an_08_05.09.2012

WWW.ARCHPAPER.COM IF IT MATTERS, WE TELL YOU $3.95

THE EAST

NEWSPAPER08 05.09.2012

PRSRT STDUS POSTAGE

PAIDITHACA, NY

PERMIT No. 188

The Architect’s Newspaper

21 Murray St., 5th FloorNew York, NY 10007

WELL-TUNEDVILLAGETOWNHOUSEDUBBELDAMIN SHANGHAIMILAN 2012OFFICE WISE: LA VS NYC

maharam digital projects udomsak krisanamis

SHRIMP | chai r design Jehs + Laub

AN_08_30_42_FINAL:AN_06_CLH_Mar25 5/1/12 4:16 PM Page 2

PPG Industries, Inc., Glass Business & Discovery Center, 400 Guys Run Road, Pittsburgh, PA 15024 www.ppgideascapes.com

New Solarban® R100 solar control, low-e glass. A better glass for a better environment.

Clean lines. Clean look. Clean conscience. It’s a lot to expect from an ordinary piece of glass. Then

again, Solarban® R100 solar control, low-e glass is about as far from ordinary as you get – thanks to

a Solar Heat Gain Coefficient of .23 and a neutral-reflective appearance that lets your building put its

best face forward. And you’ll really be surprised by the extraordinary energy savings you can expect

with Solarban R100 glass. To get your copy of the white paper, go to ppgideascapes.com/SBr100.

Solarban, IdeaScapes, PPG and the PPG logo are trademarks owned by PPG Industries Ohio, Inc. | Cradle to Cradle CertifiedCM is a certification mark of MBDC.

NEWS

05

THE ARCHITECT’S NEWSPAPER MAY 9, 2012

MOMA,

DEVE

LOP D

ON’T

DEST

ROY

LETT

ERS

Every year, The Art Newspaper, the august art tabloid out of the U.K., publishes its data-crunching Exhibition & Museum Attendance Figures formuseums around the world. And once again the Museum of Modern Artfigured prominently in the top ten of multiple lists, including presentingthree of the 20 most popular exhibitions for the year (the design show Talkto Me was in fact number 20) and standing at number three for total artmuseum attendance.

MoMA has long since proved its might in terms of establishing an agendafor art, and particularly architecture stretching from Philip Johnson’sgroundbreaking International Style show of 1938 to Barry Bergdoll’s RisingCurrents exhibition last year. And so it is paramount that MoMA use its considerable clout and weigh in decisively on the fate of the American FolkArt Museum (AFAM), now standing empty and engulfed on three sides byMoMA, the building itself to the east and property it owns and plans to devel-op with Gerald Hines on the west and north. MoMA, in fact, owns the AFAMbuilding having bailed out the struggling institution last summer when it was forced to give up its flagship due to fiscal mismanagement and retreat toa second-floor gallery near Lincoln Center. It’s hard not to hear the licking ofchops: Jean Nouvel’s supertall for the site currently works its way around andbehind AFAM but it would surely make real estate sense to simply gulp it up.

AFAM, a small masterwork by Tod Williams and Billie Tsien, two out-standing talents in contemporary architecture, is a delectable morsel—only40 feet wide, its most remarkable feature is its facade of 63 cast panels ofwhite bronze, a material common to propellers and fire hoses but neverbefore used architecturally, textured like concrete, and faceted with subtleorigami-like folds. In one stroke, the architecture tells the story of the institution’s key interests: material, craft and scale. On completion, it wasawarded ARUP’s Best New Building in the World for 2001 and graced innumerable magazine covers around the world. It was the first newground-up museum in New York in 30 years going back to Marcel Breuer’sWhitney; one might say AFAM breathed warm, sensual life into a poorlyunderstood and too easily dismissed architectural voice, Brutalism.

Something has to be done to prevent the cannibalism of a small icon by an as yet to be built icon, if only to prove that contemporary architecture is not instantly disposable. In an impromptu conversation with a Hines vice president, I was told that the developer would as soon see the buildingerased from the site, but that Hines was waiting to hear from MoMA, noticeably silent on the subject. Tod Williams and Billie Tsien are also hanging fire. At a press conference for the new Barnes Foundation inPhiladelphia, Williams spoke with anguish and concern about the fate ofAFAM. He knows that New York real estate is a take-no-prisoners game, buthe is still hopeful, noting that one of the museum’s floors aligns perfectlywith one of MoMA’s. Williams said he, too, has heard from no one at MoMA.

There are compelling reasons for MoMA to come up with a solution and a way to incorporate at least the AFAM façade into the new tower that will be conjoined to the museum only at a few interior levels. Several expansionsof the museum have all included the original 1939 Goodwin and Stonefacade. That may have been about preserving legacy, but saving AFAM couldbe on message, too. In its materials—apart from the white bronze, there isbush-hammered concrete, cast resin, and salvaged timber on the inside— itspeaks to a modern interest in texture and fabrication that MoMA has leftlargely unexplored, and that could contribute to the museum’s professedcommitment to a wider understanding of modernism.

Paul Goldberger has suggested online that MoMA turn AFAM into a home for its director, something like Saarinen’s house for the director of Cranbrook. Surely MoMA can do better (Besides, Glen Lowry is alreadycomfortably ensconced in the Museum Tower). At a time when MoMA is talking the talk of responsible treatment of quality resources and of architecture’s ability to solve complex problems, it should act accordinglyand find a way to incorporate not destroy AFAM. JULIE V. IOVINE

PUBLISHER

Diana DarlingEXECUTIVE EDITOR

William MenkingEDITOR-IN-CHIEF

Julie V. IovineMANAGING EDITOR

Alan G. BrakeART DIRECTOR

Dustin KodaWEST COAST EDITOR

Sam LubellSPECIAL PROJECTS

Jennifer K. GorscheASSOCIATE EDITOR

Tom StoelkerASSOCIATE WEB EDITOR

Branden KlaykoCONTRIBUTING EDITOR

Molly HeintzASSISTANT MARKETING MANAGER

Clara JauquetACCOUNT EXECUTIVE

Lynn BackalenickCIRCULATION ASSISTANT

Adriana EchandiEDITORIAL INTERNS

Matt ShawMichael LawlorTyler Silvestro

CONTRIBUTORSMARISA BARTOLUCCI / SARAH F. COX / DAVID D’ARCY /THOMAS DE MONCHAUX / ROB GREGORY / PETER LANG / ALEXANDRA LANGE / LIANE LEFAIVRE /STEPHANIE MURG / LUIGI PRESTINENZA PUGLISI /KESTER RATTENBURY/ CLAY RISEN / AARON SEWARD /D. GRAHAME SHANE / ALEX ULAM / GWEN WRIGHT /PETER ZELLNER

EDITORIAL ADVISORY BOARDPAOLA ANTONELLI / M. CHRISTINE BOYER /PETER COOK / WHITNEY COX / MELISSA FELDMAN /ODILE DECQ / TOM HANRAHAN / SARAH HERDA /CRAIG KONYK / REED KROLOFF / JAYNE MERKEL /SIGNE NIELSEN / HANS ULRICH OBRIST /JOAN OCKMAN / KYONG PARK / CHEE PEARLMAN /ANNE RIESELBACH / TERENCE RILEY / KEN SAYLOR /MICHAEL SORKIN / MARK STRAUSS

GENERAL INFORMATION: [email protected]: [email protected]: [email protected]: [email protected]: [email protected]

VOLUME 10, ISSUE 08 MAY 9, 2012. THE ARCHITECT’S NEWSPAPER (ISSN 1552-8081) IS PUBLISHED 20 TIMES A YEAR (SEMI-MONTHLY EXCEPTTHE FOLLOWING: ONCE IN DECEMBER AND JANUARY AND NONE IN AUGUST)BY THE ARCHITECT’S NEWSPAPER, LLC, 21 MURRAY ST., 5TH FL., NEW YORK,NY 10007. PRESORT-STANDARD POSTAGE PAID IN NEW YORK, NY.POSTMASTER, SEND ADDRESS CHANGE TO: 21 MURRAY ST., 5TH FL.,NEW YORK, NY 10007. FOR SUBSCRIBER SERVICE: CALL 212-966-0630. FAX 212-966-0633. $3.95 A COPY, $39.00 ONE YEAR, INTERNATIONAL$160.00 ONE YEAR, INSTITUTIONAL $149.00 ONE YEAR. ENTIRE CONTENTS COPYRIGHT 2012 BY THE ARCHITECT’S NEWSPAPER, LLC.ALL RIGHTS RESERVED.

PLEASE NOTIFY US IF YOU ARE RECEIVING DUPLICATE COPIES. THE VIEWS OF OUR REVIEWERS AND COLUMNISTS DO NOT NECESSARILY REFLECT THOSE OF THE STAFF OR ADVISORS OF THE ARCHITECT’S NEWSPAPER.

FOR REPRINTS, E-PRINTS AND RELATED ITEMS CONTACT PARS INTERNATIONAL, TEL 212-221-9595; FAX 212-221-9191;WWW.MAGREPRINTS.COM/QUICKQUOTE.ASP.

OCCUPY CRITICISMCongratulations on your examination of thestate of architectural criticism [“Criticism inCrisis? So What” AN 07_04.18.2012]. Youhave opened the door wide to a much neededairing out. Since the 1980’s and the adventof the ‘Starchitect,’ the 99% of us haveoften been shortchanged in favor of the 1%,for $800/square foot ‘muscular buildings’ thatare eye catchers, and often put ambitiousorganizations and clients on the map (whichis not to say that there hasn’t been somereally excellent building here and there to

write about.)Criticism, however, fell off the track when

the magazines and critics started to treatarchitecture as if it were jewelry and themore expensive and eye popping the better.I believe Michael Kimmelman, at the NewYork Times, to be a big improvement overNicholai Ouroussoff or Herbert Muschamp.Both focused too much on the stars and not enough on the earth. Paul Goldbergerhas done well at The New Yorker, once heno longer hung around with Phillip Johnson.I believe the 99% is what we need to be

focused on more. The 1% will take of itself,and the stars will still shine.PETER SAMTON

GRUZEN SAMPTON

NEW YORK, NY

CORRECTIONIn a piece on the new Visitor Center at the Brooklyn Botanical Garden [“In Detail”AN 07_04.18.2012] by Weiss ManfrediArchitects, the article neglected to name theproject’s landscape architects, HM WhiteSite Architects.

To the architect Max Bond, social equity was a core value and so was design integrity.And the new J. Max Bond Center on Designfor the Just City, named for the architect whodied in 2009, will actively spread the wordthrough collaborative research projects,design advocacy, leadership development,and education programs at its new homewithin the Spitzer School of Architecture atthe City College of New York.

Launched on May 1, the Bond Center, saidits founding director Toni Griffin, will aim to be “a leader in thinking on how design canbecome more central to the policies aimed at making American cities more just andinclusive places to live.”

The center is a reinvigorated recast of the City College Architecture Center (CCAC)that operated in the 1980s and ’90s primarilyas a pro bono architecture and planningservice for the Harlem community. The BondCenter will focus more on faculty and collab-orative research, drawing on disciplinesacross the CUNY system and beyond, aswell as initiate urban projects engaging withpolicy reform that could become models forother cities, and especially Harlem itself. Anactive conference, publication, and eventsprogram is also on the agenda.

