North American Distribution July-December 2014

Transcription

North American Distribution
July-December 2014
At Oscar Riera Ojeda Publishers we have one clear mission:
we are determined to make a substantial cultural contribution with
each one of our books. We are an international team of designers,
writers, editors and industry professionals with an extensive record
of accomplishment, who are committed to the advancement of
knowledge in various fields of design and the production of quality
books as creative artifacts.
We believe that architecture and design are critically important
disciplines that affect every aspect of our lives on scales ranging from
the monumental to the personal. We equally believe that the ideas
enshrined in these disciplines must be communicated to as wide an
audience as possible, in the most articulate and coherent manner
possible. Architects and designers are only as good as their ideas
and, given that they shape homes, neighborhoods, cities and entire
countries, changing and improving lives even as they provoke and
cause controversy, they should be given an appropriate medium for
them to be heard, considered and discussed. We want to provide
this medium. Although we have our own vision and direction, our role
as publishers is to give equal exposure to a wide variety of ideologies
and philosophies that consistently and intelligently aim to respond to
the realities and issues that affect the world we live in.
Contents
BACK LIST
NEW TITLES
13 Reconnaissance. Nic Lehoux
17 Figures. Essays on Contemporary Architecture
21 Dialogues in Space. Wendell Burnette Architects
25 Object Lessons. Monuments in the Age
of Anti-Monumentality
29 Surfaced. The Formation of Twisted Structures
The Work of SYSTEMarchitects
33 Sagrada Familia. Gaudi’s Unfinished Masterpiece
Geometry, Construction and Site
61 City Works 7. Student Work 2012-2013. The City College of
New York - Bernard and Anne Spitzer School of Architecture
113 Kerry Hill. Crafting Modernism
69 In Situ. George Ranalli, Works & Projects
117 Make Alive. Prototypes for Responsive Architectures
73 The Landscape Architecture of Paul Sangha
77 Campo Baeza. Complete Works
81 Prototyping Architecture: The Solar Roofpod
An Educational Design - Build Research Project
41 City for City. City College Architectural Center 1995-2013
89 Sand to Spectacle. The Dubai Mall. DP Architects
45 Clear Light. The Architecture of Lauretta Vinciarelli
93 Beyond Context. The Work of Atelier Arcau Architects
49 WOW. Experiential Design for a Changing World
97 Contemporanea. Giovanni Presutti
57 Beyond Petropolis. Designing a Practical Utopia in Nueva Loja
109 The Bali Villas. Bedmar & Shi
65 Displaced. Llonch + Vidalle Architecture
37 The Built Idea. Alberto Campo Baeza
53 designwajskol
105 eastwest. Nabil Gholam Architects
101 The Legacy Project. New Housing New York
Best Practices in Affordable, Sustainable, Replicable Housing Design
125 Architecture with and without Le Corbusier
José Oubrerie Architecte
New York – Bernard and Anne Spitzer School of Architecture
175 Heirlooms to Live In. Homes In a New Regional Vernacular
Hutker Architects
133 Unexpect. The works of Michael Ryan Architects
179 Research & Design. Faculty Work. The City College of
149 Ineffable. Architecture, Computation and the Inexpressible
163 5 in Five. Reinventing Tradition in Contemporary Living. Bedmar & Shi
167 States of Architecture in the Twenty-First Century
New Directions from The Shanghai World Expo
141 City Sink. Carbon Cycle Infrastructure for our Built Environments
159 New Architecture in the Emerging World
Projects by Andrew Bromberg, Aedas
121 Ralph Johnson of Perkins + Will. Recent Works
137 Concrete Ideas. Material to Shape a City
155 Generic Specific Continuum. Julio Salcedo / Scalar Architecture
New
Titles
Reconnaissance
13
Nic Lehoux
Reconnaissance presents a cross-section of the work of Canadian-born architecture photographer Nic Lehoux. The photographs featured were
taken throughout the past decade, presenting a selection of both personal and professional work. An overarching feature of this collection is also
one of Lehoux’s trademarks: a rare ability to capture people within the built environment at the decisive moment. • The book includes several thematic essays, many of them exploring marginal environments in urban landscapes to depict a rapidly changing world. This global outlook includes
studies of Shanghai, where older sections of the city are disappearing at a frightening rate, and several different locations in the USA and Europe,
where industrial urban areas are decaying at a similar pace. In another photo-essay, Lehoux uses his distinctive ‘selective focus’ style to capture
the essence of the ancient city of Matera in Italy. A further exhaustive photo-essay, on the 2010 Shanghai World Expo, includes both personal
and professional elements. The work Lehoux has done for some of the world’s most influential and progressive architects is also featured within
themes that dictate the essential strengths of his work: ‘Form’ contains images of architectural abstraction and compositional purity; ‘Light’ is an
exaltation of architecture’s most noble tool; ‘Texture’ documents the variety and poetry of surfaces; while ‘Object’ and ‘Space’ depict the beauty
of tangible and elusive shapes • This book features over 200 original images and is produced as part of joint project between Oscar Riera Ojeda
Publishers and the Architectural Photography Foundation. It accompanies an exhibition of the photography featured which in 2012 toured through
the Chinese cities of Beijing, Shanghai and Shenzen.
Photography by Nic Lehoux
Foreword by Renzo Piano
Introduction by James Russell
Interview by Vladimir Belogolovsky
Edited by Oscar Riera Ojeda
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US$ 75
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Nic Lehoux is a Canadian architectural photographer who works with architects that push the boundaries of design of the built environment. Nic
is regularly commissioned to document significant buildings around the
world with his unique eye, lighting and sense of composition. His images
are frequently published in the international architectural press.His professional work puts a particular emphasis on incorporating people within tightlycomposed architectural photographs. Nic is influenced by the concept of
the “decisive moment” – popularized by Henry Cartier-Bresson – which he
adapts to the rigors of architectural photography. His images therefore serve
as a reflection on the interaction of people with the built environment.
James Russell is the architecture critic for Bloomberg News. His commen- taries also appear on the Bloomberg Muse website. He has been
a regular guest on Bloomberg radio and TV. For 18 years, Russell was an
editor at Architectural Record magazine, the premier American journal for
practicing architects, which he helped to earn a National Magazine Award
for General Excellence (2003). His book, The Agile City: Building Well-being
and Wealth in an Era of Climate Change was published by Island Press in
2011. Rus- sell earned a Masters of Architecture degree from Columbia
University and a Bachelor of Arts in Environmental Design degree from the
University of Washington. He also attended the Evergreen State College.
Renzo Piano, the 1998 Pritzker Prize winner, is perhaps best known for his
controversial design of the Centre Georges Pompidou, located in the heart of
Paris and completed in 1978. Conceived in collaboration with English architect, Richard Rogers and described by Piano as “a joyful urban machine ... a
creature that might have come from a Jules Verne book,” Beaubourg, as it is
called, has become a cultural icon, expressive of Piano’s love of technology.
Born in Genoa in 1937, Piano comes from a family of builders. Following his
graduation from Milan Polytechnic Architecture School in 1964, he worked in
his father’s construction company and later was associated with the offices
of Louis Kahn in Philadelphia and Z.S. Mackowsky in London. He formed
Renzo Piano Building Workshop in 1980, which now has offices in Paris,
Genoa and Berlin.
Vladimir Belogolovsky is the founder of New York-based Intercontinental
Curatorial Project, which focuses on organizing, curating, and designing architectural exhibitions worldwide. Trained as an architect at Cooper Union in
New York, he has published over 150 articles in American, European, and
Russian publications, as well as several books including Felix Novikov for the
series Masters of Soviet Architecture, GreenHouse on leading sustainable
projects, and Soviet Modernism: 1955-1985, which was coauthored with
architect Felix Novikov. Figures
- STATES OF
ARCHITECTURE:
SIX PAVILIONS
FROM THE
SHANGHAI
WORLD EXPO*
Essays on Contemporary
Architecture
17
BIOMIMICRY
What is the “life” in “Better City/ Better Life”? The historian and theorist
of scientific culture, Eugene Thacker has described the Western conception of life as developing in three major episodes corresponding to three
distinct models: life as soul (Aristotle), life as meat (Descartes), life as
pattern (the cybernetic conception of life as organized information). The
idea of life arising from the cybernetic homology between living systems
and information systems has had a strong hold on the contemporary architectural imagination for several decades (in no small part owing to
the ubiquity of computer aided design).
This cybernetic conception of life has powerfully influenced the contemporary conception of the building as an animate or quasi-animate entity.
Since the early nineties, that conception can be said to have advanced in
three stages: the first stage (represented by the work of architects like
Bernard Cache and Greg Lynn) imagined the building form as the empirical trace of a process of virtual morphogenesis. The second stage,
represented by architects like MY STUDIO/Howeler+Yoon, Khoury Levit
Fong, and Mark Goulthorpe, exploited the potentials of embedded technologies to re-conceive the built work as artificial sensorium. At the
third stage, largely enabled by digital parametric modeling, the building
is conceived, in conformity with Thacker’s third paradigm (life=pattern),
as the aggregate produced by the patterning of micrological elements.
These stages are less consecutive than cumulative, since strong residues
of the earlier stages can be observed in even the most daring and radical
examples of the later ones. In the Shanghai Expo, vestiges of all three
are apparent, although it is perhaps the fascination with the patterns
produced by the dense but carefully regulated distribution of a micro-element across a surface or field that produces the most novel and ingenuous expressions of this vitalism. It is here, also, that these vitalist preoccupations begin to encroach on our second theme, surface.
EXCERPTED FROM STATES OF ARCHITECTURE IN THE TWENTYFIRST CENTURY: NEW DIRECTIONS FROM THE SHANGHAI WORLD
EXPO, OSCAR RIERA OJEDA PUBLISHERS,
on the crest 2011.
The treatment of both the interior and exterior surfaces of the U.K. Pavilion are exemplary in this regard. The Seed Cathedral, situated at the
centre of a deftly terraced landscape, consists of a steel and timber composite structure pierced by 60,000 fibre optic filaments, 20 mm square
in section, which are encased in aluminum sleeves. By day, the filaments
* WRITTEN IN COLLABORATION WITH ANDY PAYNE.
16 8
projects
16 9
steelband
- RALPH
JOHNSON’S
PERFORMATIVE
ICONS
The essays consider the contemporary architectural scene from a variety of perspectives in theory and practice. They include seminal pieces
that framed important debates in the field, such as the introduction to the exhibition catalogue Monolithic Architecture, as well as observations on
buildings and practices from around the world, from Santiago, to Beirut and Beijing. Together, the polemical provocations and interpretive insights
construct a critical panorama of a global architectural landscape in rapid transformation since the 1990s. • The book is divided into there parts.
“Polemics” addresses broad issues and trends with essays that claim a position in current debates. “Agents” examines the oeuvres of particular
architects, with pieces that situate their work in relation to such debates. “Artifacts” takes on single buildings, instances where ideas are sedimented into form to situate current architectural discussions in concrete objects.
1
floating, un-rooted above the landscape, they are abstract artifacts that
embody a regional mentalité, more so than an architectural tradition.
Something about them is unmistakably Breton, but that same je ne sais
quoi—shall we say the unsentimental indexicality—is what also binds
them, paradoxically, to the universal project of modernity.
The regional character of Atelier Arcau is not a cultivated aesthetic: it is
neither an affirmation of a cultural heritage, nor a deliberate resistance to
its erosion by global currents. Atelier Arcau’s architecture is of a particular place, because buildings such as Steel Band, Architectural Digest , and
Railway Sentinel, are blunt and unmediated—anti-aesthetic—expressions
of the sites, situations, and material resources that shape them in Vannes,
Ploufragan, and Nantes.
ORIGINALLY PUBLISHED IN RALPH JOHNSON OF PERKINS + WILL;
RECENT WORK, OSCAR RIERA OJEDA PUBLISHERS, 2012
Implantés sur parc d’activités
tertiaire, les deux bâtiments
Steel Band qui en assurent la
composition, sont inscrits entre
la cité qui s’étend et les terres
agricoles.
modernist phobias about symbolic form, he could always counter that his
forms were derived from the more acceptable circumstances of plan form.
Today, roof and profile are back, but often enough through the exercise
of a willful arbitrariness. The refashioning in consciousness of symbol
as logo lends a patina of contemporaneity to formerly censured forms of
iconicity. By borrowing from the world of logos and branding architects
also accept, even delight in the pleasures, and finally, in the limits of the
arbitrary form (Big, Plot, OMA). Authorial expressionism, such as that of
Frank Gehry, presents a corollary phenomenon to the arbitrary logo-like
profiles of shape architecture. Artistic expression, arbitrary in its own
fashion, shares with logo what for modernist ethics is a freedom from
conventional symbolic forms and from historical idioms of architecture.
composition.
composition.
Authored by Rodolphe el-Khoury
Introduction by Eric Firley
1—REstAuRAnt
2—KItchEn
3—FOOd dIVIsIOn
4—mEAt WORKROOm
5—PAstRy dIVIsIOn
6—BAKERy dIVIsIOn
“DESIGN IS HERE ENABLING A
BOLD CONCEPTUAL AND MATERIAL
CLARITY INSTEAD OF PACKAGING A
POLISHED PRODUCT”
The interest that logo architecture and expressionist practices take in the
return of the roof profile is something that we share. However, we are
also invested in the roof as a habitable realm, a condition that played so
central a role in Le Corbusier's "five points." And even more pointedly
we are committed to the relationship between roof and climactic setting
that withdrew in favor of a disavowed conformity to stylistic orthodoxy.
