An important part of Richard Meier’s design process is his use of scale models—usually beautifully crafted of wood—to consider a physical form in its broader context. In-house model makers are often asked to fabricate multiple iterations of projects, and the firm is famous for its elegant presentation models, such as the one for his extraordinary gridded skyscraper (designed with Steven Holl, Charles Gwathmey, and Peter Eisenman) for the World Trade Center competition. Fortunately, Meier has not only kept many of his models, some going back 40 years like the Smith House in Connecticut, but also a spectacular series of working models for the Getty Center (above). These are kept in Meier’s model museum—a loft space in Long Island City that is opened to the public starting tomorrow, May 7, through August 27 (the museum is closed to the public during the winter months, due to the climate’s impact on the models). Tours can be arranged through Richard Meier & Partners Architects at 212-967-6060.
One might think that the $1.9 billion overhaul of the United Nations Headquarters would be a multiple-stakeholder quagmire of Ground Zero proportions. However, as Michael Adlerstein, executive director of the U.N. Capital Master Plan, put it in a fascinating April 27 presentation, the consensus-based organization actually made it easier to push major decisions through, since the “joint stepping on of many toes” allowed various U.N. members to at least feel that they were being inconvenienced equally. Read More
BEFORE SUBZERO, REFRIGERATORS WERE WHITE (OR AVOCADO)
Eavesdrop jetted to pollen-crusted Raleigh, NC, with an eclectic herd of reporters from the likes of Sculpture magazine and The Jewish Daily Forward to tour the North Carolina Museum of Art expansion designed by Thomas Phifer. We were not disappointed. The 127,000-square-foot museum is an elegant, single-story box penetrated by courtyards, pools, and gardens. The interior and exterior details are so deliciously subtle that they seemed to elude some of the mainstream press, who asked him why he didn’t site the building to dominate the street. Articulate and precise, Phifer hypnotized the skeptics by explaining every strategy convincingly, and they hung on his every word. (Check out AN correspondent Thomas de Monchaux’s own critical appraisal in our next issue.) Read More
The Remington Arms factory in Bridgeport, Connecticut is a spectacular 1.5 million-square-foot structure of 13 interconnected buildings stretching over 76 acres. Now its future is imperiled. Long a monument on the city’s East Side, it was originally built by the Remington Arms-Union Metallic Cartridge Company beginning in 1915 to fill an order for one million rifles and 100 million rounds of ammunition to supply czarist Russian armies. Later, the building turned out bayonets, Colt automatic pistols, Browning Machine Guns, and automatic rifles. In 1920, General Electric purchased the property, and produced thousands of small kitchen appliances in the plant, but GE slowly pulled manufacturing from the building, and closed it entirely in 2007. The company claims to have looked for development opportunities for the shuttered factory, but concluded that it is “functionally obsolete (and) inappropriate for modern uses.” Now GE plans to demolish the structure, leaving a huge vacant property in Bridgeport—a city that can ill afford more dereliction. Read More