Murder, Love, and Insanity: Stanford White

East
Thursday, October 6, 2011
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Stanford White (Chuck Montgomery) stumbles after being shot by Harry Thaw (Paul Boocock).

White (Chuck Montgomery) stumbles after being shot by Harry Thaw (Paul Boocock). (Photo: AN/Stoelker)

Tonight and Friday at 7 pm Murder, Love, and Insanity: Stanford White and the Gilded Age will be broadcast live from the top of the old New York Life Building at ArtOnAir.org. The building, also known as the Clock Tower, was designed by White in 1897 and provided plenty of grist for Peter McCabe, the show’s producer and writer. McCabe has his own show on the website and began pondering the idea about a year ago. A grant from the Jerome Foundation made the six week project a reality.

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Herzog & de Meuron Peel Layers Off Park Ave. Armory

East, Newsletter
Wednesday, October 5, 2011
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erzog & de Meuron's rendering of the slightly altered, vastly improved Drill Hall. (Courtesy Herzog & de Meuron).

Herzog & de Meuron's rendering of the slightly altered, vastly improved Drill Hall. (Courtesy Herzog & de Meuron).

At first, the choice of avant-garde architects Herzog & de Meuron to renovate and restore the fabled Park Avenue Armory seems far-fetched. Even at second glance: “I hate preservation,” said Jacques Herzog at a press event to unveil what the firm is doing at the 1880s fortress and popular event space that contains unparalleled gems from the history of American decorative arts, including rooms and furnishings by Stanford White, Louis Comfort Tiffany, the Herter Brothers and others.

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Archtober: Building of the Day #5

East
Wednesday, October 5, 2011
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The Fort Washington Branch of the New York Public Library (farm4static/Flickr)

The Fort Washington Branch of the New York Public Library (farm4static/Flickr)

Who knows what Henry Kissinger, Lou Gehrig, Maria Callas, Ralph Ellison, Marianne Moore, and Jacob Javits have in common?

They were all kids who checked books out of their neighborhood library, the Fort Washington Branch of the New York Public Library. It is one of the original 67 New York City Carnegie Libraries. Designed by Cook & Welch Architects, it opened in April 1914. Walter Cook, along with George Babb and Daniel Willard, designed the Carnegie Mansion on Fifth Avenue and 91st Street – today’s Cooper-Hewitt museum.

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Video> Jane’s Carousel: Your Thoughts?

East
Wednesday, October 5, 2011
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It’s been a couple of week’s since Jane’s Carousel opened to the public on the Brooklyn Waterfront, allowing us time to reflect on the rainy opening day and see just how the new attraction is being received. It’s seems Jean Nouvel’s pavilion is a study in contrasts, particularly on cold gloom of the opening ceremony when we first stopped by. We made a short impressionistic collage of our observations including the carnivalesque merriment going on inside the pavilion set against the sober geometry outside. (You might also spot Nouvel himself taking a ride or an overly-excited Marty Markowitz astride one of the wooden horses.)

Granted the acrylic-paneled doors of Nouvel’s pavilion can be thrown open to the surrounding park, but the celebratory atmosphere seems contained, anchored even. Viewed from across the park, the riverside building takes on the feel of a ferry terminal. Inside, however, the playful carousel offers distorted views through the giant door panels that give downtown Manhattan and the Brooklyn Bridge a fun-house-mirror effect.

Have you been to the carousel yet? What are your thoughts of Nouvel’s contrasting design?

Archtober Building of the Day #4: Top of the Rock

East
Tuesday, October 4, 2011
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Top of the Rock (Courtesy Gabellini Sheppard).

Top of the Rock (Courtesy Gabellini Sheppard).

It’s hard to imagine that the cool and suave young architect who launched Minimalism on Park Avenue with the Jil Sander Store in 1983 is the same man who brought us the modern apotheosis of Art Deco at Top of the Rock. Is it a space? Is it a ride? It certainly has a chandelier!

Continue reading after the jump.

Archtober Building of the Day #3: Seven World Trade Center

East
Monday, October 3, 2011
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Seven World Trade Center at right.

Seven World Trade Center at right. (Courtesy Center for Architecture)

The view from LaGuardia Place includes the symphony of Skidmore, Owings & Merrill’s 7 World Trade Center at 250 Greenwich Street and its ever-rising companion, One World Trade Center, beyond. I see the buildings every day from the Center for Architecture, and have become a fan of 7 WTC’c magical properties, both geometric and optical. It is a building made out of reflections, refractions, inflections, and colors, expressed in glass and stainless steel.

Continue reading after the jump.

Manny Hanny Back in Spotlight

East
Monday, October 3, 2011
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MANUFACTURER’S TRUST COMPANY, FIFTH AVENUE, SKIDMORE, OWINGS & MERRILL, NEW YORK, NY, 1954 GELATIN SILVER PRINT © EZRA STOLLER, COURTESY YOSSI MILO GALLERY, NEW YORK

Manufacturer Hanover building as photographed by Ezra Stoller. (Courtesy Yossi Milo/ESTO)

Renovations by Vornado Realty to the Manufacturers Hanover Trust building were brought back into the spotlight Wednesday after a  New York Times article quoted an email exchange between a former Landmarks commissioner Meredith Kane and Landmarks staff. Kane is now legal counsel for Vornado. The article was mentioned during court proceedings before State Supreme Court Justice Lucy Billings. Last Friday in court, Maria T. Vullo, Vornado’s rep, suggested that a request for more correspondence between Vornado and Landmarks was akin to a “fishing expedition.” She added that all correspondence pertinent to the case  had already been provided to Michael Gruen. the lawyer representing the petitioners in the case, the Citizens Emergency Committee to Preserve Preservation (CECPP).