In Liwan Bayrut we have made a building figure in which a very plastic
roof form is created. This form possesses the iconicity of the logo, yet
it is not arbitrary. It is a theater, a roman bowl, structural in character
(a tensile net) and energy efficient in its geometry and orientation. It is
an intense social form whose shape is the shape of the roof. Its archaic
familiarity and its technical modernity combine with its provision for a
real social invention germane to a contemporary institution.
Johnson builds the civic character of the courthouse by figuratively capturing and monumentalizing its environmental
logic. Herein lies his main contribution to the current discussions around sustainable design: in the capacity to tease
out a symbolic resonance from environmental performance.
Take, as another example, the Al Shark Tower project.
The environmental agenda is here stated more explicitly
with the literal greening of the building. A strategy for a
sustainable rapport with Dubai’s desert climate here favors a permeable building envelope with passive cooling
and ventilation capabilities. The design strategy which
includes a layer of living plant material as part of a breathing skin generates a unique building form with a continuous spiraling garden carved into the mass of the high-rise
structure. A process designed for efficiently regulating
environmental recourses is pushed beyond its performative logic to yield a cultural surplus. Sustainability shapes
the building into an intelligible icon.
Likewise in the Phoenix sun -shading infrastructure and in Beirut's Martyrs' Square we have sought to combine technical innovation with iconographic intent. And, we eschew what we consider an erroneous distinction between socially and environmentally performative architectural
form and symbolic form, which means that we consider these works
to be equally committed to an environmentally responsible shaping of social experience as they are to providing symbolic forms of the social world
they hope to make. In aligning these goals our work escapes from the collapse of practice into the immaterial discursive forms of the logo and of
technique into a self-unaware and thus benighted form of technicality.
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Rodolphe el-Khoury is Dean of the Miami University School of Architecture.
He was Canada Research Chair at the University of Toronto, Head of Architecture at California College of the Arts, and Associate Professor at Harvard
Graduate School of Design. el-Khoury was trained as a historian and as an
architect; he continues to divide his time between scholarship and practice
with Khoury Levit Fong. His books on eighteenth-century European architecture include The Little House, an Architectural Seduction, and See Through
Ledoux; Architecture Theatre, and the Pursuit of Transparency. Books on contemporary architecture and urbanism include Monolithic Architecture, Architecture in Fashion, and States of Architecture in the Twenty-first Century: New
Directions from the Shanghai Expo.
Eric Firley was born in Düsseldorf, Germany. He studied economy,
architecture and city design in Fribourg, Lausanne, Weimar and London,
and started his professional career in the real estate sector in Paris.
Afterwards he worked for several years in design practices in Paris and
London, before dedicating himself full-time to research and writing between 2007 and 2010. In 2011 he became assistant professor at the
University of Miami School of Architecture. He has lectured in institutions
around the world, including the Skyscraper Museum and Cooper Union
in NYC, the Architectural Association in London, UC Berkeley, the National University of Singapore, the Parisian Planning Office (APUR) and
McGill University in Montreal.
- SMART
FIGURE /
SENSIBLE
GROUND:
ANDREW
BROMBERG
BSA is partnered with Knippers Helbig Advanced Engineering Stuttgart for
the innovative design and engineering. Together they continue a German
tradition of lightweight construction that developed with Frei Otto’s groundbreaking works. Much like the German Pavilion at the World Exposition 1967
in Montreal and the Munich Olympic stadium—formative precedents that
defined the genre—the Expo Axis how advanced computation and material
research align to produce structures of increasing elegance and efficiency.
CORPORATE PAVILION
A dense infrastructural matrix envelops a collection of irregularly shaped
spaces, unifying divers programs and volumes into a rectangular block.
This is a recurrent compositional strategy at the Expo and a compelling
model for urban buildings in general. It is a way to transition form increasingly complex programs and interior configurations to a consolidated mass and iconic presence on the street.
The building pays homage to the groundbreaking Centre George Pompidou of 1976 with its exposed infrastructure and ductwork. In lieu of massive
structural members and conduits the Corporate Pavilion presents a filigree
of infrastructure. While the Centre Georges Pompidou flaunted technology
in the form of colossal machinery this pavilion appeals to a different technological paradigm: information technology and miniaturization.
The building is enveloped in a mist of technology: a cloud-like distribution
of miniaturized structure, electronics and digital bits. This steel and silicon filigree features arrays of sensors and actuators that enable the building envelope to respond to ambient conditions and accordingly enhance its
environmental performance. Embedded misters for instance produce an
actual cloud of cooling vapor that regulates the ambient temperature. This
climate-control device responsively boosts the environmental performance
of the building while visually enhancing the foamy character of the façade.
Embedded LEDs transform the building into an active digital display controlled by computers that alter the appearance of the building in a variety
of automated or programmed ways, further underscoring the shit from the
iconography of the machine to the atmospherics of the information age.
“FOR JOHNSON,ARCHITECTURAL
SIGNIFICATION CONSISTS IN
SHAPING INTELLIGIBLE AND
MEMORABLE FIGURES FROM THE
BUILDING’S FUNCTIONAL AND
CONSTRUCTIONAL LOGIC”
Object
Lessons
C
City
Monuments in the Age
of Anti-Monumentality
SIBBESBORG ARChIPELAGO
Sibbesborg, Finland
Sibbisorg: Urban archipelago. This
is an urban design for Sibbisborg, a
community one hour by car to the east
of helsinki. The mandate of the design is to plan for Sibbisborg’s growth
from a community of 3,000 to a city of
100,000 people. Our proposition, the
Sibbesborg archipelago, is a network
of neighborhoods, island-like in form,
but bound together in a larger urban
ensemble by shared networks of social
and physical infrastructure. Set within
the forested landscape, amidst agricultural fields, wetlands, and coastline, these urban islands are linked but distinct neighbourhoods
that leave intact existing landscapes and permit, in the space between them, the constitution of a
new ecological and recreational network that is as vital to the metropolitan form as the islands of
the archipelago themselves. The islands are connected by roads, bike paths, parks, and the shared
social and economic institutions of schools, commerce and shopping, and linked to the larger
territory by regional transportation and new concentrations of employment and retail services.
Between these islands continuous ecological networks of habitat, hydrology, and farmland are
preserved, shaped, and stitched into a larger territorial ecology. New and re-purposed networks
of biking, walking, and hiking paths turn the natural amenities of the Sibbesborg region into an
attractive destination for recreation and tourism.
Urban Islands, Landscape, and Ecological Sustainability: The urban islands of the Sibbisborg
archipelago, positioned on high ground and nestled between working agricultural landscapes,
and between sites of historical or natural interest, in their leapfrogging pattern permit large and
continuous ecological corridors to be shaped. The movement of water through the region, the
territory’s hydrology, is preserved. Continuity of habitat is preserved for animal life. Wetlands
and designated sites of historical or natural interest, and working farmland are all left intact.
The landscape component of this proposal focuses on the open systems of the site, and proposes
a series of ecological and water management strategies and guidelines, starting from the large
scale level of the whole site, and moving into the smaller scale of streetscapes. The approach is to
balance the need for development, and the on-going socio- economic practices such as agriculture on the site, with the need for preserving the ecological integrity of the site.
Bounded density and natural amenity: The archipelago of neighbourhoods in the new Sibbesborg is made possible by concentrating the new buildings in moderately dense islands of development. Each island is comprised of a mixture of six story apartments that bound lower rise
town houses and/or walk-up duplexes and sometimes give way to single-family groupings.
Employment centres: While individual islands will provide smaller scale services, two town centre developments will include provisions for larger scale buildings with commercial uses. This
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46
47
NATURA
2000
SITE
NATURA
2000
SITE
Rodolphe el-Khoury and Robert Levit’s work take up the vexing problem of monuments and collective form. What is the form of the contemporary
collective? Within and through the monuments and environments of collective life how to be free together and how to make real the forms of collective life? The work recognizes the pleasure in the binding form of the total figure and sees in this figure the impress of institutional life. But, the
press of individuals, the unruly thriving of difference also unsettles the forms of the work: counter forms inhabit and disrupt the monumental shape
of their public buildings and spaces. • Responsive media register the input and actions of individuals and produce sensuous events within and
upon the body of their buildings. Conventions are recast through new parametric capacities in the production of architectural form, while current
developments in interactive media refashion perceptions of the fixity of the built environment. The work documented in this book reflects at a variety
of scales the tense relationship between community and individual. It inscribes this tension, between the one and the many into the body of architecture and the city. In addition to El-Khoury and Levit’s own theoretical treatment of their work, contributions by Nader Tehrani and Scott Cohen,
along with a number of other authors will assess the work in the context of contemporary and historical concerns of architecture.
Authored by Rodolphe el-Khoury and Robert Levit
Essays by Preston Scott Cohen and Nader Tehrani
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Rodolphe el-Khoury and Robert Levit are partners in the design firm
Khoury Levit Fong. This book is a document of their architecture and urban
design work in this firm and an account of the theoretical concerns that drive it.
Rodolphe el-Khoury is Dean of the Miami University School of Architecture.
He was Canada Research Chair at the University of Toronto, Head of Architecture at California College of the Arts, and Associate Professor at Harvard
Graduate School of Design. el-Khoury was trained as a historian and as an
architect; he continues to divide his time between scholarship and practice
with Khoury Levit Fong. His books on eighteenth-century European architecture include The Little House, an Architectural Seduction, and See Through
Ledoux; Architecture Theatre, and the Pursuit of Transparency. Books on contemporary architecture and urbanism include Monolithic Architecture, Architecture in Fashion, and States of Architecture in the Twenty-first Century: New
Directions from the Shanghai Expo.
Robert Levit is Director of the Master of Architecture Program and Associate Professor of Architecture at the John H. Daniels Faculty of Architecture,
Landscape, and Design, University of Toronto. He was also the Director of
the Master of Urban Design Program at the University of Toronto, Assistant
Professor at the University of Michigan, and has been a visiting professor at
the Harvard Graduate School of Design. His design work has been recognized through numerous awards and competitions. His articles on architecture
including such as “Ornament: The Return of the Symbolic Repressed,” and
“Design’s New Catechism” have become staples of the current debates on
architecture.
Primary
Corridors
Hydrological Zones
Secondary
Corridors develped
over time after the
primary corridors
Watershed
Boundaries
Drainage
Arrows
Tertiary
Corridors
Contributing
Zones
Primary
Connections
Collection
Zones
Secondary
Connections
developed over time
Conveyance
Zones
Ground Water Areas
M
Museum
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296
297
WARP ANd WOOF: ThE MUSEUM OF
UNdERWATER ANTIQUITIES (2012)
piraeus, Greece
The Museum of Underwater antiquities is
to be housed within a building that is itself
an artifact of great cultural significance:
The Cereals Stock house Building. The
underlying structure, the silos themselves
provide the warp and the woof that organizes the collection of underwater antiquities–bringing these antique artifacts into
intimate contact with the archaeology of a
more recent history—the now iconic remains of port of piraeus’s 20th century industrial past in the form of the silos of The
Cereals Stock house building.
Excavation of Silos
how to convert the small cellular nature of the grain silos into spaces adequate to the museum?
taking a cue from the artistic inventions of Gordon Matta-Clark we have cut conic voids across
t
the tightly packed chambers of the silos. These voids provide a rich means of dramatic movement
through the museum. In each of the voids that have been cut escalators have been placed that provide for a pattern of movement choreographing through the whole building the six specified exhibition themes, each of which occupies its own floor or, in the case of theme 5 and 6, share a floor.
The excavation of the silos provides a number of advantages. Like the boulevards that cut through
the diverse neighbourhoods of city binding them to the larger scale of the city as a whole, these
excavated passages in the building permit the visitor to the museum to recognize the unity of an
institution to be housed in what began as the non-communicating chambers of silos. Under the
original conditions each silo remained utterly segregated each from the next. The excavation is a
cross-cut, more violent than the methods of contemporary archaeological excavation, but related
to the act of uncovering, digging in, as it were, into the literally stratified material of the historical
record. here,
ere, the beauty of the internal organization of the silos is made visible to the museum visvis
itor, both from within the museum and from without through the act of cutting or, to put it more
thematically, through excavation.
The cross-cut voids opening up the silos
slice great glazed openings into the outer
wall of The Cereals Stock Building. They
create fantastic views of the port from
within the museum and, from without,
reveal the complex internal spectacle
of people. They expose to view the silo
forms themselves and offer an X-ray of
sorts into the building of the new Museum of Underwater antiquities.
179
Nader Tehrani is a Professor and Head of the Department of Architecture
at MIT SA+P. He is also Principal and Founder of NADAAA, a practice dedicated to the advancement of design innovation, interdisciplinary collaboration,
and an intensive dialogue with the construction industry. Amongst his notable
design works are the Hinman Reseach Building at Georgia Tech and the Macellan Building Condominums.
Preston Scott Cohen is the Gerald M. McCue Professor of Architecture at
Harvard University’s Graduate School of Design and the former Chair of its Department of Architecture. He is the author of Contested Symmetries (Princeton
Architectural Press, 2001) and numerous theoretical and historical essays on
architecture. His work has been widely published and exhibited and is in numerous collections. He is the architect of the Tel Aviv Museum of Art.