The timing is propitious as activist architecture is having a strong moment, andGriffin, an architect and urban planner, comeswell equipped to head the venture, havingserved over the past three decades as afounder of the Detroit Works Project, adeputy director of planning in Washington,D.C., a director of community development and planning for the city of Newark, and a planning vice president with the UpperManhattan Empowerment Zone DevelopmentCorporation.

The Bond Center has already broughttogether landscape design graduates to submit an entry to the visioning Parks for People competition organized by theNational Park Service and Van Alen Institute.Another advanced study project is aimed at developing a template with which communities can measure the effectivenessof design policies in their neighborhoods.

Noting that his old friend Max Bond was a director of one of the country’s firstcommunity design centers, the ArchitectsRenewal Committee of Harlem (ARCH),founded in 1964, New York–based architectJames Polshek said he is looking forward to the Bond Center’s debut: “I hope it willinspire architects, who may still be confinedin believing in the capital A for the Art of architecture, that architecture also comeswith an obligation to solve problems andbreak down barriers.” JVI

Walk This Way

NEW CITY COLLEGE CENTER TO PROMOTE ENGAGED URBAN DESIGN

COVER IMAGE: Living room of a New Yorktownhouse designed by Steven HarrisArchitects and Rees Roberts + Partners with art by Mike and Doug Starn, Steinway piano, and sofa by Christian Liaigre from Holly Huntupholstered in chenille from Rogers & Goffigon.Photograph by Scott Francis.

FOLLOW US AT WWW.ARCHPAPER.COM,FACEBOOK.COM/ARCHPAPER, ANDTWITTER.COM/ARCHPAPER

Sanitaryware, bathroom furniture, bathtubs, shower trays, wellness products and accessories: Duravit has everything you need to make life in the bathroom a little more beautiful. New for the pro - pro.duravit.us. More info at Duravit, Phone 888-DURAVIT, [email protected], www.duravit.us

Join us for the launch of DELOSFriday, May 18 I 6-9PM

Duravit NYC I 105 Madison

USA_ArchNews_DL002_2667x3556.indd 1 30.04.12 15:41

WWW.ARTEKFURNITURE.US

Art

ek U

SA In

c.19

9 La

faye

tte S

treet

, Sui

te 5

DN

ew Y

ork,

NY

1001

2T

+1 2

12 2

19 0

589

INFO

@A

RTEK

FURN

ITU

RE.U

S

Domus Lounge ChairIlmari Tapiovaara 1946

NEWS

07


EAV

ESDROP>IS

ADORA

MULL

ION

OPEN>

AIRPO

RT

LOUNGE

> VIRGIN ATLANTIC JFK CLUBHOUSEJohn F. Kennedy International Airport Terminal 4Designers: Slade Architecture

MICHAEL LAWLOR

AN

TO

N S

TAR

K

TORUSSIA,WITHLOVEIs Russia the new China? Probably nyet, but there are a couple of projects towatch in Putinland. Rem Koolhaas has locked up the commission to transform a crumbling Soviet-era building into a hip new home for the Garage, the contem-porary art center in Moscow run by Dasha Zhukova. Bankrolling the creation ofa 58,000-square-foot kunsthalle, complete with the obligatory café, shop, and“learning center,” is billionaire Roman Abramovich, Zhukova’s longtime boyfriend.

MOVEOVER,FABERGEMeanwhile, Rem’s former Russian stomping grounds of the State HermitageMuseum in St. Petersburg (OMA created a new masterplan for the sprawlingmuseum complex) will get a megadose of Santiago Calatrava in the form of a summertime retrospective. The exhibition, the first for a contemporaryarchitect, is part of a broader museum initiative to spice up all those classicalantiquities and orthodox icons with art of the 20th and 21st centuries. “SantiagoCalatrava: The Quest for Movement” opens June 27 with career-spanning paintings, architectural models, and sketches. Things will really get moving withkinetic sculptures as well as an installation with four giant projections.

MAXXEDOUT?As for museums in southern European climes, Building Design reported on their website that the Maxxi Museum in Rome has been put into “compulsoryadministration by the Italian government,” at least until the board raises mostof the museum’s 11 million euro operating budget. The Zaha Hadid-designedmuseum for contemporary art has attracted almost half a million visitors a yearsince opening in 2010, but following massive government spending cuts, soundslike it will have to lure molto more.SEND CAVIAR, TAPAS, AND LEFTOVER LIRE TO [email protected]

Paul Rudolph’s OrangeCounty Government Centermoved a tentative step closerto demolition on April 24after a subcommittee of thecounty legislature approved$14.6 million to finance thedesign of a new $75 millioncomplex. Republican AlBuckbee crossed party linesto vote against the proposal,making the vote a four-to-four tie. Committee chairMichael Pillmeier, also aRepublican, cast the decidingvote. The tight tussle hintsthat the plan may not havethe two-third majority of the legislature needed toproceed.

Throughout April, preser-vationists fanned out overthe county. DOCOMOMONew York/Tri-State held threemeetings, Rudolph scholarTimothy Rohan gave a lecture in nearby Newburgh,New York, and in Goshen,designLAB delivered a pres-entation about their Rudolphrenovation project at theUniversity of MassachusettsDartmouth.

The building has not been

lacking for attention fromthe mainstream press either.After dedicating front-pagecoverage to the preservationfight, The New York Timesheld an online debate underthe provocative heading“Are Some Buildings TooUgly to Survive?” whichincluded the line describingthe Brutalist style as one“which uses raw concrete orother materials to make artgalleries look like falloutshelters,” from Anthony M.Daniels, a contributor to theconservative arts journalThe New Criterion.

The Orange County debate seems to boil down totraditional versus contempo-rary tastes, even asRepublicans took pains todistance themselves fromthe role of aesthetic conser-vatives. “I would never askto take a building downbecause of what it lookslike,” county executive direc-tor Eddie Diana told AN backin March.

Diana attempted to couchhis decision to destroy theBrutalist masterwork in

terms of fiscal responsibilityonly after his initial $136 million proposal for a newbuilding was rejected. Thenew plan costs $75 million.meanwhile his estimates for renovating the Rudolphbuilding climbed as high as$77 million.

Plans for the new countybuilding call for a 175,000-square-foot facility. RobertMiklos of designLAB wroteto Diana that Dartmouth’scomparable Rudolph build-ing added 22,000 squarefeet to a 155,000-square-footexisting building, making atotal of 177,000 square feet,but at a cost of $35 million. The Times Herald-Recordreported that that number isprobably closer to $43 millionafter design fees and fur-nishings are factored—stillless than Diana’s demolitionand replacement proposal.

Many questioned the proposal’s financing, withscrutiny centered on bondarrangements and whethera new building qualifies forfinancing from FEMA (thebuilding sustained damagein Tropical Storm Irene).Before voting against theproposal in the committee,legislator Myrna Kemnitztold AN, “You can’t useFEMA monies to build new.”Kemnitz, a consistent critic ofthe project, said that aestheticarguments aside, the financesjust don’t add up. “The entireproject was put out there bypoliticians who are willing to go on the premise thatpeople will never check.” Atpress time, a full vote by thelegislature was scheduledfor May 3. TOM STOELKER

PAUL RUDOLPH’S ORANGE COUNTYGOVERNMENT CENTER UNDER MORE FIRE

INTHEBALANCE

AN

/ST

OE

LK

ER

NEWS

08


Select USM Haller pieces in stock for Quick Ship delivery.

USM NY Showroom, 28–30 Greene Street, New York, NY 10013, Phone 212 371 [email protected], www.usm.com

Defining structure The potential of space increases with flexibility – USM builds the base for expansion.

To travel from New York toPhiladelphia is to go fromurbanity without architectureto architecture withouturbanity. New York’s sparkleand spectacle transcend themediocrity of its architecturecollection, in which grim vernaculars are unrelieved bythe developer-driven banalityof would-be landmarks.Philadelphia’s building stock,pound for pound the country’sbest, has to contend with theusual downtown desolationsof postindustrial depopulationand bombastic city planning.

The dilemma is acute atthe new address of the BarnesFoundation, an unusual artinstitution now in a skillful newhome by Tod Williams BillieTsien Architects on BenjaminFranklin Parkway. That piece

of City Beautiful urban renewaldrove a miniature ChampsÉlysées between the city’sdowntown and its MuseumofArt (aSchinkel-esque templeon a miniature acropolis), andadorned it with aspirationalBeaux Arts institutes, acade-mies, and libraries. But thosefaded glories are now adriftbetween unwalkable lots,haphazard highway ramps,bleak alleged parks, lumpenresidential towers, and theloading-dock posterior of aWhole Foods supermarket.

The Barnes has its own tortured history. Founded by pharmaceutical magnateAlbert Barnes in 1922, it hasbeen wrenched between itsstatus as a private collectionand its duty as a civic, if notentirely public, institution.

Classicist prodigy Paul Cret(whose masterful little Rodinmuseum neighbors the newbuilding) designed a villa forBarnes in suburban Merion,PA, to house a collection that would eventually include7 van Goghs, 46 Picassos,and 181 Renoirs. Barnes’ will,more noblesse than oblige,envisioned limited publicaccess and required that thecollection be left in his idiosyn-cratic hanging, which juxta-posed masterpieces with the work of local artists andartisans to dubious effect.

After financial scrapes andlegal twists, the foundation’strustees found a way to movethe collection to Philadelphia’sMuseum District, with thestipulation that Barnes’ hang-ing and Cret’s room layouts

had to be exactly replicated.Those rooms, some 20,000

square feet of them on twolevels, now form a bar buildingfacing the parkway, spacedby an atrium from a parallelstructure behind, containingadministrative offices, tempo-rary galleries, and the mainpublic entrance. Above thatatrium are angular lightscoopswhose interior geometryrecalls a near-identical detailin Williams and Tsien’s C. V.Starr East Asian Library atBerkeley, and whose exterioris expressed as a glassy,floating box—a fancy hat justjarring enough to the com-portment below to bring the building into the current century. The replica galleriesdutifully duplicate the basicsof the Cret originals and theirapproximate solar orientation,but add coved ceiling profilesfor additional daylighting and subtly extend Cret’s planto accommodate a light welland teaching spaces.

Underground, more class-rooms, an auditorium, and adiscreet gift shop are lit bythat light well, which is plantedwith hardy ginkos. With areported $150 million distrib-uted across a total 93,000square feet, (plus four acresof grounds), the money is

there to be seen. The exteriorand atrium interior are clad in vast panels of luminousIsraeli limestone, whose mot-tle and hue uncannily matchthe bark of the parkway’splane trees. The building’smassing and material evoke itsprecursors’ classical posturewithout recourse to formalpedantry. Throughout, there’sa mature version of Williamsand Tsien’s characteristicvocabulary of sandblastedconcrete, burnished woods,and meticulous metal trim.