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Archtober Building of the Day: Morgan Library and Museum

East
Sunday, October 2, 2011
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Renzo Piano's addition at the Morgan Library, 36th and Madison, NYC (Courtesy Frederick Charles/Esto)

Superlatives swirled in every account of the 2006 opening of the expansion of the Morgan Library and Museum, designed by Renzo Piano with Beyer Blinder Belle. Nicolai Ouroussoff teed up: “dazzling,” “sublime,” “triumph,” and “mesmerizing” (New York Times, April 10, 2006). The AIANY jury feted it with its Architecture Honor Award in 2006, calling it “a masterpiece” (Oculus, Fall 2006).

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Archtober Building of the Day: Center for Architecture

East
Saturday, October 1, 2011
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The Center for Architecture, 536 LaGuardia Place, NYC

At the intersection of trade and art, practice and expression, between Bleecker and West Third Streets, in the middle of a unique three-block stretch, aptly named a “Place,” fronting grand superblocks of New York University, with its descending jutting voids the opposite of Breuer’s overhead solids at the Whitney, lies the Center for Architecture.  The Center is home to the New York Chapter of the American Institute of Architects (AIANY) and the Center for Architecture Foundation.  The 12,000 square feet of galleries-as-meeting-spaces (and meeting-spaces-as-galleries) burrow two stories underground from the sidewalk level.  A cut-away section lets the speakers at the podium the lowest-level Tafel Hall, the centerpiece of the ensemble, look up from their notes and see passers-by looking back.  The life of the city, connected, to the discourse on architecture.

Each “Building of the Day” has received a Design Award from the AIA New York Chapter.  For the next 30 days—Archtober—we will write here about the architectural ideas, the urban contexts, programs, clients, technical innovations, and architects that make these buildings noteworthy.  This is a personal account.  Daily posts will track highlights of New York’s new architecture.

Read more at www.archtober.org/blog.

Buildings=Energy exhibit to kickstart Archtober!

East
Friday, September 30, 2011
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Anthony Fieldman of Perkins + Will discusses his firm's energy-conscious building design. Courtesy of Center for Architecture.

In New York City, buildings account for almost 80 percent of greenhouse gas emissions and 95 percent of electricity use. It was these facts like these that prompted the Center for Architecture to further investigate the urban energy crisis and display the findings–and potential solutions–in an exhibit entitled Buildings=Energy.

The exhibit, which opens on the evening of October 1st, explores how important choices made by designers, planners, architects, and building occupants can positively affect energy consumption in our cities. One such example featured in the exhibition is a model building designed by the firm Perkins+Will, whose proposal demonstrates the significance of site planning, materials, programs and their affects on energy costs. For instance, as firm principal Anthony Fieldman explains, tilting the exterior glass by only 10 degrees towards the street prevents a substantial amount of solar heat gains, saving the building on cooling costs throughout the summer months.

Continue reading after the jump.

On View> Sacred Spaces in Profane Buildings

East
Friday, September 30, 2011
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(Courtesy SFAA)

A Gucci store converted into a synagogue. (Courtesy SFAA)

SACRED SPACES IN PROFANE BUILDINGS
Storefront for Art and Architecture
560 Broadway
Through November 5

How do we practice our religions, beliefs, or spiritual ideas in New York City outside of established churches, synagogues, and mosques? In the newest exhibit at the Storefront for Art and Architecture, architect and researcher Matilde Cassani explores how we celebrate and observe our beliefs in unconventional spaces: converted shops into prayer spaces, apartments turned into churches, and sidewalks into chapels. Cassani invited New York residents to submit photographs and descriptions of local places of worship to create an online archive, with highlights selected for the Center’s exhibition, such as the photograph of the Soho Synagogue converted from a Gucci store above, by John Hall.

More images after the jump.

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Artists Take on Breuer’s Inverted Umbrellas in the Bronx

East, Newsletter
Wednesday, September 28, 2011
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Gisela Insuaste's collaboration with Breuer.

Gisela Insuaste's collaboration with Breuer. (Courtesy Lehman College Art Gallery)

When one thinks of Marcel Breuer’s work in New York, the Whitney immediately comes to mind. But there’s a substantial collection of Breuer buildings in the Bronx, including the Lehman College Art Gallery, where Breuer morphed from Bauhaus to Brutailism in one structure. On Monday night, two separate group shows opened at the gallery, one curated by gallery director Susan Hoetzel, the other was part of El Museo del Barrio’s biennial, “The (S) Files.” From an architectural standpoint, one artist from each show stood out because of their direct response to Breuer’s hyperbolic paraboloid columns which punctuate the space.

Continue reading after the jump.

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