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21
Dialogues
in Space
25
Wendell Burnette Architects
Dialogues in Space: Process and Ideas in the work of Wendell Burnette Architects is the first multi-project monograph on this American architects
selective body of work. The title alludes to the architects view that architecture is a constructed conversation between people, things and time. Six
singular projects from the architects oeuvre are presented in-depth through the architects’ own words, drawings and photography. Also included is
a comprehensive essay by the celebrated architectural writer / critic Robert McCarter entitled Crafting Space: Composition and Construction in the
Architecture of Wendell Burnette that examines the “thinking and making” process behind the built and un-built work across 15 years of practice.
The different typologies of the work explores authentic human experience through provocative spatial constructions - public and private in diverse
locales - that attempt to promote an expansive dialogue with our places, our environment, our communities, ourselves, and our time. Through
extensive research into the ‘art of building’ – the specificity of place and locally appropriate construction systems, materials, craft, and their infinite
capacity to transcend mere construction, the work strives toward an architecture that is at once functional and poetic.
Foreword by Tod Williams and Billie Tsien
Essay by Robert McCarter
Introduction by Juhani Pallasmaa
Epilogue by Brian Mackay-Lyons
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Wendell Burnette is a self-taught architect and Principal of Wendell Burnette Architects, established in 1996 after a three-year period at the Frank
Lloyd Wright School of Architecture and an eleven-year association with
William Bruder. He has been an assistant professor at the School of Architecture and Landscape Architecture at Arizona State University since 2000.
Wendell Burnette’s design philosophy is grounded in distilling the essence
of a project to create highly specific architecture that is at once functional
and poetic. Burnette has traveled widely in Asia, Europe, Africa, Central and
North America where he has assimilated a personal perspective on the “art
of place making”. The work of Wendell Burnette Architects has been presented in over 100 publications worldwide including The Burnette Studio /
Residence, a single building monograph published by Rockport Press and
the Phaidon Atlas of World Architecture in 2004 and 2008.
Tod Williams and Billie Tsien have worked together for over thirty years.
In 1986, they founded Tod Williams Billie Tsien Architects on Central Park
South in New York City. The firm is known for institutional work that pays
careful attention to context, detail and the subtleties of materials. Award
winning projects include the Neurosciences Institute, the American Folk Art
Museum, Cranbrook Natatorium, the Phoenix Art Museum, Skirkanich Hall
at the University of Pennsylvania, and the David Rubenstein Atrium at Lincoln
Center. Current work in construction includes a new museum for the Barnes
Foundation in Philadelphia, a performing and visual arts center at the University of Chicago, the Asia Society headquarters in Hong Kong, and two new
skating rinks in Brooklyn’s Prospect Park.
Robert McCarter is a practicing architect, author and professor. He is
the Ruth and Norman Moore Professor of Architecture at Washington University in St. Louis (since 2007), and he taught previously at the University
of Florida and Columbia University, among others. His books include Frank
Lloyd Wright, (1997); William Morgan (2002); Louis I. Kahn (2005); On and
By Frank Lloyd Wright: A Primer of Architectural Principles (2005); and Frank
Lloyd Wright: Critical Lives (2006), among a number of others. Books currently at press include Alvar Aalto (2012); Architecture as Experience (2012,
with Juhani Pallasmaa); Wiel Arets at Work (2012); Atlas of 20th Century
Architecture (2012, with Adrian Forty and Jean-Louis Cohen); Carlo Scarpa
(2013); and Aldo van Eyck (2013).
Brian Mackay-Lyons is a Canadian architect best known for his designs
for houses on the coast of his native Nova Scotia and his use of Atlantic Canadian vernacular materials and construction techniques. Mackay-Lyons was
born of part-Acadian heritage in Acadia, on the French Shore of southwest
Nova Scotia and was strongly influenced by the region’s maritime landscape,
architecture and functionalist design. He studied architecture at the Technical University of Nova Scotia (graduating 1978) and received his Master’s in
Architecture and Urban Design from the University of Cali- fornia, Los Angeles.
He also studied and worked in China, Japan and Siena, Italy. In 1983, Mackay-Lyons returned to Nova Scotia to work on vernacular designs and teach
at Dalhousie University, where he holds a full professorship in architecture. He
founded his own practice in Halifax in 1985 and in 2005 this became MackayLyons Sweetapple Architects Ltd after he partnered with Talbot Sweetapple.
Surfaced
29
3.2 cMcF
1 This was largely a response to the flat sheet technology pervasive
2 in the building industry, and the rudimentary software
The lobby of a penthouse apartment in a new high-rise residential building in New York City
presented an interesting challenge. The space had a utility and it met all the many regulations of the building co-operative board, but it needed character. We were only permitted to
use paint, so we decided to work with qualities of paint that enhance surface. The pattern we
devised envelops the floor, walls and ceiling in a pattern of matte, low sheen, and high gloss
finishes. The new surface is immediately transformative but the subtleties of the articulation
almost defy documentation. Photographer Albet Velska painstakingly adjusted the lighting to
pick up the surface changes and compiled an image of over 20 different images to reveal the
interactions between the light and paint.
The Formation of
Twisted Structures
The Work of
SYSTEMarchitects
1 This was largely a response to
the flat sheet technology
2 in the building industry, and the
rudimentary software
The pattern continued on the terraces as outdoor furniture, where the surface becomes perforated and articulates the uses of the space.
form + use
38
Burst*003
39
154
perforation + pattern
cMcF
155
cMcF
157
3
Architectural structures create the environment in which they are situated, while at the same time describing that environment. Complex forms, such
as the twist, offer the architect a tool to shape an environment with a visible smoothness that disguises the space’s complexity and precision. But
twisted structures present a double-challenge for architects and builders. To create such structures, it is necessary not only to design them, but to
design the method of constructing them. For some geometries, it is enough to take a conventional building method, or an already extant tool and
modify it slightly. But more often than not, completely new tools and methods need to be figured out. This process of re-engineering, rethinking and
reimagining leads to an increasing and progressively more intimate awareness of material, texture and detail. This book charts the journey of SYSTEMarchitects from the folded geometries of the seminal BURST house exhibited at MOMA’s renowned 2008 show to the curves, tucks and twisted
spaces that followed. It records five years of experimentation with pre-fabricated and iterative techniques, low cost materials and algorithmic design
all in service of projects made for everyday use. It examines the role of parametric design in the domestic sphere, and It explores twisted volumes,
from large scale structures to the very surface of the twist itself, offering a whole new animated direction for architecture.
surfaced.
the
formation
of twisted
structures
1 This was largely a response to the flat sheet technology
1 This was largely a response to the flat sheet technology pervasive
3 we were using at the time. As the software and our facility with the software progressed
4 so did the experimentation with materials.
40
form + use
Burst*003
A collaboration between the City College of New York • Bernard and Anne Spitzer School of Architecture and Oscar Riera Ojeda Publishers
4.1 UNhistorictownHOUSE
With Robert Baker
the work of SYSTEMarchitects
The Landmark Preservation Commission (LPC) was established in New York to preserve
historic buildings after the McKim, Mead and White-designed Penn Station was pulled down.
The Commission has jurisdiction over the site of a townhouse that SYSTEM was commissioned to renovate and enlarge in 2010. An odd leftover, the lot is only 25-ft. deep and has buildings on three sides, but has almost 40 feet of street frontage. The current house does not
meet the basic standards of cross ventilation, light and open green space that are required
for residential habitation, yet is in a very desirable Manhattan neighborhood. Tribeca was
originally built for manufacturing, trade and warehousing when that part of the Hudson River
was a thriving shipping port. The 10-story building across the narrow street is now used for
offices and movie production. Our site had little or no privacy or sense of domesticity, particularly as the building is only one room deep.
Contributions by:
Writer, Editor and Curator: Chee Pearlman
Arts Journalist: Carolina Miranda
Architectural Critic: Vladimir Belogolovsky
Architectural Historian: Elisabetta Terragni
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300
120
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US$ 50
978-988-12252-3-8
Chee Pearlman, former Editor-in-Chief of I.D. Magazine, is the director of
Chee Company, a New York-based editorial and design consultancy. She is
also Curator of the Curry Stone Design Prize, an annual $100,000 grant that
recognizes innovative designers creating social impact solutions. A journalist, conference director, and curator for more than 20 years, she has contributed to The New York Times, Newsweek, Travel + Leisure, Wired, Popular
Science and Architects Newspaper. Chee has been the program director of
the Art Center College of Design Conference for six years and has co-edited several books including Spectacle by David Rockwell and Bruce Mau;
Made You Look, by Stefan Sagmeister; and Perverse Optimist by Tibor Kalman. She founded and co-chaired the Chrysler Design Award for its 10-year
duration, and curated the groundbreaking “Voting Booth Project” exhibition
at The New School. She has served on innumerable juries, is an advisor to
the TED conference and a board member of the Art Directors Club. Chee is
a 2011 Harvard Loeb Fellow and is currently developing a conference in and
about Detroit entitled “Urban Craft: Solutions from the Edge.”
Carolina A. Miranda is freelance magazine writer and radio reporter who
has produced stories on culture and travel for Time, ARTnews, Art in America, Fast Company, NPR’s All Things Considered and PRI’s Studio 360.
The argument we made successfully to the LPC was that our building was to be made from
materials characteristic of the historic neighborhood—brick, steel, glass, and cast iron—but
used in a revolutionary fashion.
She has also served as a contributing art critic and reporter for New York
Public Radio, appearing regularly on affiliate stations WNYC and WQXR.
Over the course of her career, she has reported on the burgeoning industry
of skatepark design, architectural pedagogy in Southern California, the presence of street art in museums and the growing intersection between video
games and fine art. She blogs about art and culture at C-Monster.net and
was named one of nine people to follow on Twitter by the New York Times.
Vladimir Belogolovsky is the founder of the New York-based Intercontinental Curatorial Project, which focuses on organizing, curating, and designing architectural exhibitions worldwide. Trained as an architect at Cooper
Union in New York, he has published over two hundred articles in American,
European, and Russian publications, as well as the books Green House
(TATLIN, 2009), Felix Novikov (TATLIN, 2009; DOM, 2013), Soviet Modernism: 1955-1985 (TATLIN, 2010), and Harry Seidler: LIFEWORK (Rizzoli,
2014). His interview with Soviet architect Felix Novikov was published in
Soviet Modernism catalog (AzW, 2012) and his essay Russia, In Search
of Lost Modernity was published as the opening chapter in Atlas: Europe
edited by Luis Fernandez Galliano (Fundacion BBVA, 2013). His article on
New York was included in the Great Russian Encyclopedia (Vol. 21, 2013).
The windows are carefully angled to increase the views up and down the street while decreasing the view into the house from the commercial building across the way. This has the effect
of turning the brick façade into a continuous twisting surface as the angled windows negotiate with the street. The bricks become like drapery, corbelling from their cast iron base up
to the overhanging cornice.
After construction experiments with robotic bricklayers and backup walls made of plywood
or honeycombed plastic, we decided to build with brick hand-laid onsite against a permanent
foam template that is CNC cut to form every brick course and position every brick. The foam
insulates, helps with the waterproofing and prevents damage from condensation between
the walls. The interior of the façade is also brick, creating a four wythe wall where one of the
interior wythes is foam. This makes the wall highly insulating and eliminates street noise.
Balconies extend beyond the façade and provide small outdoor spaces nestled in and jutting
out from the brick wall. They’re conceived as a second fabric swelling out from the brick
surface, extending the habitable space through the wall, their balustrades screening the
interior even further.
In the interior, the twisting geometry of the façade imparts an intimate domestic scale to the
interior spaces. The curves and kinks create alcoves, cubbies and nooks that can be personalized. One might be a window seat, another a place for a plant, another a spot to talk on the
phone or look out the window. Thus an otherwise commercial and impersonal environment
can be made more intimate and domestic without the necessity of drawn shades.
176
lattice 3N
177
182
material + depth
UNhistorictownHOUSE
183
material + depth
220
Pied-á-Terre
221
acknowledgements.
This book looks particularly at the design activities of
SYSTEM over the past six years, none of which would have
been possible without the 12 years that came before. We
have limited the projects of those years to BURST*003
and 008, Wellfleet, and fulcrumSTAIR in an attempt to
contextualize the ideas that influence the current activities.
This book would not have been possible without the
support and counsel of the dean of architecture of
the great City College of New York, George Ranalli,
who gave me the idea for the book, the space to
write it and the belief that I could pull it off.
Making the book took enormous effort for many. It would
not have happened without the guidance, wordsmith skills
and countless hours of my wife, Belinda Luscombe. Not
only did she agree to upend our family schedule but she
organized the space we needed to think clearly about
the book. I must thank our children Spike and Ginger
for their patience while our minds were elsewhere.
Jamie Edindjiklian, Alanna Lauter, Florian Gjoka, Nick
Napoli and Robert Baker from SYSTEM’s office were
invaluable and I’m profoundly grateful to them.
I thank the interviewers who engaged with the work
during their busy schedules, Vladimir Belogolovsky for
the idea, the journalists Chee Pearlman and Carolina
Miranda, and the environmental activist Paul Chatterton.