What elevates the buildingabove mere good taste is thechoreography of the entrysequence. Working with landscape architect LaurieOlin, Williams and Tsien havedrawn out the building’sapproach: visitors from alldirections are filtered throughlow terraces toward a free-standing ticket pavilion; and from there, along andacross a long reflecting poolthat sneaks, Barragán-like, under a high wall that abuts a monumental niche, withinwhich they find themselvesbriefly aligned, through glassand atrium beyond, with the main entrance to the bar building’s replica galleries.(A blunt 10-foot-high wallobscures, in the reflecting

glass, the back of that WholeFoods and a parking lot.) Butthis is no bombastic enfilade:from this moment of axialalignment and anticipationvisitors are diverted sidewaysto the right, through a heavyoak door into a meditativereception room, and thenceback to that atrium, an interiorforecourt that serves as aholding area from which oneenters the replica galleries in timed and spaced groups.It’s an experience that’s intricate yet fluid, intimate yet expansive, staging anessential but delicate delaybetween city and art.

Charmingly, the atrium floor,in familiar herringbone array, isseasoned ipe wood salvagedfrom the boardwalk of NewYork’s own Coney Island. It’sthrilling to contemplate someof Coney’s wised-up glamour,sincere flimflam, and urbanepopulism seeping deeply intothe chilly self-regard and piouspropriety to which places like the Barnes can be all tooprone: thus Philadelphia andNew York, architecture andurbanity, Barnes and Barnum,together at last.

ARCHITECTURE CRITIC

THOMAS DE MONCHAUX LAST

WROTE FOR AN ON CORNELL’S

MILSTEIN HALL.

CRIT

>TH

E B

ARNES FOUNDAT

ION

TO

M C

RA

NE

View from BenjaminFranklin Parkway; Right:View from 21st Street.

NEWS

09

Since its construction in 1982, the Jacob K. Javits Center has been one of the world’s leading examples of space-frame design. But the I.M. Pei & Partners-designed exhibit space needed updating to put its best face forward for the 3.5 million visitors it receives each year. So owners engaged Epstein Global and FXFowle Architects, who developed the recladding program that is dramatically increasing the building’s transparency and energy efficiency. Targeting LEED Silver with a glazing system that will enable the building to exceed energy code requirements by 25 percent, the new face of Javits proves that being old doesn’t have to mean retiring.

Transforming design into reality

For help achieving the goals of your next project, contact the Ornamental Metal Institute of New York.

Publisher of Metals in Construction211 E 43 ST | NY, NY 10017 | 212-697-5554 | www.ominy.org

SPACE LIFT

PS

CEAPPA

E

P S

CEAPPA

E

ecchitArewloFXF

yeacheseivecrititput otupdating

eiPM.I.theButwehtfoenoneeb

truonscitseSinc

gniddalcerehtdepolevedohwcts

eintEpsengaged swneroSo.earym3.5theorfdorwarfeacftbestsspxhibite-designed snerartP&

f-ecapsfoselpmaxegnidaels’dlrotsaviJ.KobcJathe1982,inction

tahtmargorpandobalGln

sorvisitillionneededepac

.ngisedemarfhasertenCs

earreointoansfrT

.gniriternaemotfw nethe ent, cper

buildithe e enablgetarT.efficiencyincy allamaticdris ecchitArewloFXF

litydesignrming

oldbeing that esvoprJavits ofeacfeequirrode cgyenereed cxeotng

sysglazing a wither vSilLEED ingencanspartrs building’the easing cr

gniddalcerehtdepolevedohw,cts

ehavdoesn’t25byements

willthat em tsgyenerand cy

tahtmargorp

YN,YN|TS34E112tals inMeforehsilbuP

act the Ornamontcvingor help achieF

gro.ynimo.www|4555-9762-12|71001n Construction

ork.w Ye of Netitutal Insal Metmentoject,xt prour neg the goals of y

Architect: Epstein Global, FXFowle ArPhotographer: Enclos

chitects

Fold, fill, or weave were the marchingorders given to students at Parsons’ Schoolof Constructed Environments. The studentswere armed with Xorel, a woven polyethyl-ene fabric from Carnegie Fabrics that hasthe textured appearance and malleability of fabric but is as tough, stain resistant, anddurable as a plastic. The company engagedthe students to design soft structures madefrom the tech fabric for the firm’s booth at this year’s International ContemporaryFurniture Fair (ICFF) at the Javits Center.Faculty member and architect GrangerMoorhead and his brother, industrial designerRobert Moorhead, came up with the exercisefor the class in temporary structures.

Granger Moorhead asked the students to break out into teams focused on folding,filling, or weaving. The installation had to be experiential so that visitors to thebooth could walk through, under, or besidethe design. The folding and weaving teamsquickly attracted students, while filling tookon just two. Carnegie staff and Parsons faculty weighed in on which submissionwould work best at ICFF.

The weaving group used a paper-backedversion of Xorel to create dozens of wide fab-ric loops bound together at two points. Thevoluminous waves were striking in mock-upphotos and watercolor studies, but jumpingfrom the plan to the Javits Center would be a bit of stretch—too precarious and preciousfor the duration of the show. Next.

The filling group of two took durabilityinto serious consideration, drawing inspiration from bags usually found on construction sites as tieback weights. Thegroup used an unbacked version of the fab-ric to create glorified tiebacks held togetherwith industrial grommets. The result wasamusing and inviting to the touch, but thestacking method might not meet the exactingdesign sensibilities at ICFF. Nice try.

The folding group walked away with a winning design based on an origamiapproach. They also used a paper-backedversion of Xorel. Usually used for wall covering, the paper-back structure facilitatedprecise origami cuts to create pyramid-likeshapes with extended tabs at the base ofeach plane. The tabs were then attached

to each other, giving designers freedom tocreate larger compositions. When joinedtogether, the forms evolved into cloudlikeshapes, with several pyramids scaled up forvariety. “It’s very poetic and a simple buildingblock,” said Granger Moorhead.

With formal issues decided, the studentswent on to explore a new process created by Carnegie that allows for digital printingon the paper backing the fabric. Since thewoven polyethylene surface is translucent,any printed pattern underneath showsthrough. To go even more baroque, thepolyethylene surface itself can be texturedwith a jacquard pattern. The students choseto plainly mark the design onto the paper, as in a blueprint, actuating the fold marksthrough a translucent Jacquard. “You look and you see it’s digitally printed,” saidCarnegie’s executive VP Heather Bush. “Butthen you say, ‘Hey, what’s going on here?’”

At press time the students were still atwork tinkering with composition. GrangerMoorhead said that the design has movedaway from its cloud origins into somethingmore treelike that visitors can walk beneath.“It’s interesting that they ended up using thepaper-back, because what they have done isas far away as you can get from wallpaper.”Mission accomplished. TS

THE CHALLENGEC

OU

RT

ES

Y P

AR

SO

NS

TH

E N

EW

SC

HO

OL

OF

DE

SIG

N

TEXTILE COMPANY ASKS PARSONS STUDENTS TO REINVENT WALLPAPER


NEWS 10

Panel Systems Corp.rp.oCmsetnel SysaP

The architects from Perkins+Willhad already completed the mass-ing studies and master plan for a new hospital at Johns HopkinsUniversity in Baltimore whenMayor Michael R. Bloombergdonated $120 million toward the$1.1 billion project. But the gift to his alma mater came with acondition: infuse the project withart. And not just “plop art,” butart integrated into the architecture.As a result, the curtain wall of the new Charlotte R. BloombergChildren’s Center, named for themayor’s mother, has incorporatedshadow-box glass panels in huesderived from Monet’s wisteriareflected in the pond at Giverny.

The hospital complex compris-es two towers, with the Children’sCenter behind the one with acurved facade. An L-shaped tower

for adult care is named for Sheikh Zayed bin Sultan AlNahyan, founder and president ofthe United Arab Emirates, whosefamily made an undiscloseddonation. A combination of bondsfloated by the hospital plus stateand federal dollars made up therest of the funding. The complexis united at street level through a large canopy that provides flow, like an airport terminal with distinct yet visually unifieddrop-off areas. A public plaza bylandscape architecture firm OLIN,the size of a football field, drawsvisitors into the complex.

Perkins+Will were already toying with the notion of color-laminated glazing for the children’shospital. But the facade as artworkcame about after the Bloombergteam brought in curator Nancy

Rosen, who in turn recruitedSpencer Finch, the artist whoseglass mosaics in the muddy blues of the Hudson are installedat the High Line in New York.Though Finch’s media are glassand light, a 20-story, energy-efficient curtain wall fronting 1.6million square feet was anothermatter. “Normally, I do exhibitionsthat are up for a while and thenthey come down, so the perma-nence was sort of terrifying,” the artist said.

The architects gave theBrooklyn-based artist a crashcourse in curtain-wall design, and in turn they visited his studioto understand his approach.Perkins+Will design principalRalph Johnson said working withan artist differs from workingwith a color consultant. “There’s

a body of personal work that anartist brings, whereas a colorist is just reacting to the building,”he said.

The shadow-box method waschosen partly because the use ofan aluminum back panel providedthe artist with an opaque surface within the grid as a kind of canvasfor color application. The entirepalette of Pittsburgh Paintsenamels was at the artist’s disposal, which he whittleddown to 26 colors based in parton the undertones of pond waterand highlights of the sky.

The shadow box’s assemblageincludes the double-paned glassplus the aluminum back. Of thefive surfaces, three were to bepainted: the back of the exteriorpane, the front of the interior pane,and the aluminum back. Finchdesigned a frit pattern for theglass resembling water ripples.The frit on the two glass layerscasts shadows on the coloredaluminum that is set back about 6 inches. The artist created thepattern by hand then scanned itinto Adobe Illustrator, where itwas refined and then sent to thearchitects for transfer to AutoCAD.

Glass fabricator Viraconscreened the frit pattern in ceramiconto the low-iron glass. The

back of the exterior pane got adownturned ripple in a finish simulating acid etching, while the front of the interior pane tookan upright ripple in a simulatedsandblast finish. The wet ceramicwas bonded to the glass at 1,200 degrees Celsius. A low-e coating went onto the back ofthe exterior pane, and the entireensemble was sent off to HarmonIncorporated for assembly.

At Harmon, approximately20,000 panes of glass were framedin aluminum and secured in a bed of silicon to absorb any seismic shock. Typical units wereabout 7 feet wide and rangedfrom 16 to 19 feet tall. Each unitholds five to seven pieces of glass.

Normally the factory handlesabout 100 different units at a time,but for this project the numberjumped to 2,000. Coordinationwas key. “When working withcustom silk-screen patterns, it’simportant to understand how it’sgoing to lay out,” said Viracon’sBob Carlson. “You may think that if you didn’t have it right, themisplaced pane might blend, butactually they jump out at youreally quickly.” Quality controlcoming out of Harmon was tight.Of the 20,000 intricately patternedpanes, only about 15 had to beadjusted on-site. The Charlotte R.Bloomberg Children’s Centeropened officially on May 1. TS

INDETA

IL>CH

ARLO

TTE R

. BLO

OMBERG

CHIL

DREN’S

CENTE

R PERKINS+WILLLeft: The new hospital forms acampus gateway; Right: The fritpattern on the double-pane glass.

