Castro’s Cultural Legacy Under Construction…Again

Event: Unfinished Spaces: Cuba’s Architecture of Revolution, trailer screening and panel discussion
Location: Center for Architecture, 05.08.09
Speakers: Alysa Nahmias, Assoc. AIA — Co-Director/Producer, “Unfinished Spaces”; Ben Murray — Co-Director, “Unfinished Spaces”; John Stubbs — Vice President for Field Projects, World Monuments Fund; Luly Duke — President, Fundacion Amistad; Belmont Freeman, FAIA — Former President, Storefront for Art & Architecture & Principal, Belmont Freeman Architects
Moderator: Noushin Ehsan, AIA — Chair, AIANY Global Dialogues Committee
Organizers: AIANY Global Dialogues Committee
Sponsors: Brooklyn Brewery; Zafra Cuban Kitchens

“Unfinished Spaces,” 2010, film still. Location: School of Modern Dance by architect Ricardo Porro. Havana, Cuba.

Alysa Nahmias and Ben Murray

“Unfinished Spaces: Cuba’s Architecture of Revolution” (Anja Film. 2010), a film directed by Arnold W. Brunner Grant recipient Alysa Nahmias, Assoc. AIA, and Ben Murray, documents the story of Cuba’s National Art Schools, commissioned by Fidel Castro and Che Guevara in 1961. The design of the five-discipline institute was deemed counter-revolutionary and halted in mid-construction. However, the schools’ program progressed as planned and classes have been held for the last 40 years amidst the rapidly decaying structures. Looted for material in the 1990s, the schools embody Cuba’s cultural heritage, radical architecture, regional building technologies, and restored hope for Cuba’s future. In 1999, they were placed on the World Monuments Fund Watch List, which calls attention to endangered cultural heritage sites.

In 1999, Castro invited the schools’ three original architects to complete construction on the complex and restore the Modern campus for its original use. In 2008, Cuban funding totaling USD$20 million accomplished restoration on two of the five schools that comprise the institute, and the project continues to progress. “Unfinished Spaces” explores the history of the project through interviews with the aging architects — Ricardo Porro, Vittorio Garatti, and Roberto Gottardi — who must now acknowledge the change within the architectural world in which their cultural experiment was begun. Those who have played integral roles in what can be termed the “soft” revolution of the National Art Schools narrate the historical legacy of this project, its controversy during Castro’s regime, and its potential impact for the future of Cuba.

The film, intended to be a catalyst for public awareness, is currently in post-production and scheduled for release in 2010. Tax-deductible contributions to the production can be made through the Women Make Movies Fiscal Sponsorship website or by contacting info@ajnafilm.com.

Architecture, Art Combine to Create New York’s New Public Art

Event: Public Art + Architecture New York
Location: Center for Architecture, 04.20.09
Speakers: Todd Schliemann, FAIA — Partner, Polshek Partnership; James Carpenter — Principal, James Carpenter Design Associates; David Thurm, Hon. AIANYS — Vice President for Operations, New York Times
Moderator: Jean Parker Phifer, FAIA — Author, Public Art New York (W.W. Norton & Co., 2009)
Organizers: Center for Architecture
Sponsor: Margaret Helfand Fund

Dichroic Light Field by James Carpenter.

Photography by Francis Dzikowski/Esto

“Public art can enhance one’s experience of a building or a space by heightening visual perceptions and by focusing the senses on elements such as light, texture, color, or sound,” says Jean Parker Phifer, FAIA, author of Public Art New York. The book captures many of New York’s recently completed buildings that integrate art installations with the aesthetic and function of the spaces they inhabit. These buildings broaden the dialogue on how art enhances and complements architecture and public space.

Todd Schliemann, FAIA, James Carpenter, and David Thurm, Hon. AIANYS — representing architect (Principal, Polshek Partnership), artist (James Carpenter Design Associates), and owner (Vice President for Operations, New York Times) respectively — echoed the sentiment that an early collaboration among all parties along with a shared approach to the building yields a successful union between art and architecture. Referring to the public art installation in Polshek’s New York Hall of Science, Schliemann said, “the closer architecture and art evolve hand-in-hand, the more they are in harmony.” Exemplary of such a marriage is “Moveable Type,” by artist Ben Rubin and statistician Mark Hansen — an installation in the Renzo Piano Building Workshop/FXFOWLE Architects’ New York Times Building lobby. Designed for the vista through The Times building, 560 small screens are suspended in a grid and display choreographed content from The Times database, pulling from both the paper’s memory and real time web commentary. It is an organic, evolving artwork with a specificity to place and program that is undeniable.

