02.01.12: A celebration was held to honor the hard work and effort of the students of studioENYA for the fall ideas competition The Harlem Edge | Cultivating Connections. This mentoring and networking event featured the display of competition entries and presentations from select student group finalists.

tHSwinnersjury.jpg

(L-R): Arthur Platt, Ruben Ramales, Tim Hayduk, Nafiul Prodhan, Arturo Torres, Zaki Abdelrahman, Armani Valdez, Georgiana Haynes, Siena Shaw, Amanda Rivera, and Venesa Alicea, AIA

Courtesy Center for Architecture

(L-R): Amanda Rivera, Tim Hayduk, Venesa Alicea, AIA, Fahima Jahan, Aleksander Popovic, Carlos Carino, Arturo Torres, Naiful Prodhan, Zaki Abdelrahman, Armani Valdez, Georgiana Haynes Siena Shaw, Arthur Platt, and Ruben Ramales

Courtesy Center for Architecture

02.16.12: Architect magazine celebrated the 59th Annual Progressive Architecture Awards with the winners, jurors, and a few good friends at The Modern.

(L-R): Sara Hart, journalist; Architect magazine’s Senior Editor Katie Gerfen and Editor-in-Chief Ned Cramer; former AIA National and AIANY President George Miller, FAIA, Pei Cobb Freed & Partners; and John Morris Dixon, FAIA, former Editor-in-Chief of P/A Magazine and Oculus contributing editor.

Kristen Richards

Georgeen Theodore (left) and Tobias Amborst (right), co-founders of 2006 New York New Practices winner Interboro Partners, with Cristobal Correa, Associate Director at Buro Happold.

Kristen Richards

02.16.12: “RE: Think | Smart Environments” at the Center for Architecture convened a panel of interactive designers and architects to discuss the role of digital media in spatial design.

Michael Szivos, Director, Softlab

Courtesy Center for Architecture

Phillip Tiongson, Potion

Courtesy Center for Architecture

02.17.12: “Climate Change: Inevitable Changes and Potential Opportunities” at the Center for Architecture, organized by the Design for Risk and Recovery Committee, invited David Dixon, FAIA, to discuss possible urban responses to climate change.

David Dixon, FAIA, Director of Urban Design, Goody Clancy

Courtesy Center for Architecture

02.22.12: The Center for Architecture welcomed 500 guests for the opening of “CHANGE: Architecture and Engineering in the Middle East, 2000-Present” and “City of Mirages: Baghdad, 1952-1982.”

“City of Mirages” includes a site model of the entire city of Baghdad built by students at the University of Baghdad.

Sam Lahoz

The evening featured music by Salaam (shown) and Heather Raffo, poet and actress.

Sam Lahoz

A model of a tower for the University of Baghdad, now the tallest building in the city, by Gropius and The Architects’ Collaborative.

Sam Lahoz

(L-R) AIANY Managing Director Cynthia Kracauer, AIA; AIANY Executive Director Rick Bell, FAIA; AIANY President Joseph J. Aliotta, AIA, LEED AP; Pedro Azara, curator of “City of Mirages.”

Sam Lahoz

02.24.12: The Iraq Film Series at the Center for Architecture kicked off with the film About Baghdad (2004). The film was followed by a discussion between director Sinan Altoon and Pedro Azara, curator of “City of Mirages: Baghdad, 1952-1982.”

Pedro Azara in discussion with Sinan Antoon, poet and director of About Baghdad.

Courtesy Center for Architecture

02.25.12: openhousenewyork (ohny.org) held the first of a new series called ‘openstudios’ in DUMBO, organized in collaboration with The Architect’s Newspaper, Two Trees Development, and the DUMBO Improvement District. More than twenty-five established and emerging architecture and design firms opened their studios to discuss their practices.

(L-R): Manifold Architecture Studio co-founders and principals Phillip von Dalwig and Kit von Dalwig, AIA, with Chris Leong, Assoc. AIA, partner Leong Leong

Eric Ball

(L-R): Principles of Bade Stageberg Cox, Martin Cox, AIA, Tim Bade and Jane Stageberg

Linda G. Miller

Tim Bade (Bade Stageberg Cox), Alfred Zollinger (Matter
Architecture Practice) and James Garrison (Garrison Architects)

Linda G. Miller

02.25.12: “Change in the Middle East: Preserving the Past, Inventing the Future” brought together architects and heritage experts to discuss the balance between conservation and change in the region.