LE

FT

: K

EIT

H M

ILL

ER

; R

IGH

T:

PA

UL

WA

RC

HO

L

NEWS 11

Metals in ConstructionintalsMe Constructionn

ATDEAD

LINE NYUINCHESCLOSERTOPLANNINGVOTE

NYU2031, the New York University’s expansion plan, went before City Planningfor a public hearing on April 25. The plan calls for more than 2 million squarefeet to be added to the campus core in Greenwich Village. With an overflowcrowd expected, Planning moved the meeting to the much larger venue of theauditorium at the Museum of the American Indian. Several speakers from theGreenwich Village Society for Historic Preservation tag teamed at the lectern to cobble together a cohesive anti-expansion presentation out of three-minutetime allotments. Matt Urbanski of Michael Van Valkenburgh seemed a bit shaken by hisses and shouting coming from the crowd. Grimshaw’s Mark Husserdefended the need for the Boomerang building’s underground light wells to provide natural light to the nearly one million square feet of below grade space.Commissioner Amanda Burden said that, as the light wells take away from public space, “you have to do a better job of arguing for that,” she said. Thedeadline for the Planning vote is June 6.

JOCKEYINGFORPROMINENCEONPARKAVENUEL&L Holding Company, owners of a midcentury office tower at 425 Park Avenue,are looking to build a new, high design office tower on that site. It would be thefirst new office tower built on Park Avenue since the 1980s. Some of the biggestnames in architecture are competing for the job: Ateliers Jean Nouvel, AteliersChristian de Portzamparc, Herzog & de Meuron, Foster & Partners, Zaha Hadid Architects, OMA, Maki and Associates, KPF, Richard Meier and Partners,Rogers Sirk Harbour + Partners, and Renzo Piano Building Workshop. VishaanChakrabarti is running the competition.

COOPERHEWITTGOESUPTOWNWhile the Cooper-Hewitt’s Upper East Side manse continues to undergo renovations, the museum is renting a 1,200 square foot space for children’sworkshops at 111 Central Park North. The new Harlem spot is part of a series ofpop up exhibits and programming that keeps the museum on the radar until the$54 million renovation is completed. Todd Oldham designed the new space withteens from the museum’s “DesignPrep” program.

Designed by Charlotte Perriand and PierreJeanneret in 1938 but apparently neverbuilt, the Refuge Tonneau was envisioned as a compact and efficient mountain retreatfrom extreme weather. Almost 75 years laterit has been reconstructed for the first time by luxury Italian furniture brand Cassina aspart of their exhibition for this year’s Salonedel Mobile in Milan.

The aluminum dodecahedron structure—inspired by a merry-go-round in Croatia—ingeniously accommodates up to eightdwellers on two levels in its efficientpinewood interior. The lower space includesfour single beds, while two double beds are tucked into a mezzanine above. A heaterin a central steel support pillar warms theentire space. Using a system of leatherstraps adapted from train car compartments,

the beds on the lower level can be flippedand turned into tables, while the kitchenarea includes a steel washbasin for collectingsnow melt. The warm pine interior keeps the bare essential nature of the space fromfeeling too austere.

Using the original sketches, Cassina re-created the mountain hut with the help ofPerriand’s daughter and longtime assistant,Pernette Perriand-Barsac. In a world facingincreasingly severe weather conditions andfrequent natural disasters, the efficiency anddignity of the Refuge Tonneau offers numer-ous lessons both for designing quick andcompact housing and living lightly on theland. It’s a reminder of the truly revolutionarythinking of the first generation of modernists,whose buildings and objects continue to star-tle with their originality and relevance. AGB

OUTOF THIN AIRC

OU

RT

ES

Y C

AS

SIN

A

FEAT

URE 12


A TOWNHOUSE INGREENWICH VILLAGEPROVIDES A FAMILYWITH A REFUGE OF ELEGANT CALM

Architect Steven Harris of Steven Harris Architects and interior designerand painter Lucien Rees Roberts ofReese Roberts + Partners figure thatthey have together worked on some 60townhouses in New York, but the 1840scharmer on Bank Street was the firstone to need a complete facelift. Thebricks on the facade were loose enoughto remove by hand. Once they rebuiltthe front, reusing the original bricks and

adding a fifth floor with replicas, theyblasted off the rear garden facade tocreate a two-story glass wall framed inindustrial steel sash, being careful tomaintain the same shape and proportionof the window panes of the front. “It canbe so distracting when you look throughan historic front and see a starkly modern structure at back,” said Harris.

The balancing act between past andpresent, historic and modern guided allaspects of the renovation and interiordesign in an approach the architectdescribed as “modernized traditional or domesticated modern.” That meant detailing the interiors with base-boards, moldings, and casing aroundthe doors—familiar prewar details—allslightly streamlined or abstracted. Eventhe fireplace that fits in seamlessly is actually based on a 1940s French

EASY OPULENCE

SC

OT

T

FR

AN

CIS

FEAT

URE 13

Facing page: Sofa by Christian

Liaigre for Holly Hunt; Club

chairs from A. Rudin; Floor

lamp by David Weeks from

Ralph Pucci; Vintage Knoll

swivel chair from Wyeth; Fine

sisal grasscloth wallpaper

from Stark. Left, below: Kitchen

Tay wood cabinets custom-

designed from Tabu; Fittings by

Dornbracht; Custom-designed

walnut island counter; Miro

stools by Riva 1920; Pendant

light by Artemide; Dining table

and chairs by Riva 1920. This

page: Bean desk and Marlowe

chair by Ceccotti; Arm chairs by

Poltrona Frau; Brera bookcase

by Riva 1920; Ceiling light by

Serge Mouille from Gueridon.

FEAT

URE 14


FEAT

URE 15

Facing page: Obi dining table and Ma Bell chairs by Ceccotti; Optical chandelier by Barovier & Toso; Silk wallpaper from Zimmer + Rohde; In entry hall, vintage 1970s mirror by Neal Small; Console by Michael Coffey from Todd Merrill Antiques. Above: Como bed and chest by Riva 1920; Chandelier by Marcel Wanders from Flos; Fine sisal grasscloth wallpaper from Stark; Custom-designed carpet from V’Soske. Below: Bathroom walls of silver travertine; Countertop in Gaudi marble; Fittings by Dornbracht.

original amped up in drawings by Rees Roberts and digitally carved fromlimestone. Only the master bath, anamenity that would not have existed inthe original, is fully modern with silvertravertine walls, meticulously detaileddoors with flat casings and a reveal, andsleek X-shaped fixtures by Duravit.

The furnishings are a combination ofcustom-designed, showroom originals,vintage modern, and pieces that thehomeowners collected on their travels.The owners are Chinese-Australian and, according to Rees Roberts, broughtto the project “a refined sensibility abouttexture and color that was impressivelysubtle.”

A nearly monochromatic palette hovering around beige, ivory, and woodtones holds it all together, as do theextra-long planks of fumed oak boardsfor the floors throughout. Wall treatmentsof Sisal Grasscloth from Stark in the

living room and master bedroom, andsilk fabric from Zimmer + Rohde in thedining room add the texture that keepsit from being too quiet. “Clients oftenask us if we should add pieces here andthere,” said Rees Roberts, “but weencourage them not to have more thanthey need. Space is the luxury.”

While chandeliers—a contemporaryMurano with pink optical globes, a 1940sclassic by Serge Mouille, and a shroudedFlos by Dutch wunderkind MarcelWanders—and a smattering of modernantiques (notably a Michael Cofffeyconsole in the foyer), introduce adegree of sculptural drama, the overallaesthetic is intentionally cool and collected. The years of experience withurban townhouses in the city have led the architect and designer to oneabsolute understanding: “For anyoneliving in New York, serenity is an ambition,” said Harris. JULIE V. IOVINE

SC

OT

T

FR

AN

CIS

FEAT

URE 16


SHIPSHAPED

FEAT

URE 17

ARCHI-TECTONICS FLOATS BIGIDEAS FOR RETAIL IN SHANGHAI

Luck is taken seriously in China, so a series of fortunate events during design and constructionfor the new Ports 1961 flagship store in Shanghaibodes well for its future. The first project in Chinafor the New York–based firm Archi-Tectonicsencountered few hurdles thanks to a client withestablished manufacturing and construction contacts, according to Archi-Tectonics founderWinka Dubbeldam. Located in an art deco buildingon Shanghai’s historic waterfront known as the Bund, the 2,800-square-foot space’s high ceilings and monumental proportions were bothimposing and inspiring for the whole team. “Theconstruction manager had studied mathematicsand recognized that this space embodied certainmathematic rules and got so excited about it,”said Dubbeldam.

To create a lighter, more human-scale environment, Dubbledam took a cue from the history of shipbuilding in the neighborhood anddevised a wooden “liner” to produce a space within a space that evokes both a ship’s hull andthe layers of fabric used in constructing fashion.Made of boards the Ports team salvaged from an old house undergoing demolition, the reclaimedwood was re-milled then intentionally roughenedand rubbed with silver paint and oil to create a luminous textured surface. Within this ruggedshell, smooth islands of fiber-reinforced gypsumemerge from the limestone floor to serve as display tables. Other elements, as if underwater,appear to float: vitrines with multiple shelves(designed by New York architects GabelliniSheppard), mannequins made of stiffened poly-ester mesh, and clothing racks are all suspendedfrom the ceiling.

Just when the team thought the job was done,they realized that they still needed to pick one morepiece, an exit door. A fortuitous last-minute findturned out to be the store’s showpiece, a 600-year-old antique Chinese door of wood and bronze. “It’s fun to help develop bigger, longer term brandstrategy and then think about how local informationcan influence that,” said Dubbeldam, who hasgone on to design a Ports 1961 in Paris. MOLLY HEINTZ

Left: Main space lights by Cooper Lighting; Nickle chrome tables, mannequinhangars, and padded leather walls by Archi-tectonics Design and locally fabricated;Hanging cradle shelving units and rods by Gabellini Sheppard Associates; polishedlimestone tile floors. Top: Dressing room walls upholstered in gold metal polyesterweave manufactured by Ports 1961. Above: salvaged antique door.