Similarly deliberate, Carpenter’s “Ice Falls” in the lobby of Foster + Partners’ Hearst Building creates an experiential reorganization of light. No stranger to atmosphere and perception, Carpenter devised a system of cast-glass prisms to illuminate the lobby and create a glittering reflection of the three-story fountain.

AIA Navigates the Future of BIM and IPD

Event: Change Is Not Optional: Sustainability, BIM and Integrated Project Delivery
Location: Center for Architecture, 04.14.09
Speakers: Markku Allison, AIA — Resource Architect, American Institute of Architects
Organizers: AIANY Technology Committee
Sponsors: ABC Imaging

“We’ve never seen anything like this in the history of the profession,” said Markku Allison, AIA, resource architect at the American Institute of Architects, referring to the growing popularity of Building Information Modeling (BIM) and Integrated Project Delivery (IPD) among architects, owners, and most notably, contractors. According to a McGraw Hill Construction Smart Market Report survey, 35% of firms using BIM described themselves as very heavy users in 2008; that percentile is projected to rise to 45% in 2009. The benefit of the new technology is clear. Allison cited case studies in which a two-week-long BIM constructability analysis saved $800,000 in change-order costs and resolved a $250,000 miscellaneous metals discrepancy.

A force driving change, BIM introduces an integrated world to the A/E/C profession in which all players are involved from the beginning of the design process. BIM facilitates synergy among a project team as well as the ability to drastically reduce change orders, budget creep, and construction waste. E202-2008, a BIM Protocol Exhibit, is a roadmap from the AIA detailing responsibilities and transitions of BIM projects to avoid gaps and oversights throughout the design process, and to clarify authorship and ownership of the model during each project phase.

IPD allows owners, designers, and builders to leverage knowledge and identify opportunities early on through unified models, enhancing certainty and the potential of the project from design through operation. Progressively, the AIA released two new agreements for IPD in May 2008 to respond to the emerging procurement process — one providing transitional owner/contractor and owner/architect contracts, while the other offers a single purpose entity agreement among all parties with mutual goals and target costs.

An effective response to evidence of increasing sustainability standards within the AIA and among the profession, BIM offers the capacity to analyze building performance and expedite key design decisions about the life cycle of a building. Tools for strategy, BIM, and IPD yield an eight-in-ten chance of completing a project on schedule and within budget, a notable improvement from design-bid-build project statistics.

Arup Simplifies Complex Towers

Event: Thinking Outside The Box — Tapered, Tilted, Twisted Towers
Location: Center for Architecture, 03.19.09
Speakers: David Scott, PE, Hon. AIA — Chairman, Council of Tall Buildings and Urban Habitat & Principal, Arup
Organizers: Center for Architecture
Sponsors: Underwriters: The Center for Architecture Foundation; National Endowment for the Arts; Patron: Con Edison; Lead Sponsors: Arup; Buro Happold; Material ConneXion; Thornton Tomasetti; Supporters: The American Council of Engineering Companies; Josef Gartner USA/Permasteelisa Group; Weidlinger Associates; Friend: Grimshaw.

Strata Tower in Abu Dhabi, UAE.

Asymptote: Hani Rashid + Lise Anne Couture

“In terms of towers, the world has changed,” stated David Scott, PE, Hon. AIA, a principal at Arup. “Architects and engineers can now design almost anything –[but] should we?” Scott presented the firm’s latest engineering feats during a discussion of non-traditional towers that continue to dot global skylines.