AIANY President-elect Jill Lerner, FAIA, welcomes guests to the symposium.

Courtesy the Center for Architecture

(L-R): Pedro Azara, curator of “City of Mirages: Baghdad, 1952-1982;” Yiannis Avramides, Program Assistant, World Monuments Fund; Khaldun Bshara, Acting Executive Director, Riwaq; Dr. Suad Amiry, Founder, Riwaq; Michael Luongo, journalist (moderator, at podium).

Courtesy the Center for Architecture

Mohamed Al Assam, Chairman/Managing Director, Dewan Architects and Engineers, showing a photo of Frank Lloyd Wright visiting Baghdad.

Courtesy the Center for Architecture

An Inside View of Miami's New Form-based Code

Rendering of a Miami street

City of Miami Planning Department

Event: Miami21 New Zoning: New Lessons for New York?
Speakers: Elizabeth Plater-Zyberk, FAIA, principal, Duany Plater-Zyberk (DPZ); Jerilyn Perine, executive director, Citizens Housing & Planning Council (respondent); Michael Kwartler, FAIA, planning & zoning consultant, Michael Kwartler & Associates (respondent); Ray Gastil, AICP, GastilWorks, former Planning Director, Seattle/Borough of Manhattan (respondent); Ernie Hutton, FAICP, Assoc. AIA, Hutton Associates (moderator); John Massengale, AIA, chair, Congress for the New Urbanism (CNU) New York (introduction)
Organizers: AIANY Planning and Urban Design Committee, CNU New York, CHPC, and NY Metro Chapter APA
Location: Center for Architecture, 02.09.2012

Elizabeth Plater-Zyberk, FAIA, and Andrés Duany, FAIA, have long maintained that American cities bear the environmental, economic, and social burdens of sprawl not because people prefer it, but because conventional zoning requires it. The historical need to separate noxious industries from residences hardened into legal mandates for single-use districts, locking in various unintended consequences (in particular, exaggerated automobile dependence) and making a common-sense remedy, the revival of mixed-use urbanity, illegal to build. Rewrite the codes, say CNU and smart-growth spokespersons, so that planners and architects are free to respond to environmental logic and latent popular demand, and it will improve walkability, local commerce, transportation, and the quality of urban life.

Years of patient planning as well as persuasion have paid off. Miami is the nation’s first major city to adopt a form-based zoning code, addressing the forms and scales of public space, not buildings’ private uses. In a comprehensive effort under former mayor Manny Diaz between 2005 and 2009, a team led by DPZ adapted the CNU’s transect system into a new regulatory framework. Plater-Zyberk’s detailed presentation explained how the new code applies the principles of staged transitions and orderly density management to the specific conditions of Miami, a city of “corridors becoming nodes at intersections” and diverse, if underused, transit options. Miami’s future growth will concentrate at those nodes, Plater-Zyberk expects, and its neighborhoods will gain coherence as well as the vibrancy of mixed uses.

Miami21 is not a tweak of the prior code—“a palimpsest of reactions to undesirable conditions, accumulated over many years,” as Plater-Zyberk described it—but a whole new framework affecting siting, configurations, density, landscaping, parking, and relations between private property and the public realm. Inevitably, its development involved political negotiations. Plater-Zyberk has heard form-based codes assailed variously as “a provincial uprising to constrain architectural creativity” and as “a liberal conspiracy to abrogate property rights and force the demise of the automobile industry,” to cite two common charges. Every form-based code differs, accounting for community preferences and voter blocs; the Miami21 team went through exhaustive hearings to make the process rational and participatory, she noted, enumerating tangible victories while acknowledging certain failures. Summarizing extensive technical material while recognizing that the audience may have heard misinformation about form-based codes, she commented, “There’s nothing to fear here.”

The code, which took effect in 2010, reduces McMansion-construction incentives, parking requirements, and the overall area of impermeable pavement, while restoring urban features such as sidewalks and outbuildings. It regularizes successions between transects: if a developer wants a tall (T6-scale) tower in or near a low-rise T3 area, the intermediate T4 and T5 levels must also be included, removing jarring adjacencies and respecting small homeowners’ interests. It also simplifies a bewildering list of functional categories and measures building height in stories, not feet, aiding design flexibility. Replacing floor-area ratio (FAR) calculations with floor-lot ratios (FLR), which include parking area as well as habitable floor space, creates incentives to reduce parking loads and gain rentable or salable space. Added capacity in higher-density zones is exchanged for community benefits, particularly affordable housing.

