As development along the Brooklyn and Queens’ waterfront has increased dramatically over the years, transportation options—for residents old and new—has not. The number of glass towers, startups, and parks along the East River has only been matched by style pieces on new “it” neighborhoods from Astoria to Red Hook. But, now, the New York Times’ Michael Kimmelman has used his platform to launch a plan to change that equation, and give these neighborhoods the transportation system they deserve.
The Municipal Art Society (MAS) has announced that New York Times architecture critic Michael Kimmelman has been awarded the 2014 Brendan Gill Prize. The award will be officially presented by MAS President Vin Cipolla and Board Chair Genie Birch on March 25th. The annual cash prize is named in honor of the late New Yorker theater and architecture critic.
“Michael’s insightful candor and continuous scrutiny of New York’s architectural environment is journalism at its finest, and in solid alignment with the high standards of Brendan himself,” MAS President Vin Cipolla said in a statement. The jury was particularly impressed with Kimmelman’s calls to drastically improve Penn Station.
When an artist begins,
they try to bury him with neglect.
When he gains a small foothold,
they try to bury him with criticism.
When he becomes more established,
they try to bury him with covetous disdain.
When he becomes exceptionally successful,
they try to bury him with dismissals as irrelevant.
And finally, all else failing
they try to bury him with honors!
This is how James Wines of SITE, quoting Jean Cocteau, accepted his 2013 Lifetime Achievement Award from the Cooper-Hewitt National Design Museum at their National Design Awards. Wines joined a ‘Lifetime Achievement’ group that includes Richard Saul Wurman, Bill Moggridge, Paolo Solari, the Vignelli’s, Dan Kiley, and Frank Gehry.
Last night’s awards program was a special one as the Museum—led by its new director, Caroline Baumann, and an indefatigable team—worked throughout the government shutdown of the least two weeks to put on a spatular gala that gave awards to designers that included Janette Sadik-Khan, Michael Sorkin, Studio Gang Architects, Paula Scher, Aidlin Darling Design, and Margie Ruddick.
Barriers or freshwater wetlands? New building codes? What about porous pavements or floating city blocks? These were just a few of the ideas batted around at AIANY’s discussion and fundraiser, “Designing the City after Superstorm Sandy,” at the Center for Architecture last Thursday evening. The panel, moderated by Michael Kimmelman, architecture critic for The New York Times, consisted of the city’s leading designers, architects, scientists, and government officials. While each panelist came to the conversation with a different approach and set of strategies, all agreed that change is necessary and new solutions urgent.
“There’s a certain consensus about taking steps in the long-run,” said Kimmelman.
New York Times architecture critic Michael Kimmelman waded into the controversy embroiling Chicago’s old Prentice Women’s Hospital Wednesday and wound up soliciting a unique solution from Jeanne Gang that has already garnered praise from the coalition of preservationists fighting to save the building from demolition.
Noting the “familiar” tone of the dispute between landowner Northwestern University, who wants to demolish Prentice to make way for up to 500,000 square feet of medical research facilities, and preservationists seeking landmark status for the distinctive 1970s Bertrand Goldberg structure, Kimmelman called for a third approach: incorporate old Prentice into a new design on the site. As the pendulum begins to lean towards demolition, with 42nd ward Alderman Brendan Reilly saying he supports Northwestern’s decision, the critic asked Gang what she thought.
Financial giant Goldman Sachs has received lots of attention recently for its headquarters at 200 West St. New York Times architecture critic Michael Kimmelman waxed poetic about the building’s glass canopy by Preston Scott Cohen. The canopy, said Kimmelman, “elevates what is really just a gap between two buildings into something almost as inspired as the nave of a great Gothic cathedral. That’s the power of architecture.” Or, in this case, the architecture of power.
The latest, and more critical, take on Goldmans’ HQ by Times writer N. R. Kleinfield outlines the firm’s impact on the surrounding area which at the time of the buildings completion in 2009, was short on shops and restaurants. So using its $1.65 billion in Liberty Bonds plus $115 million in tax breaks, Goldman just created a neighborhood in its own image.
At a panel discussion on architecture journalism held at the Center for Architecture last month, the New York Post’s Steve Cuozzo griped that The New York Times architecture critic Michael Kimmelman had yet to weigh in on the 9/11 Memorial. Indeed, even the Times‘s go-to architecture reporter Robin Pogrebin had to concur. She noted that she too had raised the question. Nevertheless, World Trade Center reporting—let alone criticism—can be a full time job. Although Pogrebin continues to report on the cultural venues slated for the site, the architectural aspects of the project have been the province of David Dunlap from the get-go.
With the topping of Four World Trade today at 977 feet, Dunlap once again provides a highly detailed report, as he did two weeks ago in his analysis of the grossly altered designs of One World Trade. Standing in the shadow of One World Trade, Dunlap notes that architects Fumihiko Maki and Osamu Sassa have no problem with his building being labeled “the biggest skyscraper New Yorkers have never heard of.” “Subtlety extends one’s appreciation,” Sassa told the Times. Kimmelman, meanwhile, has made a trip to the area, but to review a glass canopy, “in the shadow of One World Trade Center no less.”
It was a busy archi-spring night last night. The Municipal Arts Society held their debate on NYU’s 2031 expansion plan, the AIDS Memorial exhibit opened at the Center for Architecture, and Ralph Walker: Architect of the Century opened at the newly re-dubbed Walker Tower on West 18th Street. Read on for highlights of the MAS debate and to view few photos from the Center and Walker Tower…
Forget for a moment that President Obama bumped the New York Times’ Jill Abramson from the dais to deliver this year’s commencement address at Barnard and not his alma mater, Columbia College. Tonight, the Times’ architecture critic Michael Kimmelman will be delivering a lecture at Barnard’s Diana Center, titled Public Space and Public Consciousness. However, a busy Kimmelman also appeared last night at GSAPP, for a conversation with Columbia Professor Gwendolyn Wright.
Thinkin’ Lincoln. IBM is taking over the Lincoln Center through October 23rd with one of the biggest interactive technology exhibits in the city: IBM Think Exhibit. Highlights include the 123-feet long “data wall” and a forest of 40 seven-foot media panels. More at Inhabitat.
Bronx Beauty. The New York Times‘ new archi-critic, Michael Kimmelman, has penned his first review, shying away from the iconic, gleaming projects of his predecessor, instead beginning with Via Verde affordable housing in the South Bronx, which may help him demonstrate that quality trumps quantity, especially in moral debates of architecture.
Biking Sacrifice. Atlantic Cities reported that cyclists in urban environments might want to be wary of cars for more than just accident risks: harmful automobile emissions create a hazard for cyclists as well. According to new research, bikers inhale more than twice the amount of black carbon particles as pedestrians do in the same trip.
An internal New York Times email, acquired by AN today, announced that Michael Kimmelman would start this fall as the New York Times’ new chief architecture critic. Citing Kimmelman as “one of the paper’s great writers”, Jonathan Landman, deputy managing editor, wrote how Kimmelman started at the paper of record as a music critic and “swiftly morphed into an art critic.” And now after four years as a foreign correspondent, he will fill out his all-purpose critic portfolio as architecture critic.