JIA

NG

WO

NG

DOODLE SOFABY FRONTMOROSOThe pattern quilted into this leather sofa is based on accumulated doodles the design team sketched duringdesign meetings.moroso.it

DALA STOOL AND OTTOMANBY STEPHEN BURKSDEDONA mesh frame of powder-coated aluminum provides a structural shell, which is interwovenwith an eco-friendly synthetic fabric to create a colorful family of outdoor seating.dedon.de

PRODUCT 18


WORKHARD, PLAYHARDER

LUMINOUS TABLE BY TOKUJIN YOSHIOKAGLAS ITALIAInspired by light’s relationship with the material world, Tokujin Yoshioka designed a table completely of clear glass whose sand-blasted legs add an element of contrasting opacity. glasitalia.com

MIA STACKABLE CHAIRSBY JEAN NOUVELEMUDefined by its hieroglyphic profile, the aluminum and steel MIA chair nowin production by Emu was originallydesigned for a restaurant at theNouvel-designed RBC Design Centre in Montpellier, France.me.emu.it

PILA CHAIRBY RONAN AND ERWAN BOUROULLECMAGISSolid ash legs combined with plywood back and seat create a chair that is light but structurally strong.magisdesign.com

ROPERO WARDROBEBY ALEJANDRO VILLAREALHIERVEThis glass and oak modular wardrobe or shelving unit displays rather than concealsallowing users to select candy-colored backdrops of drawers and shelving.hierve.com

PRODUCT 19

The practical and durable meet the whimsical and experimental at this year’sinternational furniture fair in Milan. By Molly Heintz

IMA

GE

S C

OU

RT

ES

Y O

F R

ES

PE

CT

IVE

MA

NU

FAC

TU

RE

RS

SUPERHEROES SEATINGBY STUDIO GLIMPTCAPPELLINIA multicultural mash-up, this seating series is made from thread rolled around tubing, a technique inspired byVietnamese craftsmen, then accented with a punchy pattern by Swedish graphic designer Malin Koort.cappellini.it

MARU PLATEBY SHIGERU BANWHEN OBJECTS WORKNamed after the Japaneseword for “circle,” Ban’s hotplate is made from slices of his signature cardboardtubes and doubles as a flexible table-top sculpture. whenobjectswork.com

SOURCE SODA MAKERBY YVES BEHARSODASTREAMThis redesign of the popular carbonation machine is activated simply by pushing the bottle into place. Featuring an LED user interface andstreamlined form, the Source will be available in late 2012.sodastreamusa.com

DRIFTED STOOL BY LARS BELLER FJETLANDKAMI BENCHBY CLAESSON KOIVISTO RUNEDISCIPLINEDiscipline, a new design collective based in Italy, is recruiting talent from all over. Norwegian Lars Beller Fjetland created an ash wood stool whose cork seat is naturally water- repellent. Claesson Koivisto Rune developed the bamboo Kami Bench forassembly without hardware.discipline.eu

TOBI-ISHI TABLEBY BARBER OSGERBYB&B ITALIAInspired by the smooth stones used in Japanese gardens, the burnishedfinish of this prototype table comes from an applied mineral coating; ultimately the designers envision versions in solid wood and stone.bebitalia.com

FEAT

URE

20


AOL WANTED AN ENERGETIC VIBE FOR ITSNEW PALO ALTO OFFICESAND DESIGN FIRM O+ADELIVERED

As wealthy tech companies continue todescend upon Palo Alto to complete theirtech 2.0 makeovers, one of the biggestsurprises has been AOL. Despite its purchase of The Huffington Post and various new ventures, the old-school (atleast by tech world standards) company

still wasn’t known for innovation or risk.Perhaps that’s why they asked O+A todesign an edgy office. The design, pointsout O+A director of design Denise Cherry,is meant to embody the new mantra of AOL: “transparency, collaboration, creativity, playfulness.” It’s also designedto rekindle the “the energy of a startup.”

Built into an existing office building, the makeover uses unfinished materials,exposed ceilings, and concrete floors tosuggest a rough-around-the-edges feeling,contrasted with simple, white walls andpunctuated with a high-energy palette of colorful carpeting, modern furniture,

sculptural neon lighting, and bright,custom graphics.

“We wanted to play with this idea of stripping back the building to its basics as a parallel to thefocus of AOL's new culture,” said Cherry.Thus, sanded-down and sealed OrientedStrand Board, typically a construction-grade material, lends walls and benches afinished but still raw finish.

Spaces are casually organized to reflectthe current philosophy that “an idea canhappen anywhere,” said Cherry. The openplan is dotted by groupings of loud furnitureand fiberglass-clad “pods” to allow

intense congregation oralone time; a “town hall,”

a large, bright space that is the core of the office, makes room

for larger groups. More traditional conference rooms are also available forthose few times when workers need tohave an old-fashioned meeting. SAM LUBELL

Lobby lights “Mod” pendents fom Lite Control; Workstations by Inscape with Herman Millerseating; Lounge seating by Blu Dot, Coalesse,Haworth, and De La Espada; Conference tablesby Mash Studios; Custom-designed conferencepods with acoustics by Auralex.

LIBERATED FROM

THE CUBE

JA

SP

ER

SA

NID

AD

FEAT

URE

21

CLEAN CUT

Above and inset: Nylon scrims by Gerrits; stretched PVC ceiling byNewmat; custon Corian work surface with LG Hausys electronics; Below: Custom walls by FELT Studio.

SO-IL DESIGNSA MINIMALIST OFFICEAERIE IN NEW YORK

A plane of light, translucentscrims, and monumental desksdefine the ethereal new officesfor media-production companyLOGAN. It’s a space where thework is the focus and all clutterand distraction have beenstripped away.

“We wanted to avoid doing thestandard loft renovation,” saidIlias Papageorgiou, an associateprincipal at SO-IL, the architectsfor the project. Most of theemployees of this film and videocompany work on a contractbasis, so the office serves as atouchdown space for a variety ofcollaborators. “The space canaccommodate people as thecompany expands and con-tracts,” he said.

The ceiling is a backlit,

stretched PVC membrane thatcreates an even light throughout.“It’s nearly shadowless,” he said.Two custom tables extend thelength of the two side-by-sidespaces. A clear glass wall dividesthe space to create a conferenceroom and semiprivate offices.Nylon scrims cocoon the entirespace, including the windows, tovarying degrees of opacity whenviewed at different angles. Theghost-like outline of the windowsand old pipes are faintly visiblethrough the scrim. “We wantedto show traces of the old build-ing,” he said.

A series of soundproof roomsarranged in an L shape frame thespace. The rooms are lined withcustom pleated-felt walls, prefab-ricated by Toronto-based FELTStudio. While informality reignsat most media companies, SO-ILmakes the case that serenityboosts productivity. ALAN G. BRAKE

NA

HO

KU

BO

TA

22


BEGA sets the standard

Symmetrical up/down lightingPartially frosted crystal glass for dramatic glare control

LED Wall Mounted Luminaires

LIMBURG Collection

BEGA-US www.bega-us.com (805) 684-0533

One room.

Multiple functions.

40+ customizable solutions for every space.

969 Third Avenue @ 58th Street New York, NY 10022 212 753 2039www.resourcefurniture.com

New York Toronto Vancouver Victoria Montreal Hong Kong Calgary opening Fall 2012

Made in Italy by Clei. Made possible by Resource Furniture. Visit our website or call today.

See us at ICFF 2012 and DWELL ON DESIGN 2012

FORM ever follows FUNCTION. Louis Sullivan

Atoll202 Sofa/Chaise/Queen Bed

FEAT

URE

23

An interior public space often creates interesting opportunitiesfor experimentation. When it’s a hotel serving multiplepublics those opportunities, andchallenges, multiply. In LowerManhattan, the new ConradHotel, replacing the formerEmbassy Suites and now ownedby Goldman Sachs, presentedAnn Arbor, Michigan-basedarchitect Monica Ponce de Leonof Monica Ponce de Leon Studio(MPdL) with an impressive butmonumental lobby and publicspace in need of definition. As aright-of-way for the neighborhoodof Battery Park City, the space hadto remain open and accessible atall times. Thus stairs, leading upto a second-level lobby, becamean important part of the equation,as did a grand, multi-story SolLeWitt painting that hangs in thecenter of the space.

In order to contain the potentialoppressiveness of the 14-storyopen space while maintaining the clarity of the volume, MPdLworked with Feature Walters to

fabricate fiberglass strandsanchored to tension rings andorganized in ghostly shapes suspended overhead that fill thespace visually without sacrificingthe liberating sense of height.Stone paving furthers the feelingof a plaza, and even the hefty size of the metal handrails belongto the language of public space.Because the space is so tall, “ittruly feels public,” Ponce de Leonsaid. “If it were two stories, itwould not.”

The building’s physical engage-ment with the urban fabric is com-plex. On entry, visitors only get aglimpse of the Sol LeWitt which isoriented at a diagonal to the frontdoor. Only on climbing the stairsis it gradually revealed as it drawspeople up to a public landing with furniture in the shape of curvaceous sectional sofas wherelobby surfers are already happilyensconced. MATT SHAW

Left: An upper-level staircase; Above: The public stair from streetlevel; Below: Sol LeWitt’s installation.

ARTFULLODGER

MONICA PONCE DE LEON TRANSFORMS THE PUBLICSPACES OF A NEW DOWNTOWN HOTEL

TIM

HU

RS

LE

Y

PRODUCT 24

1


BRIGHT SPOTS1 SILVERBACK

KIBISI AND LOUIS POULSEN

Founded in Copenhagen by Lars Larsen, BjarkeIngels Group, and JensMartin Skibsted, KiBiSi has teamed up with LouisPoulsen Lighting to launchSilverback, a minimal silver fixture with a whitediffuser. An LED version will be launched in fall 2012.

louispoulsen.com

2 MANTA RHEISE’LUX

Light fixture manufacturerSe’lux and media installationdesign firm Art + Com have released a new collaboration called MantaRhei. The kinetic light sculpture is made withpaper-thin OLED modulesand in future iterations willbe scalable to clients’ needs.

selux.us

3 PLASSFOSCARINI

Plass—the name combines“plastic” and “glass”—is inspired by traditionalMurano glassmaking techniques but instead uses rotational moldedtransparent polycarbonateto achieve a radius andcurve that could not be produced with glass.

foscarini.com

4 EYES E4 PENDANTSENSES

Slated for release in fall2012, the Eyes collectionfrom Senses has beenremade with handcraftedglass shades and willinclude a new pendant version. Each of the cube’ssix touch-sensitive sides can be switched on and off.

spirit-of-senses.ch

5 POTENCE PIVOTANTENEMO

The result of a rediscoveryproject with CharlottePerriand’s daughter, Nemo put the PotencePivotante lamp into industrial production lastyear and is now extendingthe range with double-length.

nemo.cassina.it

6 PIANI TABLE LAMPFLOS

Available in black, white,red, and green, the Pianitable lamp by the FrenchBouroullec brothers seems a throwback to thelibrary lighting of yore, but with an LED light sourceand a catch-all base forsmall items, the piece isthoroughly modern.

flosusa.com

7 CSYS LED TASK LIGHTJAKE DYSON

Industrial designer JakeDyson has introduced hisCSYS LED Task Light, whichuses heat pipe technologyto divert heat from LEDs.The lower temperatureincreases the light’s lifetime,allowing more than 160,000hours of continual use.

jakedyson.com

7

THE TREND IN LIGHTING IS IN CRAFTED TECHNOLOGY WITH AN EMPHASIS IN SUSTAINABLE SMARTS. BY JENNIFER K. GORSCHE

6

2

4

5

3

CO

UR

TE

SY

RE

SP

EC

TIV

E M

AN

UFA

CT

UR

ER

S

Academic excellence, redefined.Introducing SmartSite™ powered by Intellistreets the first Distributed Intelligence Outdoor Lighting Control System that seamlessly integrates illumination, audio communications and sensory programs to protect, inform and entertain on campus.

SmartSite™ powered by Intellistreets, lets students, parents and administrators rest easier with discreet communications frameworks that monitor the exterior environment, offer students direct access for reporting threats, provide information on upcoming events, guide visitors around campus, play music, broadcast messages and much more. It can be further tailored to suit specific campus needs and requirements.

Learn more about how “off-the-charts-amazing” your campus can be. Visit www.amerluxexterior.com or, call us at 973.882.5010.