The work at SYSTEM is always a labor of love and devotion
and the hours people have put in reflect that. Douglas
Gauthier and I worked side by side for many hard but fun
years. Henry Grosman devoted years of his life to the
making of the BURST* projects, and Chris Knapp, Sarkis
Areklyavan, Barry Bergdoll, Peter Christensen, Cristobal
Correa, Katherine Keltner and John Fuller gave us such
140
aA SHELTER
141
10
important support. I remain deeply indebted to Stacey
Greenwald and Martin Cook, true friends who have helped
us out at key moments. Robert Baker (again), Charles
Kwan and Jesse Lee Wilson have given their time, energy
and talent in a way that is humbling and inspiring.
My colleague at the Mercer Street studio, Maggie
Mahboubian told me early on in the practice to find
great makers and design for them. The great makers
we have found and continue to design for include Sue
Wantz at Paul C. Steck, Armando Saca at Millennium
Steel, Corey Akers at Precision Metals, Laserfab, Perry
Randazzo, and Art Kozyr, Bill Young, Robert Bridges at
eFab Local, and the guys on site with the awe-inspiring
hands Tommy Kozlowski and Richard Wilson.
Supportive clients are the lifeblood of any architecture
practice, most crucially because they engage with the
thinking of the projects and improve them. Without the
faith and loyalty of clients, all buildings are just dreams.
I am honored to have worked with Andrew Katay and
Catriona Grant, Douglas and Michelle Monticello, Caroline
McFadden, Jeff and Susan Rubenstein, Michel Gainet,
Dalton Conley, Milind Sojwal and All Angels Church,
Michelle deMilly and Andy Breslau, Ross Whelan and
Mark Cooper. They have each taught me so much.
Jeremy Edmiston
SYSTEMarchitects
11
Sagrada Familia
33
Gaudi’s Unfinished Masterpiece
Geometry, Construction
and Site
Left. Sagrada Família model of the
completed project
Right. Aerial view
Gaudi’s inventions in structural and architectural design were developed in
sketches and elaborate plaster models of all aspects of the building. These models sometimes revealed the structure in great detail, and utilized catenary design
with strings soaked in plaster so the gravitational forces of the form could be understood. Most impressive was the integration of ornament and symbolic form
integrated into the design of this breathtakingly modern construction system.
Gaudi, alone in his studio, had developed almost every aspect of the building
schematically and in some parts of the building in great detail. Only a fragment
of the building was complete at the time of his death.
The controversy surrounding the completion of the building by subsequent architects has been intense and mostly negative. Many architects, theorists and
historians hold the point of view that the Sagrada Familia is the personal work
of Gaudi alone and only he had the artistic authority to complete the design
work. The reality of architecture however, demands the completion of the building despite the architect’s own lifetime and personal involvement. Many great
buildings throughout history have been completed beyond the originating architect’s own life span utilizing multiple architects with a great result. Modern
architecture’s preoccupation with sole authorship is a misnomer to the collaborative process in the way buildings are formulated and ultimately executed. In
very large projects often several architects complete the work over several generations. One only needs to reflect on Saint Peter’s Church in Rome, the Duomo in
Florence or in more recent time the Firminy Church started by Le Corbusier and
completed by Jose Oubrerie. In each case the hand of multiple architects transformed the original design and made significant improvements to the original
work. Criticism at the time of each project decried the role of a new designer to
complete the structure despite the quality and integrity of the additional and
completed project.
/3
/ 16
/ 17
/ CHAPTER III
An Exhibit at the Bernard and Anne Spitzer School of Architecture City College of New York, September 2014- May 2015.
SAGRADA FAMILIA
Curator: George Ranalli
Gaudí’s Unifinished Masterpiece,
Geometry, Construction and Site
More than a century after Catalan architect Antoni Gaudí began working on The Expiatory Church of the Holy Family, Sagrada Familia
remains under construction. This catalogue focuses on that dynamic and ongoing process and on the successive builders’ incorporation of new technologies into the structure´s magnificent design, a living work of performance in itself. It documents the cathedral’s evolution using handmade drawings, plaster models, digital imaging and 3D modeling. It examines the geometries and formal languages that
have informed generations of architects and builders. At the same time, it shows the integration of traditional craftsmanship with the most
cutting age computer graphics and robotic engineering. Originally situated on the outskirts of the city, La Sagrada Familia today serves as the enduring
symbol of Barcelona. But unlike the Eiffel Tower or Brooklyn Bridge, Barcelona’s icon is still a work in progress and a magnetic center of spiritual life.
The members of the design team Jordi Bonet, Jordi Fauli, Josep Gomez Serrano,
and Mark Burry have executed an astonishing completion to the original Gaudi
design. Evolving all the elaborate models and sketches left by Gaudi, they have
extended the original author’s design principles and carried them into the twenty first century with great skill and incredible resolution. The team has been able
to continue all the forces put forth in Gaudi’s original design and they take them
even further than shown in the original documents including all the symbolic
sculpture, artifacts and decorative motifs into an astonishing degree of resolution. The result is quite exceptional, including the transformations in the construction technology. Through the years the technological capability of the labor
force changed from manual to more advanced technology including the use of
Japanese robots to cut the complex shapes of the covering stone some 70 meters
above the street on the construction scaffold while a few meters away masons
still imbed glass chips into wet cement as they have in Barcelona for hundreds of
years. The Sagrada Familia is a complex and iconic work of architecture that has
had a talented and extraordinary team of architects and engineers dedicated to
fulfilling Gaudi’s dream of a great Gothic cathedral that will be one of the leading
works of transformative architecture of the last two centuries. This magnificent
building is a stellar example of how history is incorporated into contemporary
design and fused into a living, breathing form capable of recalling the great
Gothic cathedrals while also advancing architecture to new structural, architectural and symbolic heights. The Sagrada Familia demonstrates eloquently that
we can extend our historical and cultural roots without sacrificing our creative
and inventive spirit.
DESIGNING
AND
BUILDING
SAGRADA
FAMILIA
TODAY.
Right. Interior of a bell tower
George Ranalli
Spring 2014
GEORGE RANALLI has been Dean of the Bernard and Anne Spitzer School of
Architecture at City College since 1999. He received his Bachelor of Architecture
from the Pratt Institute (1972) and Master of Architecture from the Graduate
School of Design at Harvard University (1974). He was Professor of Architecture at
Yale University (1976-1999), and the William Henry Bishop Chaired Professor in
Architectural Design (1988- 1989). He recently completed his fourth monograph,
Saratoga, devoted to his Saratoga Avenue Community Center for the New York
City Housing Authority. His architectural and design work has been exhibited in
the US and Europe and published internationally in numerous journals.
Mark Burry With Jordi Faulí, Jordi Coll and Ramon Espel.
/ 18 - FOREWORD
/ 19
/ 213
/ 127
/1
Edited by Josep Gómez Serrano,
Maria Rubert and Oscar Riera Ojeda
Foreword by George Ranalli
Essay by Fabian Llonch
Left. 1:25 scaled plaster model made by Gaudí for the
Sagrada Família nave from 1914 onwards (1914-26,
restored after 1936-39 Spanish Civil War)
Right. Longitudinal section through the church
from the main façade to the apse. Drawing drawn
during Gaudí’s final years and published in J.F. Ràfols, F. Folguera. Gaudí. Editorial Canosa, 1928
Above. Comparison of the profiles fron San Marcos
in venezia, San Pietro in Roma and Sagrada Família.
Drawing published in J.F. Ràfols, F. Folguera. Gaudí.
Editorial Canosa, 1928
Above. Cross Section through the transept
In studying the structure for the interior, perhaps the most important model was
one which was not specifically meant for the Sagrada Familia. Gaudí later told
Cèsar Martinell that without first trying out his structural ideas at the Colònia
Güell he would never have dared to adopt them for the temple. For the chapel at
Güell’s factory town south of Barcelona Gaudí had created an original funicular
model of hanging cords, catenaries weighted with bags of buckshot according to
the loads and thrusts the building parts might bear. The resulting arcs described
the skeleton of a building of inclined supports, parabolic towers, and undulating
hyperbolic paraboloid surfaces-a chapel whose form would contain within its
equilibrated structure all of the loads and thrusts incumbent upon it, without resorting to any form of buttressing. Only the crypt of the Colònia Güell chapel had
been built by 1914 when Gaudí turned his attention exclusively to the Sagrada
Família. In the end, the models that he constructed in order to clarify the structure of the temple were somewhat less daring, if at the same time more organic
in their arborescent imagery.
By 1915, the temple was 30,000 pesetas in debt and continuation of the work was
in doubt. It was then that Gaudí and Bocabella’s grandson took up the suggestion
that Maragall had set forth in 1905, visiting the homes of wealthy patrons of commerce and industry and asking directly for funds. It was at this point, too, that the
guide service was established and an album of photographs with a history and
explanation of the religious symbolism of the temple in five languages was published by the Devout Followers of St. Joseph, along with a series of postcards. One
fund-raising idea, that of offering burial in the temple to those who might leave
considerable sums to the work, was eventually rejected by the authorities. As
something of a consolation, in an extraordinary budget of 1917, the municipal gov
government did grant a one-time subvention of 100,000 pesetas for the construction
of a definitive model of the Sagrada Família at a scale of 1:10. Jaume Bofill i Mates,
the councilor who proposed the subvention, argued that “building this model will
Above. Longitudinal Section
Next Page. Ceiling vaults of the naves, c. 2000.
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George Ranalli has been Dean of the Bernard and Anne Spitzer School
of Architecture at City College since 1999. He received his Bachelor of
Architecture from the Pratt Institute (1972) and Master of Architecture
from the Graduate School of Design at Harvard University (1974). He
was Professor of Architecture at Yale University (1976-1999), and the
William Henry Bishop Chaired Professor in Architectural Design (19881989). He recently completed his fourth monograph, Saratoga, devoted
to his Saratoga Avenue Community Center for the New York City Housing
Authority. His architectural and design work has been exhibited in the US
and Europe and published internationally in numerous journals.
Fabian Llonch. Studied Architecture at Universidad Nacional de Rosario Facultad de Arquitectura Planeamiento y Diseno Argentina where he
graduated in 1995. He received his Master of Architecture with Honors at
/ 38 CHAPTER I - 1.1
Washington University School of Architecture in 1999 where he received
the Frederick Widmann Prize in Architecture, based on his outstanding
architectural work. Fabian worked from 1989 to 1992 as an intern at Corea
Gallardo Mannino in Barcelona Spain, he worked from 1993 to 1996 at the
City Planning Office, Rosario Argentina. From 1998 to 2000 at Sverdrup
Inc. in St. Louis, MO as a Senior Designer and from 2000 to 2001 at
Steven Holl Architects in NYC. He was named one of the best 20 Young
Architects in Argentina by the Universidad de Palermo in Buenos Aires
and the Arquis Magazine, Argentina, and his work is published in several
magazines in Argentina, Spain and United States. Fabian has taught in Argentina, Spain, Italy and United States and he is currently a Tenure Associate Professor at City College of New York Spitzer School of Architecture.
In 1998 he co-founded llonch+vidalle Architecture NYC where he is currently the principal.
SAGRADA FAMILIA OVERVIEW
/ 39
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/ 147
1.1. SAGRADA FAMILIA OVERVIEW 1
Judith Rohrer
tation (1992-1995), architectural software was not able to assist the design in any
meaningful way. In terms of their fabrication, the rule that was applied at the
time of their production was that natural stone (Montjuïc) would be used when
available for exposed parts of the fabric such as the sills (otherwise a matching
granite), with artificial stone used elsewhere.
Above. Clerestory windows, lateral nave windows and cloister windows
The use of computers to describe the forms leading to their making is curiously similar to the design process Gaudí developed during his final years and bequeathed
to his successors. For the models the constituent forms are made in gypsum plaster
halves and then selectively pruned and fitted together to produce the 3D lines of
intersection, and the ’triple points’ where three such intersection lines come together themselves as an intersection. Despite the models being shattered during
the building’s occupation during the Spanish Civil War (1936-1939), the fact that
we could find sufficient numbers of surviving model fragments with triple points
intact meant that the geometry could be extracted accurately. Gaudí’s modeling
process, known to his latter-day collaborators through the model makers’ uninterrupted apprenticeship, relied on an additive process (the adding of hyperboloid of
revolution halves to an emerging composition). The digital model worked on the
same principle, but relied on selective Boolean sculpting where, through reduction, the designer is left with the primary geometry.
When the 31-year-old Antoni Gaudí took over as architect of La Sagrada Familia
(Expiatory Temple of the Holy Family) late in 1882 (fulfilling its founder’s prophetic
dream that the work would be directed by a man with blue eyes), construction had
already begun on the crypt. Disagreement between Francisco de Paula Del Villar,
the diocesan architect who had drawn up the plans for the church, and Joan Martorell, the architect assessor to the construction board, led to the resignation of the
former and the recommendation by the latter that the relatively unknown Gaudí
be given the responsibility of continuing the work. The remainder of his life would
be occupied by this project, and his last 12 years were devoted to it exclusively.
Right. Clerestory window, inside view
/ 206 CHAPTER III- 3.6
The method he introduced during his final years for making the window elements in stone is ingenious. In producing freeform components such as the Casa
Mila had demanded, each piece effectively had to be modeled full scale in gypsum plaster. Ruled surfaces, however, simply demand that the stonemason be
provided with templates that show them where representative samples of the
straight lines that lie along the surface (that is, generatrices at approximately
20-cm intervals) start and finish. Then, by guiding the chisel to hone a perfectly
warped surface, there is no need to match each piece to its neighbor, so rational
and unequivocal is this process.
