 Learning Units (LU), of which 9 also qualify for Health, Safety and/or Welfare (HSW) and Sustainable Development (SD) credits. The sessions cover a number of workflows that can be used to move from BIM to Performance Analysis, using Revit and/or SketchUp, and to analyze energy consumption, daylighting, and LEED assessment for select credits. For additional information, visit www.iesve.com.

Passing: Der Scutt, 1934-2010


Trump Tower, designed by Der Scutt, FAIA.

Norman McGrath

It is with sadness that the family of Der Scutt, FAIA, shares the news of the architect’s death on Sunday, 03.14.10. Scutt, born in Reading, PA, on 10.17.34, attended Wyomissing Polytechnic before attending Penn State and subsequently Yale University at the encouragement of Philip Johnson.

Following Yale, he spent three years running Paul Rudolph’s office in New Haven before joining Kahn & Jacobs in 1965, where he was the principle architect for One Astor Plaza in NYC. Scutt later joined Swanke Hayden Connell Architects, where he was the partner in charge of design from 1976 to 1981, leading NY projects including Trump Tower, 520 Madison Avenue, Continental Insurance Corporation Headquarters, and Northwest Mutual Life Insurance Company Headquarters in Milwaukee. He was the design consultant for the Grand Hyatt Hotel in NYC, at which time he formed a relationship with developer Donald Trump.

“My father was absolutely a developer’s architect and he prided himself on respecting the wishes and goals of the owner while injecting his own style and design expertise,” says Hagen Scutt, AIA, senior architect for Der Scutt Architect.

Scutt established his own firm in August 1981 and was awarded a number of commissions, including the 55-story United Nations Plaza Tower luxury condominium, the 57-story Corinthian luxury condominium, The Hong Kong and Shanghai Banking Corporation United States Headquarters in NYC, and the Roure Bertrand Dupont United States Headquarters in NJ. He later became known for his major high-rise office building renovations, including 505 Park Avenue, 625 Madison Avenue, 575 Lexington Avenue, 1633 Broadway, 57 West 57th Street, 823 United Nations Plaza, 555 Fifth Avenue, and the World Corporate Headquarters of International Flavors and Fragrances.

Scutt died at his home in Manhattan at the age of 75. He is survived by his wife of 43 years, Leena Liukkonen Scutt, his son and colleague, Hagen Scutt, his daughter, Kirsti Scutt Edwards, and four grandchildren. Der Scutt Architect will continue operation under the leadership of Hagen Scutt.