New York City’s many ties to Florida include historic experiments in smart growth: the first two form-based codes adopted in the U.S., noted local CNU chair John Massengale, AIA, were at Seaside and Battery Park City. Panelists and audience questioners explored the implications of Miami21 for New York and other cities: while avoiding the temptation to view form-based codes as a one-size-fits-all panacea, many were heartened by Miami’s demonstration that entropy, paralysis, and piecemeal incrementalism are not inevitable. “The biggest lesson from Miami,” commented the Citizens Housing & Planning Council’s Jerilyn Perine, “is, they did something! They changed something! … In reading the code, it’s almost lyrical. You could actually read it and understand it; it was really refreshing.” This sense of accessibility may foster the code’s most lasting effects: transforming a culture that has grown too accustomed to a disjuncture between regulatory structures and the values underlying thoughtful planning.

Bill Millard is a freelance writer and editor whose work has appeared in OCULUS, Icon, Content, The Architect’s Newspaper, and other publications.

Architecture on Screen

Event: Architecture On Screen: Selections From the 2011 Montreal International Festival of Films on Art (FIFA)
Location: Center for Architecture, 02.03.2012-02.04.2012
Speakers: Ambassador Jarl Frijs-Madsen, Consul General of Denmark (introduction to A City Hall for All Occasions); Alexia Lalli, Director, Grand Central Terminal Centennial (introduction to Antwerp Central Station); Rick Bell, FAIA, Executive Director, American Institute of Architects New York Chapter (introduction to Le Corbusier’s Cabin); Thomas Fridstein, FAIA, RIBA, LEED AP (introduction to Make No Little Plans: Daniel Burnham & the American City); Kenneth Frampton, Associate AIA, Ware Professor of Architecture, Columbia University Graduate School of Architecture, Planning and Preservation (introduction to Nakagin Capsule Tower: Japanese Metabolist Landmark on the Edge of Destruction); Q&A with directors Judith McBrien (Make No Little Plans: Daniel Burnham and the American City), Rima Yamazaki (Nakagin Capsule Tower: Japanese Metabolist Landmark on the Edge of Destruction), and Kerstin Stutterheim (Bauhaus: Model and Myth)
Organizers: CFA, FIFA (Festival International Du Film Sur L’Art), Muse Film and Television
Sponsors: Consulate General of Denmark in New York (reception for A City Hall for All Occasions)

The remarkable potential for cooperation between architecture and film was on display last weekend as the Center for Architecture held its third annual presentation of “Architecture on Screen.” The two-day festival showcased selections from Montreal’s Festival International du Film sur l’Art and highlighted a thoughtful array of ideas from the history of 19th- and 20th-century architecture and urbanism.

According to the Center’s director Rick Bell, FAIA, the films featured in “Architecture on Screen” are explicitly international in origin, recognizing the diversity of backgrounds in New York’s architecture community. The insight that such cultural exchanges offer was immediately obvious in Finnish director Rax Rinnekangas’ Le Corbusier’s Cabin, which portrays a sun-tanned, bohemian version of Corbu in his summer home on the Côte d’Azur—a man practically unrecognizable from his image in New York as the imperious architect of the United Nations.

The relevance of the architect’s life story is indeed a critical issue for films of this sort. The most interesting of the group deftly treated personal histories without reverting to clichéd narrative arcs. A City Hall for All Occasions tells the story of Copenhagen’s monumental civic building not only through the struggles of its architect, Martin Nyrop (1849-1921), but also through interviews with its present-day employees and caretakers, many of whom expressed deep affection for the building. In Rima Yamazaki’s Nakagin Capsule Tower: Japanese Metabolist Landmark On The Edge Of Destruction, we come to understand the story of Kisho Kurokawa’s aging masterpiece through the lives that animate the decaying icon. In interviews with both experts and the building’s residents, a crucial debate plays out through the personalities of those involved, describing the inherent paradox of preserving one of the few built works of the Metabolists, a group that sought to incorporate change and dynamic lifecycles into their designs.