THE DESIGN OF THE CLERESTORY WINDOW
Right. Drawing of the first overall design solution,
an original sketch by Gaudí, 1902
Josep Maria Bocabella, the religious publisher and bookseller, conceived the idea
for the construction of an expiatory temple dedicated to Jesus’s family, the “Earthly
Trinity.” The temple would serve as the mother church for his Spiritual Association
of Devout Followers of Saint Joseph, founded in 1866. The association was ideologically conservative and “integrista,” or fundamentalist, in character, populist in its
appeal, and intended to reach especially the humble classes, who might identify
with the chaste and pious Joseph as the ideal working-class father. Bocabella published a regular monthly bulletin, El propagador de la devoción a San José, which
sought to promote Christian family values and to counter the radical, anti-clerical
thinking that had taken hold among the laboring sectors of the population.
The decorative regime for all three windows relies on intersections between
selected straight lines that lie on the surface of the hyperboloids of revolution
(generatrices). In groups of four, these describe non-planar quadrilaterals which
can be inscribed into the parent hyperbolic surfaces with a combination of triangular de facto facets. I would argue that the universal application of inverted
pyramids to the exterior of the clerestory is visually richer than the regime Gaudí
applied to the lower windows produced earlier.
Above. 1999
Previous Spread. Detail Passion Façade
It was in the pages of the Propagador, in April 1874, that the idea of a temple first appeared. Initially it was to have been a replica, in Barcelona, of the Baroque church at Loreto, Italy, along with a replica of the House of the Holy Family of Nazareth contained
in this Italian basilica. Following the model of the Sacré-Coeur in Paris, its construction
would serve as a beacon of faith, proclaiming the revived piety of the Spanish people,
while atoning for the sins, both public and private, of a modernist, materialist age.
1 This essay is an updated and shortened version of one which first appeared in Barcelona and Modernity:
Picasso, Gaudí, Miró, Dalí. Cleveland Museum of Art; New Haven (Conn.): Yale University Press, 2006.
/ 207
/ 189
/ 22
Above Graphic-static drawing of the Passion portal
previous to the 1917 final drawing
/ 23
The Built Idea
37
Alberto Campo Baeza
“Architects reveal the keys to Architecture in their drawings, their floor plans, sections and also in their writings. It is important to appreciate the
concise texts of Mies Van der Rohe or the more passionate expressions of Le Corbusier. And that is how I would like these texts, published here
today, to be understood.”
t is going to be
xpressed in these
Alberto CAmpo bAezA The BuilT idea
be understood.”
Cts. one wAnts
ng these texts is
Alberto Campo Baeza (born Valladolid, Spain, 1946) is one of the most important architects of the modern period. The Built Idea presents a series
of seminal texts in which he conveys his most deeply-held architectural ideas and convictions, exploring and explaining his foundational influences
and subjects such as the importance of light, the work of his contemporaries, and the future of architecture, as well as accounts of his own work
and personal anecdotes from a rich and successful life in architecture.
Alberto CAmpo bAezA The BuilT idea
CAmpo bAezA in
ons And Also in
more pAssionAte
arrieraojeda.com
881 512536
“To use words that express one’s intentions clearly is not just a convenience for architects. One wants to let people know the meaning behind the
things that are being made. My aim in publishing these texts is precisely that.”
This book also includes a photographic documentation of Campo Baeza’s greatest works along with architectural sketches, plans and models to
provide a privileged insight into one of the greatest architectural minds working today.
Authored by Alberto Campo Baeza
“And the reasoning on which one bases one’s work in their attempt at Architecture is what is going to be reflected here in these texts, some of it
consciously, some unconsciously. Realizing the ideas expressed in these words in built works is of course the best proof that the ideas are valid
and the words true.”
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Weight Price
ISBN
English Language in Softcover
with 3/4 flaps
English Language in Hardcover
with clamshell box
0.3 kg
US$ 12
978-988-15125-3-6
0.8 kg
US$ 20
978-988-12251-2-2
Alberto Campo Baeza is an architect (Escuela de Arquitectura de Madrid). He wrote his doctoral thesis with Javier Carvajal and was a professor
at the ETSAM for more than twenty years. He has taught at the ETH in
Zurich; EPFL in Lausanne; the University of Pennsylvania in Philadelphia; the
BAUHAUS in Weimar; Kansas State University and other institutions in Dublin, Naples, Virginia and Copenhagen. He spent a year as a research fellow
at Columbia University in New York (2001). He has published two collections
of writing: “La idea construída” and “Pensar con las manos”. He has also
received many awards including the Torroja for his Caja Granada building,
and The Buenos Aires Biennial 2009 for his Nursery for Benetton in Venice
and his MA Museum in Granada. Recently, the American Academy of Arts
and Letters nominated Alberto Campo Baeza for the Arnold W. Brunner Memorial Prize of 2010. His work has been exhibited at the Crown Hall by Mies
at Chicago’s IIT; the Palladio Basilica in Vicenza; the Urban Center in New
York; the Saint Irene Church in Istanbul; and the MA Gallery of Toto in Tokyo.
In 2010 his work was exhibited at the MAXXI Museum and in San Pietro in
Montorio, both in Rome. He believes in Architecture as a BUILT IDEA, and
that the principle components of Architecture are GRAVITY, which builds
SPACE, and LIGHT, which builds TIME.
City for City
41
City College
Architectural Center
1995-2013
ROCKAWAY
BEACH BRANCH
GREENWAY
NORTHERN MANHATTAN
HERITAGE PLAN
CHAPTER 01
City for City presents examples of the work of the City College Architectural Center over the past fifteen years. The projects selected are grouped
under the categories of exhibitions, visioning exercises, planning and urban design studies and also include a few examples of assignments for
implementation. The work was developed at the request of the affected communities and undertaken with their full participation. The projects were
financed in various ways, from pro-bono studies to grant-supported efforts. These grants and the special support from state and municipal entities
enable the center to develop the projects in greater depth. City for City illustrates the value of cooperative community-based work in which both
sides learn and share in the experience. Such interactions offer valuable insights for both students and faculty not normally found in traditional
architectural practices.
PARTNERS:
DATE OF PROJECT:
Rockaway Beach Branch
Greenway Committee.
2008 - 2009
CHAPTER 03
The Rockaway Beach Branch Greenway Committee asked
the CCAC to map and document their Rails to Trails project,
consisting of a portion of the disused Long Island Railroad
line running from Rego Park to Ozone Park in Queens.
community surrounding the trail to help start the funding
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Lance Jay Brown was educated at the Cooper Union for the Advancement of Science and Art and holds two Masters Degrees from the Harvard
Graduate School of Design. He is an ACSA Distinguished Professor at the
Spitzer School of Architecture at the City College of New York and a Fellow
of the American Institute of Architects and the Institute for Urban Design. He
was 2005 Chair of the AIA National Regional and Urban Design Committee.
From 1979-1983 he served as Design Excellence Director of the Design
It connected New York City residents to the Ocean Beaches
- Recommend next steps for design, preservation, and
educational programs and for identifying and attracting
themes in Northern Manhattan, primarily in the
needed resources.
Hamilton Heights, Washington Heights, and Inwood,
Some particular objectives of the study and overall
with the goal of finding ways to engage the Northern
heritage plan included:
for strategizing about its future.
- Identifying historical and cultural themes and subjects
The intention of the study was to:
of the visible and past fabric of Northern Manhattan’s
- Foster discussion around a range of challenging issues
- Identifying public places where design, quality, and
varied communities.
of the Rockaway Peninsula, providing urban dwellers with
access to the sea and its recreational opportunities. The
right-of-way was abandoned by the Long Island Railroad
in 1962. The train tracks and the adjacent land have
become derelict open space. This vacant, forgotten land
can be turned into a linear urban oasis.
that inevitably emerge from a community defining its
amenities can be enhanced and improved.
history and contemporary identity.
- Suggesting strategies to improve selected public
- Produce a final report for broad public distribution that
places and areas in order to strengthen the present-day
would document research and findings and suggestions
experience of place and heritage.
for coherent themes and area boundaries.
P. 90
Previous page. Gun Hill Road model
This page. Gun Hill Road model
P. 196
The CCAC conducted a study of strategic planning
and urban design opportunities around heritage-based
that link places, events, activities, and people as part
The Rockaway Beach Branch railway was built in 1880.
Arts Program of the National Endowment for the Arts in Washington. In 2007
he was awarded the highest honor given for an architectural educator in the
United States, the AIA / ACSA Topaz Medallion. He was the Professional
Advisor of the NHNY Ideas Competition and founding member of the New
Housing New York Steering Committee. His recently co-authored book, Urban Design For An Urban Century, was released in 2009.
Achva Benzinberg Stein is a professor and practicing professional
who has taught and worked in the US, Europe, Israel, India, and China.
Her projects with neighborhood groups, public agencies, and non-profit
organizations concentrate on meeting social needs while seeking to heal
the damage of poorly managed urban development. Her landscape designs, which have won numerous awards from the American Society of
Landscape Architects include designs for school grounds, large-scale
housing projects, parks, playgrounds, hotels, community gardens and
private residences. She has won many awards, including the 1994
Chrysler Award for Innovation in Design, and has twice been the recipient of Fulbright grants.
2002 - 2004
Manhattan community’s history and heritage as a basis
campaign for the development phase of the project.
AMSTERDAM AVENUE
MODEL
of Architecture at City College since 1999. He received his Bachelor of Architecture from the Pratt Institute (1972) and Master of Architecture from the
Graduate School of Design at Harvard University (1974). He was Professor
of Architecture at Yale University (1976-1999), and the William Henry Bishop
Chaired Professor in Architectural Design (1988-1989). He recently completed his fourth monograph, Saratoga, devoted to his Saratoga Avenue
Community Center for the New York City Housing Authority. His architectural
and design work has been exhibited in the US and Europe and published
internationally in numerous journals.
DATE OF PROJECT:
Project Funded by a grant from the
National Endowment for the Arts.
neighborhoods of Manhattanville, West Harlem /
The CCAC created a preliminary design for the greenway
and prepared an informational brochure addressed to the
Authored by Achva Benzinberg Stein
Preface by Lance Jay Brown
Introduction by Achva Benzinberg Stein
PARTNERS:
URBAN DESIGN STUDIES
URBAN DESIGN STUDIES
P. 197
EXHIBIT
EXHIBIT
P. 91
Clear Light
45
The Architecture of
Lauretta Vinciarelli
1996
C l e a r l i g h t | the architecture of lauretta Vinciarelli
“Although much of my work is architectural in character, I do not represent real spaces. Rather, my work has its origins in the spaces I have
abandoned – the mood of Rome and the landscape of Texas – and the paintings are of spaces I know that look nothing like what I paint…They
are essentially meditations on essences of architecture like enclosure, surface and light.” • Born in Italy in 1943, Lauretta Vinciarelli passed
away in New York in 2011. Trained as an architect in Rome but a watercolorist by vocation, her works reside in numerous private collections
and among the holdings of prominent institutions, including the Museum of Modern Art in New York, the National Gallery in Washington D.C.,
and the San Francisco Museum of Modern Art. Noted for their luminous qualities of color and light, her depictions of imagined spaces open
up a world of enclosed rooms, sweeping landscapes, watery materiality and atmospheric ephemerality. Describing her work, a noted theorist
and critic once said, “They are not architecture exactly, but evidence that it exists.” This book brings together paintings from 1981 onwards
in the most complete collection of Vinciarelli’s work to date. It also includes texts from knowledgeable commentators and for the first time
presents sketch materials that provide an insight into Vinciarelli’s working methodology. Vinciarelli’s technique often operated at the very limits
of her medium; sometimes even to the point of failure. In these paintings, color is used as a device for shaping space, with watercolor the
chosen medium for its rich portrayal of light and the conceptual simplicity of the act of mixing paste with water.
Clear light
The Architecture of Lauretta Vinciarelli
Introduction by George Ranalli
Essays by Peter Rowe, Camille Farey, Michael Sorkin,
Ida Panicelli and Livia Monaco
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8.85 x 11.4 x 1.37 in / 225 x 290 x 35 mm
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6
260
1.4 kg
US$ 60
978-988-16195-9-4
Lauretta Vinciarelli was an architect and artist who has art works and
drawings in the permanent collections of the National Gallery in Washington,
D.C.; the Museum of Modern Art in New York; the San Francisco Museum
of Modern Art; the Archive of the Biennale of Venice; and the Italian Archive
of Drawings; as well as in private collections. She exhibited in the 2002
Whitney Biennial and was represented by Henry Urbach Architecture in New
York. Until 2000 she also taught at Columbia University’s Graduate School
of Architecture, Planning and Preservation.
Peter Rowe is Raymond Garbe Professor of Architecture and Urban Design at the Graduate School of Design and a Harvard University Distinguished Service Professor. He served as Dean of the Faculty of Design from
1992 to 2004. Prior to joining the Harvard faculty in 1985 he was Director of
the School of Architecture at Rice University in Houston, Texas also serving
as Vice President of Rice Center and Environmental Program Director of
the Southwest Center for Urban Research. The author of many articles on
architecture, urban design and planning, Rowe is also the author, co-author
or editor of numerous books, most recently including: East Asia Modern:
Shaping the Contemporary City, 2005; Building Barcelona: A Second Renaixenca, 2006; and Emerging Architectural Territories in East Asian Cities,
2011. He was Lauretta Vinciarelli’s husband since 1993.
Michael Sorkin is Distinguished Professor of Architecture and Director of
the Graduate Program in Urban Design at the City College of New York.