Utilizing tools ranging from folded paper study models to parametric modeling, Arup is responsible for engineering complex structures such as Asymptote’s Strata Tower in Abu Dhabi and Moshe Safdie and Associates’ Marina Bay Sands in Singapore. Scott discussed these projects among others designed by HOK, KPF, Studio Daniel Libeskind, and Pelli Clarke Pelli to explain how conventional tower standards are modified to create untraditional forms. The complexities of Arup’s towers often mask a fairly simple structural model. Revealing the mystery behind daunting engineering, Scott explained that it is due to repetitive structural systems and central cores, which also can be found in the simplest towers. It is this suspicious truth that Scott communicates to clients to alleviate their budget-conscious fears.

A contemporary trend — tapered, tilted, twisted towers — and the structural gymnastics employed to build them, are accomplished with sparse precedent. With each commission Arup builds upon previous exercises to inform the development of the next iconic tower.

20th Century Construction Law Hinders 21st Century Construction

Event: Public Architects Series
Location: Center for Architecture, 02.24.09
Speakers: Terri Matthews — on behalf of the Construction Law Committee of the NYC Bar Association
Organizers: AIANY Public Architecture Committee

Currently, owners of public projects in New York are mandated to use the design-bid-build service delivery methodology for projects, with awards for the construction work going to the lowest competitive bidder(s), based primarily on price. However, this is not necessarily appropriate for every project type. Modernization of the State’s public procurement law would improve the tools available to public owners, resulting in successful collaborations and commissions, and, in turn, better public projects. At the Center for Architecture, Terri Matthews, a lawyer speaking on behalf of the Construction Law Committee of the NYC Bar Association, addressed an audience of architects, owners, and builders to discuss the Construction Law Committee’s efforts to recommend public procurement law reform for all public owners across New York State. Matthews also works as Senior Policy Advisor for the NYC Department of Design and Construction.

The Construction Law Committee of the NYC Bar Association serves to address legal and policy issues affecting the construction industry. The committee’s response to the recent State Asset Maximization commission argues that the present financial crisis warrants immediate action to provide public owners more flexibility in selecting the appropriate service delivery method for their capital construction projects — a coveted luxury enjoyed by private owners. In addition to design-bid-build and public-private partnerships (which the Commission is currently considering), design-build, and construction-manager-at-risk processes are alternate service delivery methodology options that have been implemented in the private sector as well as the public sector in other states.

Matthews discussed the number of reasons that design-bid-build is not appropriate for every project. In particular, the mandatory separation of the designer from the contractor during the design phase can lead to misalignment between the design and the reality on the ground, embedding delays and generating costs that could have been avoided by early communication among the parties. Having the lowest initial construction price does not always provide for long-term operation and maintenance costs. The lowest initial cost may, in fact, entail higher operation and maintenance costs, which are at odds with the current focus on sustainability — both environmental and financial. In addition, designers have noted that this misalignment can result in complex designs being executed inadequately. The lowest competitive bid requirement in the current process can make make public work even less attractive to contractors whose success in the private sector comes, in part, from the ability to rely on prior professional relationships and experiences with construction managers and sub-contractors.

Ada Louise Huxtable Presents a Real New York Story

Event: On Architecture: A Conversation
Location: Scandinavia House, 01.21.09
Speakers: Ada Louise Huxtable, Hon. AIA — Architectural Critic; Kent Barwick — President Emeritus, Municipal Art Society
Organizer: The Architectural League of New York; co-sponsored by the Municipal Art Society

Courtesy walkerbooks.com

Trained as an art historian, Ada Louise Huxtable, Hon. AIA, was the first architectural critic for the New York Times, and was awarded the Pulitzer Prize for Distinguished Criticism in 1970. Currently the architecture critic for The Wall Street Journal, Huxtable recently sat down with Kent Barwick, president emeritus of the Municipal Art Society, to discuss the history and future of architecture and urban planning in NYC as well as her latest book, On Architecture. Her high regard for structure, aesthetics, and function has remained potent throughout her career. “You cannot separate what makes a building stand up and what it looks like,” she said. But it was her marriage to an industrial designer that “made all the difference.”