In the Q&A that followed, audience members asked Yamazaki to shed some light on the quandaries of architectural preservation posed in the film, to which she simply replied, “Sorry, I’m a filmmaker.” Film’s great contribution to architecture is not to answer the tough questions, but to more clearly articulate what those questions are, and what are the stakes in their resolution. Perhaps even more importantly, film communicates questions about the built environment to non-architects, who may not design buildings they inhabit, but who experience architecture no less directly.

Simon Battisti is a designer at 2×4 Inc., in New York City.

In Search of Public Space

Zuccotti Park in October, 2011

Wendi Anabell Photo / Creative Commons

Event: Freedom of Assembly: Public Space Today Redux
Location:
Rick Bell, FAIA, Executive Director, AIANY (introduction); Lance Jay Brown, FAIA, ACSA, Distinguished Professor in the Bernard and Anne Spitzer School of Architecture at The City College of New York (moderator); Thomas Balsley, FASLA, Principal, Thomas Balsley Associates; Marshall Berman, Distinguished Professor, Political Science, Division of Social Science, The City College of New York; Paul Broches, FAIA, Partner, Mitchell/Giurgola Architects; Susan Chin, FAIA, Executive Director, Design Trust for Public Space; Jeffrey Hou, Associate Professor, Chair, Landscape Architecture, University of Washington; Jerold Kayden, Frank Backus Williams Professor of Urban Planning and Design, GSD; Jonathan Marvel, FAIA, Rogers Marvel Architects; Paula Z. Segal, law graduate, #whOWNSpace collaborator, founder of 596acres.org; Ron Shiffman, FAICP, Professor, Pratt Graduate Center for Planning and the Environment (closing remarks); Lynne Elizabeth, Director, New Village Press (closing remarks)
Organizers:
Center for Architecture, City College of New York School of Architecture, and Pratt Graduate Center for Planning and the Environment.
Location:
Center for Architecture, 02.04.12

From the Arab Spring to the Spanish indignados and the Greek anti-austerity protests, the past year saw a number of social movements take to the streets (and plazas, parks, and squares). Closer to home, Occupy Wall Street tested the limits of the right to freely and peacefully assemble, and launched Zuccotti Park to the forefront of a debate, in New York and around the world, on the importance of public spaces in the political life of cities.

Prompted by the protests, a recent discussion hosted by the Center posed a series of questions: Where is public space in New York today? What is public space, and what makes it feel public? Can it be designed, or only enacted? How do laws and regulations expand or limit “public-ness,” and how can citizens use these laws to exercise their rights? Continuing the conversation from an earlier panel at the Center, the event brought together architects, landscape architects, political philosophers, and activists to discuss public space and the role of design in democratic society.

Thomas Balsley, FASLA, landscape architect of many New York POPSs (Privately-Owned Public Spaces), asked why New York, unlike most great cities, has no civic arena where large numbers of people can congregate for protest and public discussion, and called on designers to “wade into the morass” of complex stakeholder interests and political intrigues in order to ensure the success of urban public spaces.

The messiness of public spaces, and the conflicts and politics surrounding them, was a theme taken up by several of the speakers. Political philosopher Marshall Berman spoke about the “sloppiness” of the Athenian agora—the cacophony of its street vendors, poets, politicians, and musicians—and how its disorder was perhaps democratic, in that it allowed for a greater freedom of expression, and more vital encounters, than the orderly, planned civic spaces of other Greek cities. Berman noted that the qualities of the Athenian agora happened by accident rather than being designed.

Similarly, several speakers pointed to the difference between public spaces that are officially sanctioned and designed and those that are created by collective actions, such as the occupation of Zuccotti Park. Jeffrey Hou made the distinction between “institutional” public spaces—those that are officially recognized and legally protected—and “insurgent” public spaces created by groups of ordinary citizens appropriating a site, often without the permission of the authorities. Jerold Kayden suggested there was an inherent contradiction in designing spaces for political protest, in that to designate an area for political demonstrations absorbs the subversive act of protest. “One could even make the argument that the more a space is designed to repel public use, the better the opportunity for protest at that space,” Kayden suggested.

Indeed, one of the virtues of the Occupy movement has been to target sites that, in the act of occupation, reveal the ironies of contemporary public space. Zuccotti Park, a POPS owned by Brookfield Properties, became (for some) a symbol of the erosion of a truly public domain through public-private partnerships and real estate interests. In that sense, its choice as a site of protest could not have been better. At the same time, its legal status as a POPS enabled a form of protest that a publicly-owned park would not, thanks to zoning laws that require POPSs to remain open 24 hours a day, despite being private property. The ambiguous “public-ness” of Zuccotti demonstrated an axiom of public space: like the agora, public space exists where people enact it, where they create a public sphere. Public space can be designed, but it must also happen, and when it does, it’s often messy.

