Never mind! After all that fuss to preserve the iconic Texas tin structure, Rice University’s Art Barn met the Grim Reaper on Wednesday, April 16. While a group was able to salvage the building’s corrugated metal siding, wrecking crews tore away at the Martel Center’s structure, marking a definitive end to efforts of preservationists to move the building to another site in Houston. Andy Warhol’s famous oak tree planted in front of the former structure will remain intact, but once the dust clears only a grass lawn will serve as tombstone. A rogue power line temporarily stalled the demolition, thereby buying a commemorative moment for the Art Barn’s historical and cultural import. The building’s spirit will live on through the Menil Collection it once housed, as well as its legacy with other tin houses.
Leaving campus the way it came in—amid a swirl of shifting plans and controversy—seems to be the modus operandi for Rice University’s Martel Center, more colloquially known as “the Art Barn.” After reports last month that the building would be demolished, Rice University changed its mind and announced that it would, instead, relocate the historic structure to the Fourth Ward area of Houston, just west of downtown.
The Art Barn has graced Rice University’s campus since 1969. Originally conceived by John and Dominique de Menil as what was meant to be a quick-fix housing solution for their prestigious private art collection, the squatter became father to a generation of its kind, and established itself as a cultural mainstay not just within the university, but the community as a whole.
Diller, Scofidio + Renfro announced today that their reorganization of the Museum of Modern Art will include the replacement of Tod Williams and Billie Tsien’s former American Folk Art Museum at 45 West 53rd street. Liz Diller said in her briefing that DS+R hoped to save the Folk Art building and repurpose it into a usable exhibit space or a connecting bridge between the new Jean Nouvel tower (which will have three floors of MoMA galleries) and the older parts of MoMA. However, “saving” the structure with its misaligned floors (to MOMA existing galleries) would mean compromising the integrity of the Williams Tsien structure.
One can imagine the logic of DS+R’s decision, but Williams and Tsien are, like any architects, sad to see the demise of their 2001 building that Herbert Muschamp said “transcend(s) cultural categories even as it helps define them.”
An update to our story from yesterday: Northwestern University released many more images from the three candidates vying to build a successor to the site previously occupied by Bertrand Goldberg’s old Prentice Women’s Hospital. The new images include floor plans, interior renderings, and additional elevations of the three buildings. Read More
In architecturally crowded Hong Kong, plazas are a rare breath of open air. The luxurious Causeway Bay district, whose retail rental rates surpassed New York City’s Fifth Avenue in 2012, is home to one of these sparse open spaces, Sunning Plaza. I.M. Pei’s 27-story edifice faces a large public courtyard, a hardscape relief within the densely built area devoted to commercial shops and restaurants.
But, such a luxury is always in threat of expansion. Artinfo reported that developer Hysan will soon be converting the space into additional commercial stores and offices. Pei’s 1982 building is to be demolished by the end of this year and the plaza is going with it.
New plans for Chicago’s Purple Hotel site don’t have their predecessor’s color, in any sense of the word, but many may view the mixed-use “town center” plaza as the antidote to the site’s lurid history. The quirky midcentury hotel in suburban Chicago seemed to escape its fate last year when architect Jackie Koo drew up plans to save the vacant hotel and its divisive color scheme.
But demolition on the Purple Hotel in Lincolnwood, IL began late last month. Organizers of the village’s end-of-summer festival apparently raised $5,000 for the local library through sales of purple brick.
For 1475 years, the colossal dome and four minarets of the Hagia Sofia have remained the focus of Istanbul’s historic silhouette. That is, until three hulking towers known as the OnaltiDokuz Residences interrupted the scene last summer, sparking another battle over development in the Turkish capital. In late May, the Hurriyet Daily News reported that the city’s 4th Administrative Court ordered the demolition of the skyscrapers, claiming that their construction was illegal because it “negatively affected the world heritage site that the Turkish government was obliged to protect.” To guard against future infractions, this Wednesday the Turkish Parliament passed legislation calling for additional safeguards nationwide to protect historic areas from rapid urbanization.
Perkins + Will, Goettsch Partners, and Adrian Smith + Gordon Gill will compete to design a successor to Bertrand Goldberg’s celebrated Prentice Women’s Hospital, which Northwestern University will soon demolish.
Booth Hansen will serve as the local architect of record. Northwestern, whose politically expedited approval from the Landmarks commission angered preservationists, selected the three firms from a larger pool based on their responses to a Request for Qualifications.
The winning firm will be chosen by December, according to their written timeline, but no construction work is planned until March 2017, according to Curbed.
Goettsch also designed Northwestern’s lake front Bienen School of Music, which is currently under construction.
What do you do if a building is slated for demolition? If you’re the artist Doug Aitken and the building is your gallery, you devise a “time-based destruction installation.” Which is precisely what Aitken, who is known for wrapping the facade of the Hirschhorn Museum in with a 360-degree video installation to the tune of “I Only Have Eyes For You,” installing a video “land art” installation on the Seattle Art Museum, and the video “Sleepwalkers” projected on the facades of MoMA, “a cinematic art experience that directly integrates with the architectural fabric of the city while simultaneously enhancing and challenging viewers’ perceptions of public space” did.
It has been clear since earlier this year that Richard Neutra’s Cyclorama Center in Gettysburg, PA was to meet the wrecking ball, but within the last week, bulldozers have officially destroyed the structure, according to Hanover Evening Sun, ending a more-than-three-year battle over what to do with the mid-century building.
Originally designed to house Paul Philippoteaux’s 377-foot painting of Pickett’s Charge, the rotunda is being torn down in order to restore the land on which it has resided since the 1960′s to it’s historic Civil War state. Bob Kirby, Superintendent of the Gettysburg National Military Park, expects demolition to be completed by late April but major efforts to restore the landmark site will not occur until after July 3rd, the date marking the 150th anniversary of the Battle of Gettysburg.
Despite once again turning out a crowd of supporters who contributed hours of impassioned testimony, many preservationists were unsurprised by an outcome that they chalked up to political determinism.