It’s been several weeks since our last visit to the World Trade Center site. On our return today we were taken with the manner in which different architects handle ventilation at the site. The most obvious example are the two large vent structures that protrude from the west side of the Memorial Plaza. The concrete buildings are a necessary solution to a complicated infrastructure problem. Davis Brody Bond (now Aedas) designed a mesh mask for the concrete structures and workers were putting the finishing touches on south building today.
Thursday, July 14 (tomorrow!)
200 Hudson Street
Anne Ferebee and Architect’s Newspaper alum Jeff Byles discuss their new book A History of Design from the Victorian Era to the Present (W.W. Norton, 2nd ed), turning a spotlight on New York City as a “roiling epicenter of modern design innovation, with a focus on architecture and urbanism stretching from that Victorian-era paragon of poetry in stone and steel—the Brooklyn Bridge—to Mies van der Rohe’s sublime corporate style and a new generation’s minimalist marvels on the Bowery.” (Not since e.e. cummings has NYC sounded so good!)
Tickets $16, purchase online at www.92Y.org.
194X–9/11: American Architects and the City
The Museum of Modern Art
11 West 53rd St.
Through January 2
Prompted by the United States’ entrance into World War II in 1942, Architectural Forum magazine commissioned pioneering architects to imagine and plan a postwar American city. At the tenth anniversary of the 9/11 terrorist attacks, 194X-9/11: American Architects and the City features the plans, renderings, and sculpture of Ludwig Mies van der Rohe, Louis Kahn, Paul Rudolph, and Rem Koolhaas and their ideas for cities of the future. Rarely displayed works, such as Mies van der Rohe’s collage Museum for a Small City Project (1942), above, reveal plans for cultural centers and urban life in uncertain times.
The American Style:
Colonial Revival and the Modern Metropolis
Museum of the City of New York
1220 Fifth Avenue
Through October 30
Following the U.S. Centennial of 1876, architecture in New York City was defined by what was known as “the American style,” a visual language referencing both the nation’s nostalgia for its beginnings and its progressive aspirations. A new exhibition reveals the impact of Colonial Revival on the cityscape through vintage photographs and objects like a 1926 mahogany settee by the Company of Master Craftsmen, whose volutes reflect a resurgence in classicism that is the trademark of the Colonial.
Who knew the Power Broker himself was a beer man? The Robert Moses of my imagination could be spotted, martini in hand, at a swanky Manhattan lounge. But in reality, the workaholic was such a control freak that he would never permit himself to loosen up in public, instead spending much of his free time stolen away from the city sailing on the Great South Bay in his boat the Sea-Ef. (Even then, his mind was still on work: he once grounded the boat on a quite visible sand bar thinking of his plans for New York!) Ceaselessly maneuvering and tightening his grip on Gotham politics, Moses may have been the one man in New York most in need of a cold beer.
Grub Street spotted a new beer, appropriately made by the Great South Bay Brewery on Long Island, that pays homage to the Robert Moses Causeway and its promise of breezy summer beaches. According to the brewery, the Robert Moses Pale Ale is a beer made for relaxing–hardly the image of Moses at work.
Famously, his nemesis Jane Jacobs was an unabashed beer drinker, frequenting the White Horse Tavern on Hudson Street where she fraternized with her Village neighbors. Could the act of clinking a cold one (or in Moses’ case, not) explain much of the difference between these icons of New York urbanism?
The landmarked Standard Oil Building at 26 Broadway continues to undergo its transformation from the oil giant’s Carrère and Hastings-designed New York headquarters into a bustling school building. Last week, AN got a sneak peek at the third academic institution to be completed there, a 104,000-square-foot space occupying the building’s first, mezzanine, and second levels. It will add 677 high school seats to the Broadway Education Campus, which currently includes The Urban Assembly School of Business for Young Women (on the 4th and 5th floors) and Lower Manhattan Community Middle School (on the 6th and 7th floors).
All three schools have been designed by John Ciardullo Associates Architects, who have worked extensively with the SCA over the past several decades. Perhaps that relationship is why Ciardullo was allowed to have a bit of fun with the campus.
The Architectural League’s current exhibition offers a glimpse of where architecture is headed. It’s Different shows the work of the six winners of the Architectural League Prize for Young Architects + Designers (formerly known as the Young Architect’s Forum). It’s a geographically diverse group working in a variety of formal veins. The six winners (with images!) are:
Architecture in Uniform: Designing and Building for the Second World War
Canadian Centre for Architecture
1920, rue Baile
Montréal, Québec, Canada
Through September 18
How did World War II impact the built environment? This new exhibit curated by Jean-Louis Cohen explores how 20th century architects contributed to the war efforts and how their work ultimately led to the modern structural and technological innovations that make some of today’s complex designs possible. WWII was an accelerator of technological innovation, and from 1937 to 1945 architects were frequently pressed to pursue the most modern solutions, which often meant the most cutting edge. Designed by New York-based WORKac, the exhibit is comprised of drawings, photographs, posters, books, publications, models, historical documents, and films that reveal how contemporary architecture left its mark on the landscapes of both the Axis and the Allied powers. Organized thematically, the exhibition focuses on wartime activity as well as architects and their projects in Canada, France, Germany, Italy, Japan, the Netherlands, Spain, the United States, and the USSR. Architecture in Uniform is part of a larger project at the CCA that examines the various roles of architecture from the Second World War to today called On the Natural History of Destruction.
History happens in pubic space. The election of Barack Obama brought crowds to 125th Street. Crowds formed at the World Trade Center on news of Osama Bin Laden’s death. Last Friday night it happened on Sheridan Square. In front of the Stonewall Inn, the crowd stood transfixed, staring into their iPhones, Blackberrries and other assorted digital devices. Several shouted out the numbers of state senators supporting gay marriage as it got closer and closer to the magic number: 32. When I got there, there were shouts of 30 or 31. It was hard to tell really, it wasn’t a coordinated countdown, like the Time Square ball dropping. Some were still at 29 while others were at 31. It depended on whether you were on HuffPo or NYTimes. The whoops of the crowd came in waves, making it feel like the number 32 was reached several times.