Benedict Clouette is a writer and editor whose work has appeared in Domus, Volume Magazine, and DAMn. He is the incoming editor of e-Oculus.

The Proof is in the Measurement: Making Your Marketing Count

Event: Measuring your Marketing and Business Development ROI
Location: Center for Architecture, 02.09.12
Speakers: Sally Handley, FSMPS, President, Sally Handley, Inc.
Organizer: AIA NY Marketing & PR Committee

In her book, Marketing Metrics De-mystified: Methods for Measuring ROI and Evaluating Your Marketing Effort, expert consultant Sally Handley, FSMPS, opines: “Marketers in professional service industries lag behind our corporate counterparts in the ability to definitively measure the return on our marketing investment…(and) need to demonstrate the link between revenue generated and the marketing dollars spent in order to justify their budgets and demonstrate that they are integral to the firm’s success.” Furthermore, partners and principals need to invest their marketing dollars in marketing initiatives that yield results.

Turns out, most AEC practices are not heeding Sally’s advice. In a survey she conducted of 180 firms, only 38% of those polled were using metrics to calculate the return on investment of their marketing efforts. Of those that were measuring, the most popular metrics used included tracking competitive proposal hit rates (a ratio of successful proposals versus the total number generated) and all jobs won. Firms that are not measuring their efforts pointed to lack of time, inability to acquire the necessary information from unmotivated staff, and a belief that business development outcomes could not be directly attributed to marketing efforts. The egregious culprit, however, may be the fact that 93% of firms surveyed did not have a line item in their budgets for ROI measurement.

Handley’s approach to measuring and evaluating marketing efforts includes quantitative metrics as well as assessing qualitative results. Her “marketing dashboard” includes leads and prospects, communications and public relations, firm identity, proposal and presentation efforts, jobs won, and client satisfaction. As a marketing professional, understanding your firm’s financial goals is crucial. Calculating a marketing recovery factor, which compares the contract value of a project to the marketing revenue spent during the pursuit of that project, is one way to measure efforts by company division, market sector, and client. Handley also advises firms to establish separate marketing budgets for distinct market sectors. By using this method, firms that are trying into break into new market sectors can assess their efforts fairly, as new sectors may not have a strong ROI initially.

Qualitative assessment includes strategically identifying the most appropriate clients as well as projects to pursue. Focusing on retaining key clients and garnering repeat work from them will yield a more effective marketing program. Handley warns against the “more is more” approach to proposals and instead recommends funneling strategic and robust efforts toward fewer goals to produce higher quality work and increase chances of success.

Handley’s key to marketing metrics is goal setting—for example, the number of new client meetings sought or hits to a firm’s website—to assess effectiveness. “The numbers don’t lie,” says Handley, and by starting small and simple in your measurement, even the most daunted marketing professionals can begin to churn out ROI metrics that are bound to get attention.

Jacqueline Pezzillo, Assoc. AIA, LEED AP, is a regular contributor to e-Oculus and Oculus as well as a marketing and public relations professional. You can find her at the non-profit, Room to Read.

In this issue:
· Warm Up With Wendy This Summer at P.S.1
· The Metropolitan Museum of Art Embarks on a Major Plaza Redesign
· Construction in Abu Dhabi Heats Up
· Going to the Chapel in the Philippines
· Reflecting Luxury Residential
· Reclaimed Timber Strikes BIG with Jury


Warm Up With Wendy This Summer at P.S.1

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Rendering of “Wendy”