From 1993 to 2000 he was Professor and Director of the Institute for Urbanism at the Academy of Fine Arts in Vienna. Sorkin’s long academic career
has also included professorships at Cooper Union, Harvard, Yale and many
other prestigious universities. His books include Variations on a Theme Park,
Exquisite Corpse, Starting from Zero, Indefensible Space and many more
Spatial reverb
1996
Neon light
Per ilaria V
1993
Windsor and Newton watercolor on paper
22 x 30 in
Private Collectio
red room (2 of 3)
1990
Paper size: 30 x 22 1/2 in
Image size: 27 x 14 1/2 in
Private Collection
red room (3 of 3)
1990
Paper size: 30 x 22 1/2 in
Image size: 27 x 14 1/2 in
Private Collection
WOW
49
seleCteD Works
Experiential Design
for a Changing World
The pavilion was located near the center of Singapore’s historical district and is in direct response to the inherent duality of its site. On one side of the pavilion is Fort Canning, once known
as the”Forbidden Hill” with its quiet, reposeful and almost mythical character. On the other
side is Clarke Quay, an historic development along the Singapore River that is now vibrant and
bustling with people and activities. The pavilion mitigates the duality between the two realms
with its permeable skin. The undulating VersiWeb inspires curiosity and amazement. At certain
angles, the membrane appears solid, and when one moves along it, a “moiré” effect is created
due to the juxtaposition of the two membranes. When viewed on the perpendicular, the pavilion
seems totally transparent and visually merges with the surrounding buildings and landscape.
Experiential Design for a Changing World is the first major monograph for this multi-disciplinary design practice WOW. The title alludes to two key
aspects of their practice: first, the focus on multi-sensory experiences; and second, the complexity and dynamism of working in a rapidly developing
region. These themes are explored through in-depth presentation of 12 completed projects, including six private homes and six hotels. In addition
to rich photography, drawings and in-progress sketches, the book will offer behind-the-scenes peaks into the construction of the projects in various
stages. • Also featured is an in-depth interview with the two founding partners of the WOW, Maria Warner Wong and Wong Chiu Man, as well as
essays by several prominent architects, interior designers and engineers. Warner and Wong discuss the challenges and opportunities of working in
a diverse and highly-evolving region, from the developing regions of India and Africa to the more advanced urban context of Singapore and Dubai.
Regardless of the economic context and locally available construction methods, the mission for each and every project is to create a rich spatial
experience that is rooted in the culture, memory and place.
Text by Darlene Smyth
Essay by Lyndon Neri
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November 2014
485
155
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ISBN
English Language
English Language with
clamshell box
1.3 kg
1.8 kg
US$ 75
US$ 85
978-988-12252-2-1
978-988-12250-6-1
Darlene Smyth is a Canadian born writer and designer. She received her
B.A. in Communications and Music from the University of Ottawa. She later
attended Dalhousie University, Canada where she completed a Bachelor
of Environmental Design Studies and Master of Architecture, receiving numerous awards including the Alumni Association Award and Leadership
Service Merit. She now writes for various architectural magazines in Asia
and Australia, including Singapore Architect Journal, Habitus (Australia), In
Design (Australia), Art4D (Thailand), and A+U (Japan). She also wrote the
books “5 in Five” and ”The Bali Villas” for Bedmar and Shi, both under Oscar
Riera Ojeda Publishers. Since living in Asia, Smyth has divided her time
between part-time teaching Architectural Design courses at the National
University of Singapore, and practicing in the Singapore based design firm,
A. D_Lab Pte Ltd which she founded with Warren Liu Yaw Lin.
Lyndon Neri is a Founding Partner of Neri&Hu Design and Research Office, an inter-disciplinary international architectural design practice based in
Shanghai, China. The practice was selected as one of the Design Vanguards in 2009 by Architectural Record, won AR Awards for Emerging Architecture 2010 by Architectural Review, and was the 2011 INSIDE Festival
Overall Winner. In 2013, Mr. Neri was inducted into the U.S. Interior Design
Hall of Fame. In 2014, Wallpaper* announced Neri&Hu as 2014 Designer of
The Year. Mr. Neri received his MArch at Harvard University and his BArch
at UC Berkeley. Mr. Neri is also designing products for brands including
MOOOI, LEMA, Parachilna, Classicon, Gandia Blasco, Stellar Works, Meritalia, BD Barcelona Design, and neri&hu.
SolAriS
ArA grEEnS
2008-2015
2010-2015
Solaris was designed based on the vision of an integrated residential,
commercial and lifestyle centre for this part of the city. The master plan
calls for the creation of a three-dimensional urban ecosystem integrating the real estate aspects of the project with a park system such that
the development blends in sensitively with the Mosque. The overall development was to become an educational and interactive experience for
users.
Designed as a multigenerational residential community, Ara Greens is
planned around concepts of bio-mimicry and environmental technology
for green living. The project will qualify for the Building and Construction
Authority (BCI) Platinum Green Mark, a reflection of the developers’ desire to be a socially and environmentally responsible leader of sustainable developments.
Hilton Ban dun g
The developer’s vision was for this project to be a model of green development, and part of the brief was for the entire development to obtain
the Singapore Building and Construction Authority (BCA) Green Mark
Gold rating. In view of this, within the restrictions of a modest budget, on
top of meeting commercial requirements, the environmental technology
Based on a rhizhomic system of growth, whereby in reproduction, horizontal underground stems strike new roots down into the soil and shoot
new stems up to the surface, the architecture will enable three generations to live in harmony both socially and environmentally.
ViVanta by ta j yeshwantpu r
Turbulence
Wall Clock
纽
约
米
兰
印
刷
发
行
刊
物
挂
墙
时
钟
118
122
122
Bevel
Bosworth Hoedemaker LLC
New York
Publications
Identity Design
Seattle, WA
designwajskol an extensive range of projects created by the firm of the Italian-born designer Jonathan Wajskol over the last twenty-five years. The
result is a visually driven experience that emphasizes a consistent design approach across all categories of design. The work ranges from editorial
design to identities, way-finding, product design, interactive design and info graphics. The book highlights 50 projects and spans three continents:
North America, Europe, and Asia. A collection of essays by notable design historians, educators and theorists, among them design-legend Massimo Vignelli, situates the work of designwajskol within the modernist tradition.
纽
约
公
司
形
象
设
计
Automobile Club Italia
Milan, Italy
Signage Program for Acient Roman Roads
198
74
Lexus
NAVA Design
Shenzhen, China
Japan
Milano
Identity and Wayfinding Design
Dashboard
Databook Line
Charles Nix is a designer, typographer, and educator. He is a partner in the
publishing firm Scott & Nix, Inc. and is Chairman emeritus of the TDC (Type Directors Club), an international organization dedicated to furthering typographic
excellence. He has taught design and typography for more than twenty years,
and was Chair of Communication Design at the Parsons School of Design.
250
78
Artron Art Center
Jan Conradi is a designer, educator, and lecturer. She is author of Unimark
International: The Design of Business and the Business of Design, published by
Lars Müller Publishers. Jan has taught graphic design, typography and design
history for over twenty-five years. She is at work on a biography of Massimo
and Lella Vignelli.
Identity Design
Maurizio Morgantini, Architect and Designer (PhD, Politecnico di Milano,
1974), is the President of ISIA ROMA Design (AFAM, Ministry of Research and
University) and the Scientific Director of FAAR Foundation - Center for Studies
CSAR. He was Vice-President of ADI, the Industrial Design Association, from
2001 to 2008 and President of the ADI Foundation for Italian Design from 2005
to 2008. In 2007 he founded the Italian Design Council, in association with
the Italian Ministry of Culture. His projects include the renovation of an ancient
30,000 sq. mt. villa. in Milan which was converted into an International Design
Academy and Museum; the planning and design of a real-estate development
in Tripoli, Libya; the archetypal prototype for the Design Museum promoted by
BPM Bank; the Master Urban Plan of the city of Vicenza; Resort Designs on
Massimo Vignelli is an internationally known designer and lecturer whose work is in the collections of MOMA, The Cooper Hewitt, Le Museé des
arts Décoratifs in Montreal and Die Neue Sammlung in Munich. He has won
numerous awards for his graphic design, corporate identity programs, architectural design, furniture and product design. With his wife Lella, Massimo
established Vignelli Associates in 1971 and Vignelli Designs in 1978. In 2010,
the Vignelli Center for Design Studies was established at Rochester Institute
of Technology.
Munich, Germany
9.25 x 9.25 in / 235 x 235 mm
9.5 x 9.5 x 2 in / 241 x 241 x 50 mm
Square
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November 2014
450
170
1.4 kg
US$ 65
978-988-12250-1-6
Sardinia’s Emerald Coast; and the Trading and Stock Exchange floors for several prominent banks including Warburg, Credito Italiano, UIC Banca d’Italia,
Cariplo, Deutsche Bank, etc.
Sielink
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Jonathan Wajskol is an Italian designer with one foot rooted in European
design and the other firmly planted in lower Manhattan. Wajskol was born and
raised in Milan, where he studied design and marketing and has 20+ years of
experience in the field of visual communication, working for nonprofit institutions
as well as the corporate sector. His expertise spans everything from print, new
media, and packaging to corporate design programs. His involvement with Strategic Communication & Planning ensures a seamless integration of strategic
visual and verbal communications, from the planning stages to completed product development. Wajskol has been teaching communication design for the
last 18 years and he is a faculty member at Parsons School of Design in New
York City. He has received numerous awards both in America and Europe, and
he has been featured in magazines, newspapers, and books.
Thomas Bosworth Book
斜
度
眼
镜
146
Foreword by Massimo Vignelli
Introduction by Jan Conradi
Essays by Jonathan Wajskol, Maurizio Morgantini, Charles
Nix, Jan Conradi, William Bevington and Chun Wu Pat
Milano
New York
62
NAVA Design
designwajskol
32
228
126
198
53
Beyond Petropolis
NUEVA LOJA TIMELINE
57
GEOGRAPHY
MAP OF ECUADOR
Designing a Practical Utopia
in Nueva Loja
PETROLEUM TIMELINE
REVERSAL
OF FORTUNE
Preface by Michael Sorkin
Edited by Oscar Riera Ojeda, Michael Sorkin,
Ana María Durán Calisto, Matthias Altwicker
Essays by Patrick Radden Keefe
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8.50 x 12 x 1.57 in / 215 x 304 x 40 mm
Landscape
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210
780
1.8 kg
US$ 55
978-988-16194-2-6
Each year, the Graduate Program in Urban Design at the City College of New York travels to a city somewhere in the world that is experiencing a
revelatory form of stress. In January of 2006 – joined by students and faculty from the Universidad Catolica in Quito and from the architecture and
landscape programs at CCNY – the destination of the group was the small town of Nueva Loja in the Amazon basin of Ecuador. At the time, a population of around 100,000 was expanding exponentially. Nueva Loja was the fastest growing municipality in the country • There was one reason
for this: the oil boom. Indeed, almost everyone calls the place “Lago Agrio” – Bitter Lake, after the town in Texas that houses the headquarters of
Texaco, the first petroleum giant on the scene. There’s no little irony in this name. As the endless lawsuit against Chevron, Texaco’s successor, has
made abundantly clear, Lago’s growth has come at the cost of extremely bitter consequences. The group was inspired to visit by a more particular
observation: Lago’s projected rate of growth would see the population exceed 150,000 at just the moment the oil ran out. And so, they decided
to investigate what might happen then, how Nueva Loja could move beyond oil to an economy and urban pattern that embrace renewed harmony
with the natural environment and is dedicated to creating an intensely humane and supportive place for its inhabitants. The projects in this volume
represent a series of propositions for such a place. They are utopian in that they look to a time of harmony and prosperity but intensely practical in
that they stem from the specifics of people and place and utilize simple, historical, and local technologies, not any magic fix.
Michael Sorkin is the principal of the Michael Sorkin Studio in New York
City; founding President of Terreform, a non-profit organization dedicated to
urban research and intervention; President of the Institute for Urban Design;
Distinguished Professor of Architecture and the Director of the Graduate
Urban Design Program at the City College of New York. He was Professor
of Urbanism and Director of the Institute of Urbanism at the Academy of Fine
Arts in Vienna and has been a professor at numerous schools of architecture. He lectures around the world, is the author or editor of 17 books and
several hundred articles, and was, for ten years, Architecture Critic for the
Village Voice. Sorkin received his architectural training at Harvard and MIT
and holds degrees from the University of Chicago and Columbia.
Ana María Durán Calisto graduated from the Liberal Arts School of the
Universidad San Francisco de Quito, majoring in Anthropology with a minor in Comparative Literature and Art History, and received a scholarship to
pursue studies in Architecture and Historic Preservation at the University of
Pennsylvania. She established the design firm Estudio A0 with her partner
Jaskran Singh Kalirai. She is a Professor at the Universidad Católica del
Ecuador and has been invited to be a Guest Professor at the GSD, University of Harvard, and the GSAPP, University of Columbia. She was director
of the XV Quito Pan-American Architecture Biennale. Her essays have been
published internationally and she has lectured at several American and European academic institutions.