Huxtable’s affection for NYC is similarly nostalgic as she recalled touring Lower Manhattan on foot with her husband, noting the richness of authenticity residing in every corner. Certain buildings in the city, of course, stand out to her. She praised Mies van der Rohe’s Seagram Building for its success of proportion, sensitivity to detail, and pertinence to its time. She appreciates SANAA’s New Museum because of its coherence of space and collection — a quality she compares to Gehry Partners’ Guggenheim Bilbao. Museums to Huxtable are secular monuments in which to find repose, and she attributes her critical eye to the time she served as a curatorial assistant at the Museum of Modern Art before she began her writing career.

On Architecture is a collection of Huxtable’s writings from the 1960s onward including an extensive chapter on NYC and The World Trade Center, which the author terms “a real New York story.” This is not a complete anthology, however, and in anticipation of future architectural developments she stated, “I want to stick around awhile.”

Finnish Architect Channels Aalto’s Musical Experiences

Event: “Belonging Together”
Location: Center for Architecture, 01.07.09
Speakers: Juha Leiviskä, Hon. FAIA — architect (Finland)
Organizers: AIANY; Consulate General of Finland

Best known for his church designs, the work of Finnish architect Juha Leiviskä, Hon. FAIA, creates a sense of experience throughout his work, featuring progression and deliberateness in the design of entry, circulation, and visual corridors. Recipient of the Carlsberg Prize, awarded to an architect “contributing to the creation of works of lasting architectural and social value,” Leiviskä’s prime concern in his work, ultimately, are the users of his buildings.

Leiviskä has a high regard for precedent, stating it is “important to be connected to history and tradition if our work is to be important in the future.” He attributes his esteem for nature and the environment to Alvar Aalto, who believed that nature is mutually supportive of architecture. The influence of Aalto can be seen throughout Leiviskä’s oeuvre. The transitions from outside to indoors via terraces and gardens are what he calls, “musical experiences.”

Leiviskä’s career is indelibly marked by his design of places of worship throughout Finland, such as Myyrmäki Church, St. Thomas’ Church and Parish Center, Kirkkonummi Parish Center, and Männistö Church. Each embodies his design language integrating both natural and artificial light, with his signature lamps suspended within each space of worship. The buildings are functional, the white interiors free of any ornament and “unnecessary detail.” Ultimately, he strives to achieve a harmony through Finnish Modernism by incorporating nature and the environment.

OOZing Humans, Non-Humans Away From Zoos

Event: OOZing Public Workshop, a project by Natalie Jeremijenko
Location: Van Alen Institute, 12.04.08
Speakers: Natalie Jeremijenko — Van Alen Institute New York Prize Fellow 2008-2009
Organizer: Van Alen Institute, in partnership with the Social Science Research Council

Rhinoceros Beetle Wrestling Device, by Natalie Jeremijenko.

Photograph by Chris Woebken. Photograph provided courtesy of Van Alen Institute, ©2008

OOZing, by Van Alen Institute New York Prize Fellow Natalie Jeremijenko, seeks to identify productive cohabitation between animals and humans in the city. “Zoo” spelled backwards (and “without cages,” as the artist and engineer stated), OOZ is a project that she hopes will challenge society and policy makers to redefine the role of non-humans in the urban landscape.

Jeremijenko dismisses the notion that nature is “out there somewhere” else; instead, humans are part of a natural system and must acknowledge socio-ecological relationships to improve urban conditions. Recent sightings of coyote in Central Park and wild turkey on Staten Island are intrinsically natural, she stated. Jeremijenko believes that the zoological model of collecting species in categorical boxes opposes the natural state of biodiversity and creates a separation between humans and animals.

“We screwed up,” she said, referring to current climate and food crises. Her work seeks to amend that error by using technology to investigate social change. With a touch of humor, Jeremijenko’s experiments include a bat detector, a rhinoceros beetle wrestling device, and toilet facilities for pigeons. Those who interact with her work build new relationships with the animals, thus leading to a different understanding of the creatures. This is necessary to move forward and improve the environment, she believes. Rather than observing animals through a simulated ecosystem in a zoo or whispering around them in a park, Jeremijenko boldly asserts: “Perhaps we can do something, and perhaps it could be good.”

Gilmartin Soars through Glass Ceilings, Torques Steel Façades

Event: An Evening with MaryAnne Gilmartin
Location: Center for Architecture, 10.27.08
Speakers: MaryAnne Gilmartin — Executive Vice President, Forest City Ratner Companies & 2008 AIA NY Chapter Award Recipient
Organizer: Center for Architecture
Sponsor: Kramer Levin

The Beekman Tower by Gehry Partners.