TM

Powered by IntellistreetsTM

CALENDAR 26


MAY

2012 MAY

WEDNESDAY 9LECTURESBill Walsh

Building in the 21st Century:

Radical Transparency of

Building Products

12:30 p.m.National Building Museum401 F St.Washington, D.C.nbm.org

Lance Jay Brown

Whose Space?

Public Land

in the Nation’s Capital

6:30 p.m.National Building Museum401 F St.Washington, D.C.nbm.org

Omar Freilla

New York’s

Cooperative Economy

6:30 p.m.Museum of the City of New York1220 5th Ave.mcny.org

CONFERENCEReinventing Older

Communities:

Building Resilient Cities

Through May 11Hyatt Regency Philadelphia atPenn’s Landing 201 South Columbus Blvd.Philadelphia, PAphiladelphiafed.org

THURSDAY 10LECTURESThe Very Reverend

Dr. John Hall

Westminster Abbey:

A Place for Royal Celebration

6:30 p.m.National Trust for Historic PreservationInstitute of ClassicalArchitecture & Art1785 Massachusetts Ave. NWWashington, D.C.classicist.org

Alexandra Lange,

Chappell Ellison,

Molly Heintz, et al.

Writing about Architecture:

Mastering the Language of

Buildings and Cities

7:00 p.m.Van Alen Institute30 West 22nd St., 6th Floorvanalen.org

Arturo Ortiz Struck

Housing Settlements

of Xalostoc

7:00 p.m.Paul-Desmarais TheatreCenter for CanadianArchitecture1920, rue BaileMontréal, Québeccca.qc.ca

FRIDAY 11LECTURECai Guo-Qiang

5:00 p.m.RISD AuditoriumRhode Island School ofDesign17 Canal St.Providence, RIrisd.edu

CONFERENCEMegaprojects and the

New York City Street Grid:

Lessons for the Future

Saskia Sassen, Vishaan

Chakrabart, Rafael Pelli, et al.

8:00 a.m.McGraw-Hill Gallery & TheaterThe McGraw Hill CompaniesConference Center1221 6th Ave.megaprojects2012.com

SATURDAY 12LECTURECalder Loth

Architectural Literacy on the

Lawn and Tour of Blue Ridge

Farm Residence and Garden

10:15 a.m.University of VirginiaInstitute of ClassicalArchitecture & Art400 Emmet St.Charlottesville, VAclassicist.org

EVENTGSAPP End of Year Show

5:00 p.m.Avery HallColumbia University GSAPP1172 Amsterdam Ave.arch.columbia.edu

FILMPerspectives on the Street

(Ernie Gehr, 1991), 83 min.2:30 p.m.East Building Concourse,AuditoriumNational Gallery of Art4th and Constitution Ave. NWWashington, D.C.nga.gov

WITH THE KIDSDesign Your Own City Block:

Active Design Workshop

1:00 p.m.Center for Architecture536 LaGuardia Pl.cfa.aiany.org

SUNDAY 13EXHIBITION OPENINGCivic Action: A Vision for

Long Island City at Socrates

Sculpture Park

12:00 p.m.The Noguchi Museum9-01 33rd Rd.Long Island City, NYnoguchi.org

MONDAY 14LECTUREToward a New

Cosmopolitanism

Stan Allen, David Adjaye,

Anthony Appiah, et al.

7:00 p.m.Storefront for Art and Architecture97 Kenmare St.storefrontnews.org

FILMNostalgia for the Light

(Patricio Guzmán, 2010), 90 min.7:30 p.m.Exit Art475 10th Ave.exitart.org

EVENTS2012 AIANY Design Awards

Panel: Honor Award


BRUNO CALS: HORIZONS1500 Gallery511 West 25th Street #607Through September 28

For city dwellers, the horizon line where the earth meets the sky can be impossible to find, hidden by the topographyof the skyline. By pointing his camera upward, Bruno Calsrepositions the horizon and reframes the built environmentin terms of landscape itself. Cals deliberately obfuscates thesubjects of his series; the photographs read not as structurebut as texture and line. These images suggest infinite planes of artificial material, creating a kind of landscapeout of brick, metal, and tile (Untitled 1, 2011, above). Thecompositions are occasionally broken up by moments of asymmetry such as a protruding fire escape and a facademade up of multicolored balconies, both of which are, initially, unreadable (Untitled 2, 2010, top).

SUNDAY 20SYMPOSIUMWhat Would

Jane Jacobs Do?

Bing Thom,

Harriet Tregoning,

Susan Szenasy, et al.

10:00 a.m.National Building Museum401 F St.Washington, D.C.nbm.org

EVENTSSociety Hill Open House &

Garden Tour

1:00 p.m.Old Pine Community Center401 Lombard St.Philadelphia, PAsocietyhillcivic.org

Around Manhattan:

Official NYC

Architectural Boat Tour

2:00 p.m.Pier 62Chelsea Piers West 22nd and Hudson Riveraiany.org

MONDAY 21LECTURERobert W. Jackson

Highway under the Hudson:

A History of the

Holland Tunnel

12:00 p.m.Lecture Hall92Y Tribeca200 Hudson St.92y.org/tribeca

SYMPOSIUMFit City 7:

Promoting Physical

Activity through Design

Joseph J. Aliotta, Rick Bell,

Janette Sadik-Khan, et al.

8:00 a.m.Center for Architecture536 LaGuardia Pl.cfa.aiany.org

TUESDAY 22LECTURESteven Jaffe

New York at War:

Four Centuries of

Combat, Fear, and

Intrigue in Gotham

6:30 p.m.Tenement Museum103 Orchard St.tenement.org

EXHIBITION OPENINGCapital of Capital: New York

City Banks and the Creation

of a Global Economy

Museum of the City of New York1220 5th Ave.mcny.org

EVENTGuess-A-Sketch!

A Benefit for the

Center for Architecture

Foundation


WEDNESDAY 23LECTURESSonya Kharas

Feeding the Future:

Tour & Talk

6:30 p.m.The High Linethehighline.org

TUESDAY 15LECTUREMark Purcell

“A Great Number

of Useful Books”:

The Country House Library

6:00 p.m.The Union League ofPhiladelphiaInstitute of ClassicalArchitecture & Art140 South Broad St.Philadelphia, PAclassicist.org

FILMI. M. Pei:

Building China Modern

(Anne Makepeace, 2010), 53 min.2:00 p.m.Bonnie J. Sacerdote Lecture Hall, Uris Center for EducationThe Metropolitan Museum of Art1000 5th Ave.metmuseum.org

WEDNESDAY 16SYMPOSIUMRegional Planning:

The Shape of Things to Come

in the Delaware Valley

David Rouse, Steve Wray,

Barry Seymour, et al.

5:00 p.m.The Downtown Club PublicLedger Building 6th & Chestnut St.Philadelphia PAsmpsphiladelphia.org

THURSDAY 17LECTUREKenneth Frampton

& Mark Wigley

Conversations in Context

5:30 p.m.The Philip Johnson Glass House199 Elm St.New Canaan, CTphilipjohnsonglasshouse.org

CONVENTIONAIA 2012 National

Convention and

Design Exposition

Through May 19Walter E. WashingtonConvention Center801 Mt Vernon Pl. NWWashington, D.C.convention.aia.org

FRIDAY 18LECTURESNed Cramer,

Julie V. Iovine,

Philip Kennicott, et al.:

Connecting Architects

to the World of Print and

Digital Media

2:00 p.m.AIA 2012 NationalConvention and Design ExpositionWalter E. WashingtonConvention Center801 Mt Vernon Pl. NWWashington, D.C.convention.aia.org

Judith Sheine

Rudolph Schindler’s

Kings Road House

7:30 p.m.Embassy of Austria3524 International Court NWWashington, D.C.aiadc.com

LARA FAVARETTO: JUST KNOCKED OUTMoMA PS122-25 Jackson AvenueLong Island City, NYThrough September 10

Lara Favaretto’s installations and sculptures at once performand memorialize their decay. Often incorporating elementsfrom previous installations in new works and using discardedindustrial material, Favaretto makes futile and impermanentgestures, ephemeral monuments to aspiration and failure.The works describe loss: found paintings encased in yarn, obscuring and preserving the original; cubes made ofconfetti, decomposing throughout the span of an exhibition;car-wash brushes, whirling and wearing down againstmetal plates (above). These mechanisms celebrate futilemotions, becoming memorials imbued with the reality oftheir own obsolescence.

FOR MORE LISTINGS PLEASE VISITDIARY.ARCHPAPER.COM

CO

UR

TE

SY

MO

MA

PS

1B

RU

NO

CA

LS

REVI

EW

28


Max Risselada has spent the lastdecade engaged in research on Team10 and its founding members Alisonand Peter Smithson. In his latest ofseveral books on the subject, he hasassembled 27 essays by colleagues,admirers, critics, and historians of theSmithsons. Since so much of the theirown writings and projects have alreadybeen published (much by the Smithsonsthemselves), it seems fitting thatRisselada has opted to organize a collection of critical commentaries astestimony to the couple’s varied andcontinued influence. Risselada’s owninterest in them runs deep, going backto his teaching days at the Faculty of Architecture at the Delft Universityof Technology, where the Smithsonsalso taught from 1982 to 1983.Although the Smithsons built relativelylittle, they were prolific writers, makinga significant contribution to the discipline through their teaching andnumerous publications.

The essays here are organizedchronologically, though not accordingto the chronology of the essays them-selves. With the exception of the firsttwo contributions by Christine Boyerand Richard Padovan, which reflect on the fundamental role of writing in the Smithsons’ oeuvre, essays aremore generally organized according to the chronology of realized projects,beginning with the Hunstanton Schoolin Norfolk, U.K. (1949–54), and ending

with the Hexenhaus (1984–2001) and TECTA Chair Museum (2003–7),both in Germany, for Axel Bruchhäuser,the Smithsons’ last client. These ruminations are often presented in pairs,as if to underscore the multivalentinterpretations the Smithsons’ workoffers at different historical moments.But although such pairings risk beingrepetitive, or even confusing, here theparallax is mostly illuminating.

Take, for example, the two essayson the Economist building, one byKenneth Frampton and the other byIrenée Scalbert. In his article, originallypublished in AD in 1965, Framptonreviews the Smithsons’ second majorbuilt work shortly after its completion,relating this important project to thecorpus of ideas that inform it. If someof the earlier projects, such as the Patioand Pavilion installation, seem tentativein their experimentation, the Economist,as Frampton argues, serves as tangibleevidence of a decade’s worth of Team10’s theorizing. Among precedents, it is the Smithsons’ Berlin Hauptstadtcompetition of 1958 that Framptonsees as formative of a strategy to extend the built environment. With its gently raised plaza, contrapuntalarrangement of low and high towers,the Economist is a strategy of formand space making, applied to the exist-ing fabric with remarkable foresight,sensitivity, and precision. Yet Framptonis moderately critical of the repetitive

nature of construction details thatignore differences in scale, and he laments the missed opportunity todevelop, even hypothetically, a morecomprehensive scheme for local redevelopment. While Frampton contemplates the Economist on formaland conceptual grounds, Scalbertdescribes the same project from theperspective of professional practice andthe interplay of architect, client, andconsultant architect. He reveals theextent to which many of the importantdesign decisions were, to some extent, determined in advance of theSmithsons’ participation, dismantlingthe misleading notion of the architectas a lone, creative genius.