HollwichKushner

MoMA/P.S.1 in Long Island City has selected HollwichKushner’s (HWKN) project “Wendy” as the winner of the 2012 Young Architects Program (YAP). As in years past, the design will serve as a temporary urban landscape for the Warm Up summer music series held in the museum’s outdoor courtyards. Designed as an experiment that tests how far the boundaries of architecture can expand to create ecological and social effects, the project is composed of nylon fabric treated with a titania nanoparticle spray that neutralizes airborne pollutants, and is said to clean the air to an equivalent of taking 260 cars off the road. The project features a scaffold deployed to create a 70′-by-70′-by-45′ volume that bridges over walls into the large and small courtyards. Its spike-like nylon arms reach out with micro-programs such as blasts of cool air, music, water cannons, and mists to create social zones throughout the courtyard. The other finalists for this year’s YAP are Paris- and New Orleans-based AEDS|Ammar Eloueini Digit-all Studio; Cambridge, MA-based Cameron Wu; Ibañez Kim Studio, also based in Cambridge; and Chicago-based UrbanLab. An exhibition of the five finalists’ proposed projects will be on view at MoMA over the summer. This year marks the 15th summer that MoMA/P.S.1 has hosted a combined architectural installation and music series in its outdoor galleries, though it is only the 13th year of the Young Architects Program, which began in 2000.


The Metropolitan Museum of Art Embarks on a Major Plaza Redesign

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Rendering of the redesigned plaza

OLIN

Philadelphia-based landscape architecture firm OLIN has been named the lead design consultant for a comprehensive redesign of the four-block-long Fifth Avenue plaza fronting the Metropolitan Museum of Art. The plan creates a more ecological and user-friendly space that includes the creation of two new contemporary granite fountains, designed by L.A.-based Fluidity Design Consultants, that will be positioned closer to the musuem’s front steps, a popular place for sitting and people watching. The renovated plaza will also feature tree-shaded allées, replacing the current trees, which have limited lifespans and low environmental benefits due to their planting conditions. These bosques will provide shaded casual seating areas similar in concept to others recently installed in public spaces around the city. Two new museum-run kiosks designed by London- and Charlottesville, VA-based architects Rick Mather Associates will be clad in bronze-colored metal to match architectural details of the building, such as railings and window grates. Rather than lighting the façade with energy-inefficient floodlights that tend to flatten the architectural features, LED lighting by L’Observatoire International will be mounted on the museum’s façade and on the plaza itself, and will treat the building like a work of art, providing highlights that enhance the sculptural nature of the façade. Efforts to initiate the project have required input from several city agencies including the Public Design Commission, Landmarks Preservation Commission, Department of Parks & Recreation, Department of Environmental Protection, Department of Cultural Affairs, and Department of Transportation, in addition to the Central Park Conservancy. Construction is expected to begin by fall 2012 and take almost two years to complete.


Construction in Abu Dhabi Heats Up

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Rendering of the new Midfield Terminal Complex

Kohn Pedersen Fox (KPF)

The Executive Council of the Emirate of Abu Dhabi has approved Kohn Pedersen Fox’s design for the new Midfield Terminal Complex at Abu Dhabi International Airport. The 7.6-million-square-foot complex is conceived as a gateway to the city, and is raised up from the road level, giving the terminal the appearance of sitting on its own plateau. Inside, long-span arches support a roof that is close to 165 feet tall at its highest point. The arches allow the interior to be largely column free, and endow the building with an openness that creates connectivity between the outdoor landscaping and the indoor civic space. The cruciform plan provides programmatic efficiencies enabling the terminal to expand from 39 to 49 gates and to ultimately process more than 50 million travelers and 2 million tons of cargo each year. With groundwork already commencing on site, a contractor will be appointed to start work on the construction of the complex. Expected to be completed by the end of 2016, the project is integral to Plan Abu Dhabi 2030, a framework for the Emirate’s future development and projected population growth.


Going to the Chapel in the Philippines

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Exterior of the chapel

CAZA

Architects at Brooklyn–based CAZA recently transformed an underused sales office in Pico de Loro, a leisure destination along the Hamilo Coast in the Philippines, into a glass-enclosed chapel. Only the columns and the roof remain from the original structure, sited on a hillside overlooking the South China Sea. The project included constructing a new floor and suspended ceiling, and a 12,000-square-foot deck composed of local sustainable hardwood that surrounds the chapel. The pews are made of the same wood and evoke the geometry of the origami-like roof. When not in use for religious ceremonies, the glass box, sans pews, is used for meditation and yoga. The 4,000-square-foot interior also consists of a smaller floor underneath the chapel that is used for offices, maintenance, and storage space. The $150,000 project was commissioned by the resort’s developer, SM Land, one of the largest developers in Asia. Currently in design phase is a master plan for a marina-based community designed by CAZA for the same developer who owns nine contiguous coves along the coast.