Artefactory

During her 15 years at Forest City Ratner (FCR), Executive Vice President MaryAnne Gilmartin has set a new standard for female leadership in the real estate community and is the reason she is this year’s AIANY Chapter Award recipient. With the 76-story Beekman Tower designed by Gehry Partners, she is proving her perseverance with the torqued stainless steel residence scheduled to open in 2010.

“To make a great building takes a great many people,” Gilmartin stated — collaboration is a theme that resonates throughout her portfolio, which includes development of Atlantic Yards, also by Gehry Partners, and the New York Times Building by Renzo Piano Buliding Workshop with FXFOWLE Architects. The Beekman is an exercise in public/private partnership, a regular mission of FCR’s endeavors, which fuses 100,000 square feet of public school programs with 903 luxury rental units. The site, located on Beekman and William Streets, is adjacent to New York Downstate Hospital and will provide the healthcare facility with an ambulatory care facility as well. Originally slated for a mix of condos and rental units, the final design contains only leasable units — a shift many properties are adopting in response to the 70/30 split between renters and owners in Manhattan. The final program also reflects a decrease in retail and parking areas, and a significant increase in housing units.

Gilmartin describes Gehry’s tower as a “serious departure from the norm,” and championed the property as unparalleled in its grandeur and views yet equal to its peers in rent costs. Regulating the budget for a building of “starchitect” quality is challenging; Gilmartin attributes the financial success of Beekman to the demystification of the undulating façade through mockups and precise manipulation of the curves. Like any good developer, she believes, FCR “introduced a certain amount of sanity” to the design process. And like any great developer, the result will be a dynamic addition to Manhattan’s skyline.

Prairie Experiment Seeks to Impact City Life

Event: Public Ecologies at Midewin National Tallgrass Prairie
Location: Van Alen Institute, 08.06.08 & 08.14.08
Speakers: Dr. Clive G. Jones — Ecologist & Senior Scientist, Cary Institute for Ecosystem Studies; Michael Osman — Architectural Historian; Julia Czerniak — Co-founder, CLEAR & Associate Professor, Syracuse University; Edward Mitchell — Principal, Edward Mitchell Architects
Moderator: Ellen Grimes — Assistant Professor, University of Illinois at Chicago & Van Alen Institute New York Prize Fellow, Summer 2008
Organizer: Van Alen Institute

Photograph from Disarming the Prairie (Creating the North American Landscape), published by Johns Hopkins University Press, 1998, a survey of the Joliet Army Ammunition Plant, once the world’s largest TNT factory.

Photograph © Terry Evans

Just off Route 66 an ecological experiment is brewing under the auspices of Ellen Grimes, Van Alen Institute New York Prize Fellow, with the U.S. Forest Service (USFS) and the Center for Research in Urban Ecology at the University of Illinois Chicago (CRUE). The work focuses on restoring a 19,000-acre reserve in Illinois known as Midewin, the first official national tallgrass prairie. Described by Grimes as “an atypical design project,” restoring the brownfield to its original eco-state is a challenge since the site is located at the former Joliet Army Ammunition Plant and remains contaminated with toxic waste. Currently, Midewin consists of only 3% prairie and is largely comprised of abandoned farmland.

The rebirth of Midewin National Tallgrass Prairie will begin with a microcosmic, 2.5-mile strip of land that could take up to 25 years to complete, according to the USFS. The area will house a series of environmental experiments inviting public observation and interaction intended to reconnect people to nature. The experiments will include carbon sequestration analyses, investigations of nutrient and energy fluxes, and studies of the interactions among mammals, birds, and plant life. By redesigning human activities in the fields of forestry and agriculture, Grimes hopes that ecosystems may be used to more effectively impact design, the public realm, and even metropolitan life.

Rather than artificially simulating a prairie in a controlled environment, Midewin is a test bed to explore the relationships among economy, ecology, and design in a real environment. The USFS and CRUE seek to build regional and global audiences while educating local farmers in methods to restore and sustain the ecosystem.