Matthias Altwicker is a principal of AB Architekten in New York City and
an Associate Professor at the School of Architecture and Design at the New
York Institute of Technology. His teaching and practice focuses on affordable
and environmentally conscious housing and neighborhood development. He
has designed sustainable housing for the Long Island Housing Partnership,
collaborated with the Long Island Power Authority to investigate photovoltaic
integration with existing suburban homes, and developed self-sufficient, expandable school prototypes for Kenya. The firm acts as an urban design consultant to the Regional Plan Association (NYC), the Nassau County Planning
Federation (Long Island), and the Potsdam Housing Collective (Germany).
David Leven is a partner at LEVENBETTS, a New York City based
architecture practice begun in 1997 with Stella Betts. The work of LEVENBETTS, which has won several awards, has been published in various design magazines, books and in a monograph (Princeton Architectural Press, 2008). David has lectured widely at a variety of institutions
and he is currently an Associate Professor and Director of the Graduate
Architecture program at Parsons the New School for Design. He holds
a Bachelor of Arts from Colgate University, a Master of Architecture degree from Yale University and attended the Institute for Architecture and
Urban Studies.
PATRICK RADDEN KEEFE
Published in The New Yorker, January 9, 2012
The jungle outpost of Lago Agrio is in northeastern Ecuador, where
issued an opinion that reverberated far beyond the Amazon. Since
two hundred billion dollars, is nearly four times as much as Ecua-
the elevation plummets from the serrated ridge of the Andes to the
1993, a group of Ecuadorans had been pursuing an apparently
dor’s economic output. The plaintiffs, who named themselves the
swampy lowlands of the Amazon Basin. Ecuadorans call the region
fruitless legal struggle to hold Texaco responsible for environmental
afectados—the affected ones—included indigenous people and
the Oriente. For centuries, the rain forest was inhabited only by in-
destruction in the Oriente. During the decades when Texaco op-
uneducated settlers in the Oriente; some of them initially signed
digenous tribes. But, in 1967, American drillers working for Texaco
erated there, the lawsuit maintained, it dumped eighteen billion
documents in the case with a fingerprint. They were represented by
discovered that two miles beneath the jungle floor lay abundant re-
gallons of toxic waste. When the company ceased operations in
a fractious coalition of American and Ecuadoran lawyers, most of
serves of crude oil. For twenty-three years, a consortium of compa-
Ecuador, in 1992, it allegedly left behind hundreds of open pits full
whom were working for contingency fees. An environmental lawsuit
nies, led by Texaco, drilled wells throughout the Ecuadoran Amazon.
of malignant black sludge. The harm done by Texaco, the plaintiffs
against a major corporation can resemble a war of attrition, and in
Initially, the jungle was so impenetrable that the consortium had to
contended, could be measured in cancer deaths, miscarriages,
1993 few observers would have predicted that the plaintiffs could
fly in equipment by helicopter. But laborers hacked paths with ma-
birth defects, dead livestock, sick fish, and the near-extinction of
endure as long as they did. But, on February 14, 2011, their per-
chetes, and, eventually, Texaco paved roads and built an airport.
several tribes; Texaco’s legacy in the region amounted to a “rain-
sistence was rewarded. Judge Zambrano ruled that Chevron was
forest Chernobyl.”
responsible for vast contamination, and ordered it to pay eighteen
as if no one had believed that the boom might last. Stray dogs
By the time the judge, Nicolás Zambrano, issued his decision, the
an environmental lawsuit.
prowl the dusty streets, and a slender oil pipeline snakes alongside
case had been going on for eighteen years. It had outlasted jurists on
Today, Lago Agrio feels squalid. The buildings look thrown together,
billion dollars in damages—the largest judgment ever awarded in
each major road, elevated on stilts, waist high, like an endless ban-
two continents. Zambrano was the sixth judge to preside in Ecuador;
It was an extraordinary triumph, particularly for one of the plain-
nister. The Colombian border is ten miles to the north, and drug
one federal judge in New York had died before he could rule on the
tiffs’ lead lawyers, a tenacious American named Steven Donziger,
traffickers and paramilitaries have infested the Oriente, as have si-
case. The litigation even outlasted Texaco: in 2001, the company
who had been a key figure in the case since its inception. Donziger
carios—paid assassins—who post ads online and charge as little as
was subsumed by Chevron, which inherited the lawsuit. The dispute
speaks Spanish, and for years has shuttled between Ecuador and
twenty dollars. In 2010, in a single month, the bodies of thirty murder
is now considered one of the nastiest legal contests in memory, a
victims were found along a stretch of road near the border.
spectacle almost as ugly as the pollution that prompted it.
New York. “This trial is historic,” he has said. “This is the first time that
a small developing country has had power over a multinational
American company.”
One day last February, a judge in Lago Agrio, presiding over a
Chevron, which operates in more than a hundred countries, is Amer-
spare, concrete courtroom in a shopping mall on the edge of town,
ica’s third-largest corporation. Its annual revenue, which often tops
City Works 7
Each student’s project is framed to explore a specific idea.
In the first semester of Comprehensive Design the selected architectural program, context, site, appropriate technology, and zoning are analyzed, appropriate case studies
are researched and alternative concepts and schematic
designs are developed. Students are challenged to fully
engage evolving social, technical, and aesthetic aspects of
their project. A complete array of drawings and models of
a selected schematic design are presented for review at
semester’s end. The second semester allows for revisions
based on criticism from the mid year review, detailed investigation of structure, skin, and climate control, and detail design development of the entirety including the
supportive and integrated exterior and interior landscapes,
furnishings, lighting, and materials. Towards the end of the
second semester students concentrate on finalizing project documentation and communication in readiness for
the final Comprehensive Design Studio review.
04
BACHELOR OF ARCHITECTURE | SEVENTH SEMESTER DESIGN
JOAN KREVLIN, CRITIC
The SSA/CCNY year-long, two-semester, fifth-year Comprehensive Design Studio provides a unique opportunity
for exploration and pursuit of original, individual, and independent architectural research, analyses, and synthesis
within the collaborative, critical and interactive studio
framework including peers, professors, consultants, and
guest critics. The year is structured to integrate, comprehensively, all previous architectural teachings and display
an expertise appropriate to an advanced undergraduate
seeking a professional degree. The synthesis of original
thought, individual exploration, collaborative criticism and
integration of knowledge and learning should ideally lead
to synergistic revelation and transcendence of mere architectural problem solving.
VISUAL STUDIES | DISCOVERING FORM IN NATURE
LEWIS IGLEHART / IRMA OSTROFF, CRITICS
02
01
Lance Jay Brown, FAIA
Comprehensive Design Coordinator
02
03
01
04
01, 02 | Anthony Girón
03 | Carolina Olszewska
04 | Idan Saragosti
Artur Dabrowski
JEREMY EDMISTON, CRITIC
204
205
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79
CITY WORKS 7
1st SEMESTER
DESIGN
FACULTY
Nandini Bagchee / Antonio Di Oronzo /
Athanasios Haritos / Adam Hayes
FACULTY
Johanna Dickson / David Judelson /
Fran Leadon / Suzan Wines
In the fall of 2012, the second year students staged spontaneous performances on the sidewalks along Houston
Street in lower Manhattan. These actions interrupted the
regular activity along a busy thoroughfare and allowed
the students to experience the space of a New York
sidewalk from a different perspective. Working in small
groups, they documented their actions via video and later worked them into drawings of the storefronts, passersby and the built environment through an iterative
process. These street performances and the representations of the sidewalk generated an understanding of the
potential of a site as a place of both ephemeral and permanent occupations. The spatial analysis of the street
and its many bounding conditions became fodder for
the design of a compact, temporary, performance booth
on a traffic island on Houston Street.
The fall semester focuses on three projects exploring
the basics of design: the making of architectural space
through simple repetitive exercises that gradually become more complex.
The sequence of exercises begins with threshold, introducing basic drafting skills, free hand sketching and diagramming, and model making in wood using a structural
system of planes and corners that describe space, time,
gravity, sequence, and transition. Threshold then becomes
directional, yielding a path through a landscape of the
student’s own invention. Scale is introduced, and the program allows a close examination of the relationships of
site and structure, space and time. Land is explored as
tectonic pieces rather than a continuous, uninterrupted
sheet. The relationship between built space and carved
space is explored in great detail. The final project, place,
allows the students to focus on a detailed spatial moment extracted from their path project.
MASTER OF ARCHITECTURE | THIRD SEMESTER DESIGN
The City College of New York
Bernard And Anne Spitzer School of Architecture
In a second exercise, this same triangular plot of land
was developed into a theater to accommodate formal
performances, rehearsal spaces and related workshops.
Moving from the scale of the body of a performer to investigate a series of civic relationships between an audience and the city allowed the students to speculate
on the complexity of programming a communal space.
Analyzing the history of an urban site from a subjective
and objective vantage allowed a sense of social engagement and creative play to permeate their final theater proposals. This second year design studio aimed at
creating an awareness of the city and the multiple ways
in which experience can inform architecture.
02
The human figure at rest and in motion is examined in
detail as a way of determining the spatial relationships
of the program. Scale, sun orientation, materials, and
structural systems are examined in more detail, culminating in a large-scale model and drawings.
Fran Leadon
First Year Design Coordinator
Nandini Bagchee
Second Year Design Coordinator
03
Eliza Tan
01
ANTONIO DI ORONZO, CRITIC
04
01 | Hillary Zhao / Daniel Brown
02, 03 | Stephanie Paul / Timea Hopp
04 | Bryant Stanton / Ross Levine
Leanne Zick
122
DAVID JUDELSON, CRITIC
123
CITY WORKS 7
CITY WORKS 7
8th SEMESTER
DESIGN
FACULTY
Timothy Collins / Joan Krevlin /
Martin Stigsgaard / June Williamson
This semester focuses on public buildings of medium
size (30-70,000 SF) and on the application of learning
in structural and construction systems. The building
types studied range from places of assembly to cultural
and educational facilities. The semester began with an
intense charrette for an international competition, followed by an in-depth precedent analysis of structural
systems as applied in an exemplary building. Students
then proceeded with site and context analysis, program
analysis, conceptual design, and design development
with a particular emphasis on innovative structural systems design, performative building skins, and open/
public space design and sequencing (including means
of egress and ADA compliance).
SUZAN WINES, CRITIC
01
01
BACHELOR OF ARCHITECTURE | SIXTH SEMESTER DESIGN
03
ADAM HAYES, CRITIC
Edited by Nandini Bagchee and Bradley Horn
BACHELOR OF ARCHITECTURE | FIRST SEMESTER DESIGN
In the spring of 2013, the studio formed a relationship in
Brooklyn with the Atlantic Avenue BID (Building Improvement District) to propose exciting alternative uses for a
vacant site on the troubled block between Boerum Place
and Smith Street, commonly known as “the gap” on an
otherwise vibrant Atlantic Avenue. Each studio proposed
a different program for the site: 1) Urban Resource Center
(Collins), 2) Culinary Arts College (Krevlin), 3) Atlantic
Avenue Sound Lab (Stigsgaard), and 4) Digital Fab Lab
and Industrial Crafts Museum (Williamson).
The final projects were exibited in a storefront in Boerum Hill, Brooklyn, and compiled into a booklet that was
presented to the BID.
June Williamson
Fourth Year Design Coordinator
04
04
05
02
02
English Language
8 x 10 in / 203 x 255 mm
Portrait
240
October 2014
250
130
0.75 kg
US$ 35
978-988-12252-7-6
JOAN KREVLIN, CRITIC
68
23
1st SEMESTER
DESIGN
FACULTY
Fabian Llonch
“The time will come when New York will be built up…
and the picturesquely varied, rocky formations of the island will have been converted into formations for rows
of monotonous straight streets, and piles of erect buildings. There will be no suggestion left of its present varied surfaces, with the single exception of the few acres
contained in the Park.”
– Frederick Law Olmsted
This is an introductory studio in landscape architectural
design, studying the origins and conventions of drawing and representation in landscape architecture. Spatial relationships, and the abstract qualities of space
itself, are examined using photography, measurement
and description, two-dimensional projections, and threedimensional models.
Emphasis is placed on the use of the section as a tool for
studying the establishment of a horizontal datum, the development of vertical organization, the volumetric displacement of earth, and the abstracted description of
terrain. Analytic mapping of systemic site conditions is
also explored, as well as a programmatically developed
design intervention. Olmsted’s North Woods in Central
Park is the source for both the exploration of representational and analytic techniques and a design proposal. Traversed by a deep ravine, this 90-acre hardwood forest
within the park was imagined by Olmsted as a simulacrum of the Adirondack Mountains, a grafting of sublime
wild nature into the city. The surrounding city disappears
upon entering the Loch and Ravine; the North Woods is
an extraordinary example of the American picturesque
embedded within an urban context.
02
03
Sara Malmkvist
CATHERINE SEAVITT-NORDENSON, CRITIC
The David Werber Traveling Fellowship Summer Program
offers a four weeks intensive architectural design studio,
which takes place in the city of Barcelona, Spain. This
CCNY summer program engages a group of 10 advanced
students in a concentrated architectural experience, while
taking a clear approach of interacting with the City of
Barcelona, its unique architecture, people and culture.
This experience, in such an exciting city, proves to have a
tremendous impact on their architectural education, especially at the stage in which they are at.