Reflecting Luxury Residential

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Reflections at Keppel Bay

Keppel Bay Pte Ltd

Singapore’s Reflections at Keppel Bay, Studio Daniel Libeskind’s first residential development in Asia, is set to open in March. Situated on a 20-acre site at the entrance to the harbor, the approximately 900,000-square-foot project contains 1,129 luxury apartments divided among three 41-story and three 24-story high-rises, and 11 low-rise villas varying from six to eight floors each. The high-rises, which gently bend toward one another, are sheathed in anodized aluminum panels intermixed with large glass windows. When combined with the towers’ alternating heights, the exterior creates an interplay of shifting planes and seemingly infinite reflections. Rooftop gardens adorning the towers are connected by nine sky bridges, and offer views of the lush foliage, nearby mountains, and the sea. Other team members include Singapore-based architect-of-record DCA Architects; landscape architect Hargreaves Associates + Sitetectonix; and curtain wall consultant R.A. Heintges & Associates.


Reclaimed Timber Strikes BIG with Jury

KIM_Image_by_BIG_02

Rendering of BIG’s competition entry for the Kimball Art Center

Bjarke Ingels Group

Following an international competition, the Kimball Art Center in Park City, Utah, has selected Bjarke Ingels Group (BIG) to renovate and expand its existing building. The project consists of an interior renovation and the construction of a new building adjacent to the historic art center. BIG proposed that the original building be renovated into an educational hub with a rooftop sculpture garden. The proposal calls for massive stacked timber elements reclaimed from railroad piles from the Great Salt Lake enclosing a spiral staircase, exhibition spaces, a restaurant, and topped by a terrace. With the objective of achieving a LEED Platinum rating, the new center plans to feature generous skylights and large ribbon windows that will flood the building with diffused natural light, greatly reducing energy costs for lighting. Operable skylights will trigger natural stack ventilation, a ground-coupled heat exchanger will be drilled deep into the ground in non-built areas, and heat pumps will extract heat from the circulating water in the winter and reject heat in the summer. The phased project is expected to begin in mid-2013 and be completed in mid-2015. The other four finalists in the competition were L.A.-based Brooks + Scarpa Architects; Salt Lake City -based Sparano + Mooney Architecture; Phoenix -based Will Bruder + Partner; and Tod Williams Billie Tsien Architects of New York City. BIG will partner with Salt Lake City-based Architectural Nexus, a firm with experience building in mountain areas like Park City.

THIS JUST IN…

Steven Holl Architects (SHA) has been selected by the Museum of Fine Arts, Houston to design and addition to expand the presentation of collections, exhibitions, and educational programs. The project entails the construction of a new building primarily for post-1900 art to complement the Audrey Jones Beck and Caroline Wiess Law Buildings. It will address the integration of the Lillie and Hugh Roy Cullen Sculpture Garden, and the expansion of the Glassell School of Art, as well as provide a new parking facility.

“Foreclosed: Rehousing the American Dream,” an exploration of new architectural possibilities for cities and suburbs in the aftermath of the current foreclosure crisis, will be on view at MoMA from February 15 to July 30, 2012. Last summer, five interdisciplinary teams of architects, urban planners, ecologists, engineers, and landscape designers—led by the principals of MOS, Visible Weather, Studio Gang, WORKac, and Zago Architecture—focused on a specific location within one of five “megaregions” across the country to put forward inventive solutions for the future of American suburbs. The exhibition presents proposals developed during the architects-in-residence program, including a wide array of models, renderings, animations, and analytical materials.

On March 8, 2012, the National Building Museum in Washington, D.C., in collaboration with Beverly Willis Architecture Foundation (BWAF), will present its seventh annual Women of Architecture program – “Architecture and the Great Recession” – and will discuss how women have been impacted by the economic crisis. The program features, among others, MaryAnne Gilmartin, executive vice president Forest City Ratner, Cathleen McGuigan, editor-in-chief, Architectural Record, and Claire Weisz, AIA, partner, WXY architecture + urban design.

