Rather than add a few hundred more words to the tens of thousands already devoted to praise the Diller Scofidio + Renfro / FXFOWLE renovation of the Julliard School and Alice Tully Hall, I think today that I will remember the original architect, Pietro Belluschi (1899-1994). As a young faculty member at the University of Virginia, I got to know his work a bit. He designed the UVA School of Architecture. The building was muscular, had clear structure, and well expressed the late 1960s/early ‘70s last gasps of Brutalism.
Diller Scofidio + Renfro’s Broad center for contemporary art features a distinctive structural honeycomb facade. It may be getting a neighbor with another notable facade, a new 19 story apartment building with staggered windows in a variety of sizes designed by Miami-based Arquitectonica. According to blogdowntown, the building would include 258 units with 52 set aside for affordable housing and 308 parking spaces in a three level below-grade garage. Developed by Related Companies, the tower would share the plaza with DS+R’s museum and back up to the planned Regional Connector light rail station.
With the High Line getting the lion’s share of attention lately, Hudson River Park feels more neighborhoody then ever. Last night’s opening of public art installation by artist/performer Jon Morris of Windmill Factory felt pretty down home with everyone sprawling out on the grass around Morris, who explained the inspiration for his light show which sits out in the water.
Growing up in Beria, Kentucky, Morris could see the stars, but in New York light pollution made the experience impossible. His idea was to sprinkle a little stardust onto the Hudson in the form of solar powered LEDs attached to the tops of pilings from a long departed pier.
60 Seconds Helicopter. The Sikorsky Prize is legendary, for it has not yet been awarded–it’s still awaiting its first winner, whose human-powered helicopter will reach an altitude of 3 meters (10 feet) during a flight lasting at least 60 seconds, while remaining in a 10 meter square (32.8 foot square). But Inhabitat reports that if things go as planned, a team of students from the University of Maryland may be taking home the prize with their human-powered flying machine, the Gamera.
BIG’s beautified universe. Metropolis deconstructs the renderings of Bjarke Ingels Group (BIG)’s latest project: a mosque complex in Tirana, Albania. While the thoughtful octagonal design (an overlap of the Mecca orientation and Tirana’s urban grid) may have put BIG in front of the competition, one can’t help wonder if the seductive juxtaposition of photo-realism and and benign atmospheric glow in BIG’s renderings may be the secret to the firm’s running marathon of competition wins.
More Getty Trust. Christopher Knight at The Los Angeles Times raises a good point regarding the J. Paul Getty Trust’s appointment of James Cuno, currently director of the Art Institute of Chicago, as Trust president and chief executive: It might be a brilliant idea to appoint him to the directorship for the Getty Museum, finally merging the two positions.
Suburbia Objectified? Allison Arieff of The New York Times comments on the recently launched Open House, a collaborative project in which the Dutch design collective Droog and Diller Scofidio + Renfro architects imagined “future suburbia.” She laments that the project missed the point– by treating a real place (Levittown) as a “perfect blank canvas” and dodging “the real issues.”
On Saturday, April 23 the conceptual Dutch design company Droog and Diller Scofidio + Renfro presented “Open House,” a project that offered dialogue for possible new social and economic models to revitalize pre-existing suburban neighborhoods. The one-day event began with a symposium at Columbia’s off-site Studio-X in Downtown Manhattan, followed by a field trip to Levittown, Long Island, where nine homes from the fabled, archetypal post-war American suburb were transformed into residential marketplaces with experimental installations by designers, architects, and homeowners.
Ok, get ready for the strangest, most audacious project you’ve seen in a long time. Our friends at Architizer just tipped us off to BOOM, a $250 million community being developed in Rancho Mirage, outside of Palm Springs, that includes some pretty inventive, or (maybe more like it) wacky designs by Diller Scofidio + Renfro, LOT-EK, J.Mayer H., and seven more firms. The ultra-expressive project, set to begin construction next year, will include 300 residences built in eight neighborhoods, each designed by a different firm (important note: the developer, Matthias Hollwich, is a co-founder of Architizer). Read More
The recent unveiling of Diller Scofidio + Renfro’s Broad Art Foundation has been generating a lot of buzz in the past couple weeks. The defining architectural element of the museum is its porous structural concrete veil which the architects hope will create an interplay between interior and exterior spaces. The Broad’s concrete skin won’t be Los Angeles’ first, however. Sitting just two miles away on Wilshire Boulevard, the American Cement Building features a mid-century veil of its own.
When Diller Scofidio + Renfro were solicited last June by Eli Broad to sketch an idea for his new archive and museum, the architects were forced to ask: “What do you build next to Disney Hall?” Answer: Something else. Where Frank Gehry’s work is smooth and impenetrable, the Broad Art Foundation is porous and accessible. The stainless steel concert hall reflects the city’s skyline; blinding sunlight bounces off its capering shell. The Broad’s concrete veil, by contrast, is a less aggressive spectacle. At three-feet thick, and punched through with large angular openings, the new museum looks as if it is cloaked in an ice cube tray twisted by a powerful algorithm. As, certainly, it has been, to pleasing effect. Read More
Yesterday, Sam Lubell detailed The Broad Foundation’s much-anticipated LA museum complete with all the renderings. Now, we have a video fly-through of the new Diller Scofidio + Renfro-designed space and isn’t it something! You can really start to appreciate the porous nature of The Broad‘s structural concrete “veil” and the views inside and out it will offer. You also gain a sense of its street presence sitting alongside Frank Gehry’s Disney Hall, which appears rather large in comparison. What do you think?