In addition to the more well-knownessays, such as Reyner Banham’s“New Brutalism,” the anthologysheds lights on many of the Smithsons’lesser known projects, built in the1980s, when a new generation ofarchitects had stolen the limelight forpostmodernism. David Turnbull, forexample, discusses the set of buildingsthe Smithsons designed for the university campus at Bath (1978–88), aperiod coinciding with their involvementsince 1976 with the InternationalLaboratory of Architecture and UrbanDesign (ILA&UD), summer workshopsin Urbino, and later Siena, organized by their Team 10 colleague GiancarloDe Carlo. This project reworks earlierthemes, such as the idea of urban layering instanced by the Economist,and introduces new ones arising out ofthe ILA&UD workshops. Turnbull parsesthrough the Smithsons’ late conceptof “conglomerate ordering” (an ideathat is not so easy to pin down butrefers generally to tectonic means oforganizing the environment). His essayis followed by Peter Salter’s personal

account of working in the Smithsons’office. Salter notes how the officeredrew entire projects after they werecompleted, taking into account anychanges that were made during theconstruction process. This unusualexercise was perhaps done in an effortto develop a rigorous, visual logic for building details. The Smithsons,notes Maddalena Scimemi in anotheressay, “set themselves the task of‘Anglicizing the influence of Mies,’”but despite their efforts, detailing, asFrampton and Turnbull suggest, wasnot exactly the Smithsons’ forte.

Interspersed throughout the anthol-ogy are reflections on the Smithsons’oeuvre at particular moments in theircareer. While some of these reflectionsare personal homages by well-knownarchitects (Enric Miralles and PeterCook), others contextualize the couple’sthinking within a broader framework of historical and critical inquiry. BeatrizColomina builds upon the Smithsons’own homage to the heroic modernperiod and reflects on their indebted-ness to architect-couples before them, such as Charles and Ray Eames,Le Corbusier and Charlotte Perriand,and Gerrit Rietveld and Truus Schröder-Schräder. Mark Wigley, in the finalchapter, considers the Smithsons’career and publication output from the perspective of the editing process,which hones a lifelong investigation toa refined point.

All together, the anthology consti-tutes what Risselada calls a prism for considering the work, a metaphorthat corresponds to the couple’s ownthinking on layering, interweaving, andthe open-ended nature of the urbanfabric. Many of the essays finely knittogether how various ideas—“newbrutalism,” “ordinariness and light,”

“the mat,” “conglomerate ordering,”the “charged void,” and so on—weremade manifest in their designs, andconversely, how their projects serveas tangible evidence of their thinking.But if the reader is left with any doubtabout the overall logic, Wigley offersthis insight: editing their last, two-volume monograph, titled TheCharged Void (2002 and 2003), theSmithsons polemically constructed, in retrospect, “a seamless and singular research project, stressingthe relentlessly gradual ‘evolution’within each project, between projects,and with the projects of previous generations.” Clearly if future generations are to continue learningfrom the Smithsons, we should, asWigley states, pick up where they left off, carefully incubating gesturesand productively mining the gaps. In many ways, this “picking up” is precisely what Risselada’s anthologyon the Smithsons accomplishes.SARAH DEYONG TEACHES ARCHITEC-

TURE AT TEXAS A&M UNIVERSITY.

The quotation that greets visitors to House & Home, a new exhibition at Washington’s National BuildingMuseum, comes from Ralph WaldoEmerson: “A man builds a finehouse; and now he has a master,

and a task for life; he is to furnish,watch, show it, and keep it in repair,the rest of his days.”

The quotation is apt, becauseHouse & Home ends up being mastered by its own conceptual

overreach. The whole history of the American house—architectural,technological, social—is simply toomuch to fit into five rooms.

The first gallery has murals of photographs of American housingthrough the centuries, from bunga-lows and soldiers’ barracks toHearst Castle and Marina City. Twodollhouses on display suggest thegap between the physical structureswe inhabit and the ideals bound upin the notion of “home.”

The next room features a row ofsix full-scale, tactile house sectionsthat use characteristic materials andtechnologies from different periodsof American history, beginning withadobe and ending with structuralinsulated panels. Interactive but notdumbed down, the sections embodythe evolution of American buildingtechniques.

Down the middle of the sameroom runs a line of 14 highlydetailed models, all at 1:96 scale—Monticello, the Gamble House,Vizcaya, a Sea Ranch house, andlooming over the rest, the HancockTower. There is some overlap with

the wall sections, but as with muchof the show, the takeaway is unclear.Are we meant to situate these iconic structures within the contextof building history? If so, it’s illumi-nating to learn that Fallingwaterinspired the trend for sliding glasspatio doors, less so to be told thatMcKim, Mead & White influencedRobert Stern.

The gap between mainstreamhousing and capital-a Architecture,between social history and designhistory, is never quite acknowledged.One gallery shows a bewilderingarray of nearly 200, mostly commonhousehold objects: Atari game console, plunge bath, Barcalounger,butter churn, lawn sprinkler, and so on. Visitors will enjoy pointingout familiar objects, but then what?This reviewer’s associative powersare not strong enough to form a meaningful connection between a Crock Pot and the Glass House, amodel airplane and Mount Vernon.

House & Home includes threegroups of well-made films shot bydifferent filmmakers, and these toobetray the show’s unsure identity.The beautiful “Welcome Home”films portray daily life within singular examples of contemporary

architecture: Michael Maltzan’sCarver Apartments for formerlyhomeless adults, a desert home by Rick Joy, a Lazor Office’s prefabFlatpak House among them. It’s niceto see high design humanized, but the tacit argument—here is America at home—doesn’t ring true, given that only a tiny sliver of the population lives inarchitect-designed homes. In the“Community” gallery, the styleshifts to urban documentary, withshort films that explore specificneighborhoods.

The best films may be those inthe object gallery, which use clever,lovely animations of archival photo-graphs to illustrate homemakingthrough the centuries. A lot of carewent into the details of House &Home, which makes its conceptualshagginess more disappointing.The National Building Museum has produced some excellentshows in recent years, includingUnbuilt Washington (now on view) and 2009’s House of Cars. A narrower focus, as in those exhi-bitions, would have helped this one.

WASHINGTON, D.C.–BASED WRITER

AMANDA KOLSON HURLEY IS A

FREQUENT CONTRIBUTOR TO AN.

DOMESTICDISSONANCEHouse & Home

National Building Museum401 F Street NW, Washington, D.C.Through May 1, 2017

PIECESOFGREATAlison & Peter Smithson: A Critical AnthologyEdited by Max RisseladaEdiciones Polígrafa/D.A.P., $45

A 1:96 scale model of Frank LloydWright’s Falling Water.

CO

UR

TE

SY

NA

TIO

NA

L B

UIL

DIN

G M

US

EU

M

CO

UR

TE

SY

DA

P

Axor Bouroullec

With spout and handles that can be mounted virtually anywhere around the washbasin,

create your ideal bathroom with Axor Bouroullec. Learn more about this collection and

designers Ronan and Erwan Bouroullec at www.hansgrohe-usa.com/Axor

Because Sometimes More is Really Way Too Much

Imagine having just what you need when you need it—no more, no less. ArchiOffice® is a powerful, indispensable time tracking, billing and project management software designed by architects for architects.

Let us show you a software that you'll love to look at. Visit www.bqe.com/justright, call (855) 687-1032, or stop by Booth 2220 at the AIA National Convention.

kitchenworksADVERTISING SUPPLEMENTADVERTISING SUPPLEMENT 0909

www.archpaper.comPublished by The Architect’s Newspaper

TRENDS: New technologies expand options for finishes, hardware & more PRODUCTS: Cooktops, refrigerators, ovens, appliances

KIT

CHEN

32 SPECIAL ADVERTISING SECTION

Last month, SieMatic’s BeauxArts.02kitchen collection made its NewEngland debut at the company’sBack Bay showroom in Boston, just a few months after its first U.S.introduction in New York. To createthe second interpretation of the BeauxArts line, the company continued its successful partnershipwith Chicago-based designer MickDi Giulio. The redefined designincludes lighter, more linearcomponents and proportions inaddition to new finishes and modernelements, like steel- and glass-fronted cabinets.

“The BeauxArts.02 provides ourdesigners with new freedom,” saidWalter Banta, marketing managerof SieMatic Möbelwerke USA. “The new elements can be com-bined to create both transitional and contemporary kitchen designs.”

Integration with the company’s S2 designs is one of the uniquebenefits of BeauxArts.02 (alsoshown on page 31).

“A variety of finishes and styleelements come together to create a truly unique kitchen,” said Banta, who added that while whitekitchens are still very popular, new color introductions includingSterling Gray and Lotus White tie inwith contemporary palettes as well.

Looking to the future, SieMaticremains focused on design leader-ship by intergrating the kitchen with other living areas in the home. That’s the idea behind thecompany’s other recent introduction,FloatingSpaces shelving. “We have offered shelving systems inthe past, but the FloatingSpaces panel and shelving system allows architects and designers

to seamlessly blend kitchen and living spaces, creating more options than ever before.”

Available in a full range of finishes, the line includes flexiblewall configurations and functional elements available in many lengthsand materials to further integrateliving space into the kitchen.Though Banta won’t give anythingaway, he hinted that the companyplans to release more designs in this vein at the company’s annualin-house products exhibition,HausFair, in September. JENNIFER K. GORSCHESIEMATIC

SieMatic BeauxArts.02

the latest interpretation

The stringent requirements setby the Forestry StewardshipCouncil (FSC) underscores our dedication to theenvironment and exemplaryconduct at all levels of themanufacturing process.

Designed with Mick De Giulio, BeauxArts.02 is everything you want

in a kitchen and everything you’d expect from a SieMatic original.

See more online and at your nearest SieMatic showroom.

SieMatic Möbelwerke USA Tel: 215.604.1350 [email protected] www.siematic.us/showrooms

This summer, the New York showroom of GD Cucine will launch Seta, theItalian company’s latest modernkitchen design. Designed with understated details and new storageoptions, the system offers a cleanbackdrop for a range of interiorstyles. Flat doors can be fitted with a variety of hardware profiles, such as a new slim, recessed pull attachedto the top or bottom of drawers and cabinets. The line also includesnew drawer hardware from Germanmanufacturer Blum, an integrated LEDlighting system for cabinet interiorsand exteriors, and new storage fittingsfor trays and cookware.

“People want a more natural finish,”said Simone Biscontin, GD Cucine’sdesign director. To meet the demand,Seta presents a range of new door finishes including a rough-hewn oak called seghettato, which can be combined with new laminate finishes that replicate stone and with smooth lacquers available in 19 colors.

Another of the company’s 2012introductions comes from a recentpartnership with their Italian neighbor,tile maker Cottoveneto. “We are collaborating with them to createkitchen door fronts covered withmicro-mosaic tiles made from stone,”said Biscontin. “It is customizable for the client. If they come in with adrawing we can replicate it.”