Urban Design Since 1945: A Global Perspective
David Grahame Shane
Wiley Press, 2011

Review by Maxinne Rhea Leighton, Associate AIA

David Grahame Shane is a prolific writer with books that include Recombinant Urbanism: Conceptual Modeling in Architecture; Urban Design and City Theory; and his most recent publication, Urban Design Since 1945: A Global Perspective. In this latest book, Shane develops a treatise that charts the world since 1945 and how the world will be radically influenced in urban form with the end of Western hegemony,

These ideas unfold within a framework the metropolis, the megalopolis, the fragmented metropolis, and the global megacity/metacity. Each chapter explores the each urban type illustrate with analysis and case studies. It is Shane’s premise that the megacity is our destination. Post-war urban design produced urban principles that are no longer relevant to the 2lst century; the rapid urbanization of cities in Latin America and Asia are dominant 2lst-century models. Within these grand scale ideas is the voice of the humanitarian observer who reminds us that while half the world lives in cities, one billion live in slums. As with his other writing, Shane presents ideas where the individual can be as much a catalyst within the collective he/she inhabits.

Old Buildings, New Designs: Architectural Transformations
By Charles Bloszies, AIA
Princeton Architectural Press, 2011

Review by Maxinne Rhea Leighton, Associate AIA

Back in the day, after the demise of Penn Station, historic preservation was birthed in America and became both a powerful movement and an ongoing force in architecture. The restoration of historic buildings, as opposed to the mindset of urban renewal, had — and continues to have — a regenerative impact in our built environment.

With the passage of time more architects began to not only develop a profound interest in preservation, but also in the design of additions to existing historic structures. Aesthetic debates about what was considered appropriate ensued and began to shift the conversation about preservation to the lexicon of design where it belonged — to preserve was as much about design as a building from the ground up — cradle to grave. This is where Charles Bloszies’ Old Building, New Designs: Architectural Transformations, begins — with 19 insightful case studies of exciting design that juxtapose old and new.

Bloszies does not romanticize the design solutions he illustrates. As a prelude, he talks about the financial pressures, balancing the needs of the stakeholders, and unforeseen conditions in construction as just some of the challenges facing designers. He cleverly illustrates the projects in “three degrees of contrast: extreme, restrained, and referential that rangs from the Hutong Bubble 32, MAD Architects, Beijing, China (extreme contrast), to Renzo Piano Building Workshop’s addition to the Morgan Library & Museum, New York (restrained contrast).

There is masterful rigor in all of the case studies. Perhaps most exciting is that those on the front lines of preservation, who fought so hard to grow and maintain a movement, can now proudly step forward and celebrate its evolution.

In this issue:
· Architecture for Humanity & the AIA Partner to Prepare Architects for Disaster Response Leadership

· AIA Introduces New Contract Document to DoD Service
· AIANYS Receives Two AIA Grassroots Component Excellence Awards
· e-Calendar


Architecture for Humanity & the AIA Partner to Prepare Architects for Disaster Response Leadership
The AIA and Architecture for Humanity announced a strategic partnership to coordinate advocacy, education, and training that helps architects make effective contributions to communities preparing for, responding to, and rebuilding after disaster.  The partnership is focused on providing resources so more architects can utilize their skills in disaster response environments and better serve as leaders in their community. More information here.

AIA Introduces New Contract Document to DoD Service
The AIA today announced that it has incorporated seven new documents into AIA Documents-on-Demand™, bringing the total number of documents available through this service to 86. The latest addition to Documents-on-Demand includes documents from the A series for Owner/Contractor and the B series for Owner/Architect. Overall, 41 total agreements and forms are now included in Documents-on-Demand that are specifically suited for contractors and three specifically for sub-contractors.  AIA Contract Documents are the most widely-used standard form contracts among the building industry to support construction and design projects. Visit http://documentsondemand.aia.org

AIANYS Receives Two AIA Grassroots Component Excellence Awards
AIA New York State has received two AIA Grassroots Component Excellence Awards. One award was for the Government Affairs Overall Program and the other for the “Every Building Has an Architect Postcard” campaign that was developed by the Public Advocacy Committee. Both awards will be given out during the 2012 Grassroots Annual Leadership & Legislative Conference held in March in Washington, D.C.

eCALENDAR
eCalendar includes an interactive listing of architectural events around NYC. Click the link to go to to eCalendar on the Web.

Center for Architecture Gallery Hours and Location
Monday-Friday: 9:00am-8:00pm, Saturday: 11:00am-5:00pm, Sunday: CLOSED
536 LaGuardia Place, Between Bleecker and West 3rd Streets in Greenwich Village, NYC, 212-683-0023

CURRENT EXHIBITIONS

Arch Schools 2011

On view 11.19.2011-03.03.2012

City of Mirages: Baghdad 1952-1982

Baghdad.jpg

On view 02.22.2012–05.05.2012