Outside the kitchen, GD Cucine is also bringing one of their bathroomdesigns to the United States for thefirst time. The inaugural Fontaneseries designed by Enzo Berti, and partof the Dogi collection, brings wood finishes into the bathroom. Ash andoak are used not only for cabinets andshelving but even for bath and showerenclosures thanks to a special heat-treating process that renders the woodwaterproof and stain proof. “It’s a nicetransition between a contemporaryline and the more traditional,” saidBiscontin. “We see a lot of people asking for this.” JKG

GD CUCINE

KIT

CHEN

34 SPECIAL ADVERTISING SECTION

SAN FRANCISCO NEW YORK

Korts & KnightKitchens by Alexandra Knight

Two CoastsTwo GenerationsExceptional Custom Cabinets

200 Lexington Ave, 7th FloorNew York, NY 10016855-200-LEXI (5394)

www.korts.com

Come discover the Post European Kitchen.

1 WLA CORNUE

Designed by French architectJean-Michel Wilmotte, La Cornue’s W line featuresa cabinet-like oven andmatching three-drawersideboard along with an induction table withmatching remote-controlledhood in tempered grayglass and lacquered metal.

lacornueusa.com

2 ELITE TRIO REFRIGERATORKENMORE

Kenmore’s new 31-cubic-foot refrigerator has themost storage space of allthe company’s models, efficiently organizing spacewith an extra Grab-N-Godoor compartment accessible from the exterior without openingboth doors.

kenmore.com

3 SOUS VIDE SYSTEMKITCHENAID CHEF TOUCH

KitchenAid’s Chef Touchsous vide cooking systemseeks to bring professionallow-temperature cookingtechnology to the residentialmarket with a three-partsystem that includes asteam oven, shock freezer,and vacuum machine.

kitchenaid.com

4 BUILT-IN SPEED OVENSMEG

Smeg’s new speed oven is a 30-inch-wide mini oventhat can cook meals 10 to 15 times faster than a traditional oven in a fractionof the space. The oven features ten cooking modesincluding convection, broil,and microwave settings.

smegusa.com

5 FREEDOM INDUCTION COOKTOPTHERMADOR

Thermador’s new FreedomInduction Cooktop has a 6½-inch color touchscreendisplay that recognizes the size and shape of pots up to 21 by 13 inchesand adjusts the cooktopaccordingly while also controlling power settingsand cooking times.

hermador.com

6 MONSOON DCBLZEPHYR

Ventilation hood manufac-turer Zephyr has introduceda new full-size, one-pieceliner insert hood that can duct vertically and horizontally. The systemalso features new BloomLED lights, LCD controls,and DCBL noise suppressiontechnology.

zephyronline.com

7 LCD REFRIGERATORSAMSUNG

Samsung’s new LCD refrigerator features an 8-inch Wi-Fi enabled LCDscreen with kitchen-specificapps that allow the user toupload and share photos,monitor Google calendars,check weather, and accessrecipes from Epicurious.

samsung.com

23

4

KIT

CHEN

40

A new generation of appliances designed tosatisfy any home chef. By Jennifer K. Gorsche

TECHTERRIFIC

1

56

7

SPECIAL ADVERTISING SECTION

KIT

CHEN

42

HB 660 FLUSH PULL

for a US dealer call : +1-800-362-1484 hallidaybaillie.com

C R E AT I N G C L A S S I C SD E S I G N E D A N D M A D E I N N E W Z E A L A N D

HB 680 EDGE PULL

SPECIAL ADVERTISING SECTION

43


MARKETPLACE The Architect’s Newspaper Marketplace showcases products and services. Formatted 1⁄8 page or 1⁄4 page ads are available as at right.

CONTACT:

Adriana Echandi21 Murray Street, 5th Floor, New York, NY 10007TEL 212-966-0630 / FAX 212-966-0633 / [email protected]

Stoller

Beam Table walnut, steel and aluminum

stollerworks.com 518 928-3278

US patent 11/603,724

44


The 1959 ASM Headquarters in Ohio includes an extraordinary double-dome by Buckminster Fuller. Recently renovated by The Chesler Group, the project has been photographed by Jeff Goldberg.

C U R V E S A H E A D

800.450.3494www.greenscreen.com

the ELEMENTS are SIMPLE ...

the POSSIBILITIES are E N D L E S S !

CHOOSE

C

O

L

O

R

S

S

H

A

P

E

S

Professional Development Training For:

Autodesk Training In:

ArchitectsDesignersEngineersFacilities Managers

Draw It.Build It.Make It.

Autodesk® Authorized Training CenterAutoCAD®AutoCAD® ArchitectureAutoCAD® MEPAutodesk® Ecotect®Autodesk® Inventor®Autodesk® 3ds Max®Autodesk® 3ds Max® DesignAutodesk® NavisWorks®Autodesk® Revit® ArchitectureAutodesk® Revit® MEPAutodesk® Revit® StructureAIA Professional Development

AIA Continuing Education System Provider

For a free catalog or more information call212 647-7199 or e-mail: [email protected]

Pratt Manhattan Center for Continuing &Professional Studies144 West 14th Street, Rm 209New York, NY 10011www.pratt.edu/prostudies

45

Registered architects in Northeast area (NY, NJ, CT, PA, MA, MD, DE, RI AND DC) FREE. Fill out the following information. *Must provide RA number **Must provide valid student I.D.

Tri-state RA 1 year 2 years FREE!* $39 $69.95

Institutional Canada/Mexico International $149 $75 $160

Mail this form with a check payable to: The Architect’s Newspaper, LLC. The Architect’s Newspaper, 21 Murray St., 5th Floor New York, NY 10007ref. 05.09.2012

Name Date

Company

Address

City/State/Zip Code

Email Phone

RA License Number

Credit Card Number Exp. Date

SIGNATURE REQUIRED

THE

ARCHITECTSNEWSPAPEREAST COAST ARCHITECTURE AND DESIGN WWW.ARCHPAPER.COM

SUBSCRIBE TODAY! $39 FOR 1 YEARTHE ARCHITECT’S NEWSPAPER, THE EAST COAST’S ONLY ARCHITECTURE AND DESIGN TABLOID, IS PUBLISHED 20 TIMES PER YEAR.

INDUSTRY

Academic

Architecture

Construction

Design

Engineering

Government

Planning/ Urban Design

Real Estate/ Developer

Other

JOB FUNCTION

Academic

Architect

Designer

Draftperson

Government

Project Manager

Technical Staff

Student

Other

FIRM INCOME

Under $500,000

$500,000 to 1 million

$1 to 5 million

+$5 million

EMPLOYEES

1–4

5–9

10–19

20–49

50–99

100–249

250–499

��

PARTICIPATING STUDIOS

�� !��"��#��$%�&�� '(��)��%��

*�� $��+��&'��&� ��

� �,-.�-/,-

0 �� # �1�� 2 � � �2��2��2��%�� 2� ��

3��$�� 4

��5�(��

��5�2��6��

�

� � � �

��

� � � �

��

� � � �

��

� � � �

��

� �,-.�-/,-

� � � �

��

� � � �

APPA3��

� � � �

TING STUDIOSAATTICIPPAARRT�� $�� 4

� � � ��

�� "�%�&�

��$�� *�� &��'&��+��

3��

� � � �

�� !��#��$&�� '(��)��%��

0 �� # �1 � �� 2��22 ��2��

��22� �%��

�� 22�

��$�� 4

� � � �

��

��


PORTF

OLI

O46

JO

HN

PA

WS

ON

PORTF

OLI

O>JO

HN P

AWSON’S

VIS

UAL

INVE

NTO

RY

At first, Luis Barragan’swords “Don’t look at what I do. See what I saw” mightseem like an odd call toarms for an architect whosework is famously empty ofthings. But not on secondthought. In fact, Barragan’smay be the only wordsneeded to guide a voyeuris-tic look at some 260 photographs that Britishminimalist architect JohnPawson has snapped overthe past ten years for hisown edification.

A Visual Inventory(Phaidon) opens an illuminating chink into the thought processes andaesthetic revelations of anarchitect who has mistakenlybeen tagged a believer in less-is-all. Images suchas a tapering streak of lightalongside an extruded wallsculpture by Donald Judd,two partially constructedbridges on a highwayviewed from an airplane flying over North Carolina,or the fuchsia petals of a

red camellia fallen on thegranite steps of a MarcelBreuer villa on LakeMaggiore abundantly testify to a sensibility that is ever alert and constantlycharged by visual stimuli.These pictures give mini-malism a new name: lush.

The book is organized incarefully selected pairs onfacing spreads allowingimages to talk to each otherand trigger sharper percep-tions: Grey concentric ringsfrom rain drops plopping

in a puddle on stone at a Japanese teahouse nearAntwerp makes even morestartling the image on theopposite page, also greycircles as if printed on adusty floor, but actually acircular irrigation field some2,600 feet in diameter seenfrom an airplane over theRockies in winter.

Pawson’s avowed “scattergun approach”—always at the ready with a digital Canon S100, he isnever afraid to use it—

catalogs what appears to bea career of constant traveland fantastic access toarchitectural and culturallodestones and exoticrealms. Each image isaccompanied with astraightforward, disarming-ly chatty account of what hesaw and why he snapped.Traveling through thepages of A Visual Inventoryis both eye- and mind-opening. JVI

1. OMAN2. NEAR ST GEORGE3. PINARELLO FACTORY4. CASTLE OF GOOD HOPE5. NEAR PRAGUE AIRPORT6. PAWSON HOUSE7. SOUTHWOLD8. ABBEY OF SEPT FONS9. EASTERN CAPE10. LAKE MAGGIORE11. NEAR LA INA12. ARIZONA

1 2

5

8

11

3

4 6

7

10

9

12

YOUR DESIGNOUR FUNCTION

800-453-8616www.gkdmetalfabrics.com

Eastern Michigan UniversityMark Jefferson Science Complex

Ypsilanti, Michigan USA

GKD-USA’s metal fabric plus innovation equals ideal solar management for Eastern Michigan University: 89 stainless steel mesh panels span three varied lengths of the façade using GKD’s outrigger attachment system. Solar control at every level.

Metal fabrics mitigate intense sunlight, helping to realize energy savings through reduced HVAC needs and use of natural light.

SOLAR MANAGEMENTSpecifying GKD metal fabrics – a stainless steel product containing 60% recycled material – can help a project qualify for a range of LEED points.

SUSTAINABILITY

The world’s highest performance buildings use Lutron® shades

©2012 Lutron Electronics Co., Inc. | P/N 368-2532 REV C

Lutron offers the most advanced shading solutions for commercial spaces.

Individually controllable roller shades

to automated, intelligent facade control

The right shading system with the right fabric,

for any application

Only Lutron offers complete systems integrating

lights and shades for optimal performance and

energy savings

To learn more, visit www.lutron.com/shade

Visit us at AIA, Booth 2939

Ben Franklin Technology Partners of

Northeastern Pennsylvania

Winner of the U.S. Environmental

Protection Agency (EPA) 2011 Energy Star

Challenge—utilizes Lutron shades.

Architect: Spillman Farmer Architects

an_08_05.09.2012

Documents

solarban r100 glass

better glass

lowe glass

solarban r100 solar

ordinary piece of glass

ppg logo

art newspaper

ppg industries ohio