With the studio at its core, the program will be as exciting
and dynamic as the city in which it takes place. The studio
will be affiliated with the local school of architecture; The
Escola Tècnica Superior d’Arquitectura de Barcelona (ETSAB). Students participating in the program will receive
four elective credits during summer course at CCNY.
The exercise this summer was a hybrid between the Exhibition Space for the Escola Massana and La Boqueria Restaurant. Understanding the proximity and the synergy
between El Mercado La Boqueria and La Escola Massana
is to comprehend the particularity of the site. All mixed in
between the vibrant neighborhood of el Raval. The project should enable us to learn, to enjoy, to discover, to
taste, to look… life itself.
Fabian Llonch
Studio Coordinator
04
Catherine Seavitt-Nordenson
Studio 1 Landscape Design
01
202
01 | Idan Saragosti
02 | Enoch Mariscal
03 | David Franck /
Isaac Selolwane / Nan Li
04 | Michael Warshaw
05 | Stephanie Paul
06 | Tortajad Diaz / Lou Gemma
05
06
203
01, 02 | Demir Purisic, Jose Jimenez /
Diana Zwetzich / Ermira Kasapi
03, 04 | Melissa Santan / Madelyn Pena /
Simit Christian
69
DAVID WERBER TRAVELING
FELLOWSHIP IN BARCELONA
FACULTY
Catherine Seavitt-Nordenson / Mersiha Veledar
VISUAL STUDIES | ARCHITECTURE AND PHOTOGRAPHY
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Brad Horn is co-founder and principal of Berman/Horn Studio, a firm specializing in residential and hospitality projects in the United States. The firm incorporates the design of lighting and furniture into an interdisciplinary practice
that combines an interest in architecture with interior design. Horn’s writing and
work have been published internationally in journals and books including Architectural Record, 3: Lux Letters, The Architect’s Newspaper, the AN Blog,
Taschen’s New York, Frieze Magazine, Journal of Architecture and Computation Culture and Autogenic Structures from Taylor and Francis Press. He
has taught design at The Cooper Union, Harvard University, the Pratt Institute,
and Columbia University. Horn has been awarded numerous grants including
those from the Graham, LEF, and Solow Foundations for research conducted
at The City College of New York Spitzer School of Architecture, where he is
currently Director of the Master of Architecture Program.
Fillip Blyakher
01, 02 | Rafiul Prodhan
03 - 05 | Eunice Yujung JungFok
CITY WORKS 7
22
ALBERT VECERKA, CRITIC
7
ALI HOCEK, CRITIC
City Works 7 is the seventh annual book which documents the exciting work of students from The City College of New York, Bernard and Anne
Spitzer School of Architecture. The City College of New York has a long and important tradition of producing internationally recognized scholarship,
research and design while maintaining its promise of an accessible public education in the city of New York. Our Bachelor of Architecture Program
and four graduate level programs including Master of Architecture, Master of Landscape Architecture, Master of Urban Design and Master of Sustainability in the Urban Environment work together across disciplinary boundaries with the shared goal of making New York and the world a better
place through smart and responsible design. The heterogeneous nature of the student work displayed here represents an individual approach
to problem solving, which seeks to rise above stylistic or instrumental debates within the profession and toward integrative solutions to some of
today’s most pressing design challenges.
03
05
01 - 02 | Jose Jimenez
03 | Roshini Jhagru
04 | Jasmine Ibrahim
05 | Susan Wu
3rd SEMESTER
DESIGN
7
CITY WORKS 7
CITY WORKS 7
FACULTY
Jacob Alspector / Lance J. Brown / Caleb Crawford /
Jeremy Edmiston / Vanessa Keith / Gary McNeil
Student Work 2012-2013
Bernard and Anne Spitzer
School of Architecture
Bernard and Anne Spitzer School of Architecture
61
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COMPREHENSIVE
DESIGN
Displaced
65
Llonch+Vidalle
Architecture
The work of Fabian Llonch and Gisela Vidalle – presented here in an eye –opening survey– is marvelous for its imaginative seamlessness, and
the way in which the artist’s truth always shines through the circumstances of its articulation. Here is architecture of inseparable form and thought.
The thirteen projects in this book are filled with the fervor and energy of an architect who also teaches young architects. Fabian Llonch and
Gisela Vidalle are part of a small group of architects who understand the importance of the relationship between teaching and practice, its place
at that intricate and indefinable nexus of architecture and its theory in which architecture schools are hothouses for the incubation of ideas in
architecture and design.
Introduction by Michael Sorkin
Essays by Mario Correa, Paul Guzzardo
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7.50 x 9.50 x 1.25 in / 190 x 241 x 30 mm
Portrait
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65
490
0.9 kg
US$ 45
978-988-15125-2-9
Mario Correa is a graduate of the Universidad Nacional de Rosario and
received his Master of Architecture in Urban Design at GSD, Harvard University, and a Diploma of Urban Studies from the Architectural Association
in London. In 1982 he founded Corea Gallardo Mannino and, in 1992, Mario Corea Arquitectura where he is currently the Principal. Mario has been
honored with numerous national and international awards and his work is
widely published in books and magazines around the world. He has been
a professor of Architecture at several schools in Europe, the USA and Argentina. He has lectured all over the world and his work has been exhibited
at many venues.
Michael Sorkin received his architectural training at Harvard and MIT and
holds degrees from the University of Chicago and Columbia. He is the principal of the Michael Sorkin Studio in New York City. He is founding President of
Terreform, a non-profit organization dedicated to research and urban intervention. He is President of the Institute for Urban Design; Distinguished Professor
of Architecture and the Director of the Graduate Urban Design Program at
the City College of New York (where he has taught since 2000) Professor of
Urbanism and Director of the Institute of Urbanism at the Academy of Fine Arts
in Vienna (1993 to 2000), and he has been a professor at numerous schools
of architecture. He lectures around the world, is the author of several hundred
articles, and is currently a contributing editor at Architectural Record.
Paul Guzzardo is a designer and media activist. He is currently collaborating with Lorens Holm of the Geddes Institute for Urban Research and
David Walczyk of the Cultural Informatics Lab at the Pratt Institute on the
“The Cartographer’s Dilemma”. His praxis probes the effect of ubiquitous
computing on the design and occupation of public space. He investigates
how the recursive “loop-cut-paste” grammar of digital information systems
can activate the public sphere. As a Media Ecologist he believes the street
is the place to find out how the digital fog of image and sound affect our
democratic public sphere and civic identity.
1
2
3
4
5
6
7
8
Existing site conditions
1
2
3
4
L1_overhead lights
L2_benches
L3_crosswalks
L4_paths
5
6
7
8
L5_water
L6_LED grid
L7_sidewalks
L8_roads
In Situ
69
George Ranalli,
Works & Projects
All doors, lamps, cabinets, and other decorative objects were designed as part of the project. Each interior design element echoes
the planar inflections of the architectural design and is fabricated
at the same high level of craft to produce a balanced atmosphere
within all the spaces.
1
2
3
58
RESIdENTIal
In Situ Design sums up the theoretical position embodied in the work of New York architect George Ranalli. Over the past 32 years, George Ranalli
has worked on projects in New York, other states in the U.S., and across the world that have involved large-scale urban design, houses in the
landscape, additions, renovations of major landmark buildings and new constructions • George Ranalli is internationally celebrated and published
for his work in historic settings, National Register Historic Landmark buildings and settings with rich design and craft traditions. In Situ is his operational strategy in the design of these new buildings and additions to these complexes, providing contemporary and creative structures that also
blend in seamlessly with their historic environments • The projects have developed a rich craft and design vocabulary, which links this work to the
origins and roots of the longer craft tradition in design and architecture.
Main text by George Ranalli
Introduction by Michael Sorkin
Interview with Susan Szenasy
Essays by Joseph Giovannini, Paul Goldberger,
Ada Louise Huxtable, Herbert Muschamp
and Anthony Vidler.
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9.60 x 8.60 x 2 in / 243 x 218 x 50 mm
Square
Hardcover
496
October 2014
455
690
1.7 kg
US$ 85
978-988-16194-7-1
Michael Sorkin is Distinguished Professor of Architecture and Director of
the Graduate Program in Urban Design at the City College of New York.
From 1993 to 2000 he was Professor and Director of the Institute for Urbanism at the Academy of Fine Arts in Vienna. Sorkin’s long academic career
has also included professorships at Cooper Union, Harvard, Yale and many
other prestigious universities. His books include Variations on a Theme Park,
Exquisite Corpse, Starting from Zero, Indefensible Space and many more.
Joseph Giovannini heads Giovannini Associates, a design firm based
in New York and Los Angeles. He holds a Masters in Architecture from
Harvard’s Graduate School of Design, a B.A. in English from Yale and Master
of Arts degree in French Language and Literature from La Sorbonne, Paris,
Middlebury College Program. He has taught advanced and graduate studios at Columbia University’s Graduate School of Architecture, UCLAs Graduate School of Architecture and Urban Planning, the University of Southern
Californias School of Architecture, and at the University of Innsbruck.
1
2
3
ChaThaM hOUSE
1
2
3
59
94
RESIDENTIAl
CallEnDER SChOOl 153
Living room, dining room and kitchen from the entry to the master bed room
Model with the east wall and ceiling removed
Axonometric drawing indicating materials of the elements
K-lOfT
1
2
Large mahogany door detail
Section study of the reception room
Dusk view of the garden elevation
152 RESIdENTIal
352 INSTITuTIONAl
View of the main pool looking through the plunge pool room.
Pool stair detail.
Edge of pool detail.
Cross section through the canal and house.
Detail of the upper rooms of the section.
164 RESIdENTIal
FREhlEY hOUSE 165
SaRaTOGa avEnUE COMMUnITy CEnTER 353
Paul Goldberger has been the architecture critic at The New Yorker since
July 1997, writing about architecture, design and urbanism. He has served as
special consultant to a number of major institutions such as Morgan Library in
New York, and the Corcoran Gallery of Art in Washington, D.C., holds honorary doctoral degrees from the Pratt Institute in New York, the Center for Creative Studies in Detroit and the New York School of Interior Design and has also
won many prestigious awards for his work, including the Pulitzer Prize in 1984.
Anthony Vidler, a historian, critic of architecture, and curator, is Dean
and Professor of the Irwin S. Chanin School of Architecture of The Cooper
Union. Trained in architecture at Cambridge University in England, with a
PhD in history and theory from TU Delft, Vidler was a member of the faculty
of the Princeton University School of Architecture from 1965 to 1993, serving as the Chair of the Ph.D. Committee, and Director of the Program in
European Cultural Studies. His publications include Histories of the Immediate Present (MIT Press, 2008), and James Frazer Stirling: Notes from the
Archive (Yale University Press, 2010).
Susan S. Szenasy. In 1986 was named chief editor of Metropolis, the
New YorkCity-based magazine of architecture, culture, and design. During
her 17 years as Editor-in-Chief, the magazine has gained international recognition and has won numerous awards. Susan’s training in design journalism was on the job. Beginning with Interiors magazine, she rose from a junior position of editorial assistant to senior editor; then she was named chief
editor of Residential Interiors, the short-lived offspring of Interiors. Susan is
the author of several books on design, including The Home and Light. She
holds an MA degree in Modern European History from Rutgers University.
1
2
178 COMMERCIal
116 RESIdENTIal
348 INSTITuTIONAl
aTElIER InTERnaTIOnal TablE DESIGn 431
422 OBJECTS
View of pool from the second floor of the existing house.
Entry to the pool from the landscape steps.
Water spout from the plunge pool into the main pool.
Plunge pool with water spout overflowing into the sitting area of the main pool.
POOl anD POOl hOUSE FOR “C” FaMIlY 117
SaRaTOGa avEnUE COMMUnITy CEnTER 349
1
2
3
4
5
430 OBJECTS
1
2
3
4
View from the entry hall into the main assembly hall
Wall details
aM TRaK TOWER 179
Computer model of the Charm handle shown in cast aluminum dipped nickel finish, round end
Computer model of the Charm handle shown in cast aluminum dipped nickel finish, grip end
Early sketch of the Charm handle
Front, back, top and side elevations of the Charm handle, graphite on vellum drawing
Front view of the Charm handle, cast bronze
Charm handle (following spread)
254 INSTITuTIONal
SaRaTOGa aVE. COMMUnITY CEnTER BUIlDInG 255
95
The Landscape
Architecture
of Paul Sangha
3.SW MARINE DRIVE
THE LANDSCAPE ARCHITECTURE OF PAUL SANGHA
The Landscape Architecture of Paul Sangha brings landscape to the foreground of daily life—as lifestyle, recreation, aesthetic pleasure—challenging notions of what one can gain from their outdoor surroundings. Sensuous, playful, and provocative, designs by Paul Sangha are meditations
on the human relationship with landscape. Drawing on an encyclopedic knowledge of materials and botanical species as well as a deep understanding of clients’ habits and desires, works by Paul Sangha are robust systems for living.• The book presents ten residential projects by the
award-winning Vancouver-based firm. The featured projects demonstrate the practice’s expertise in orchestrating powerful, unique landscapes
with spatial harmony, tactful grade changes, and vibrant plant life. An urban garden for a compact lot gracefully weaves the inside and outside
to expand the space of both; a series of programmed terraces creates a staircase gradually descending from the residence to the wilds; and a
cantilevered platform is an invitation into the canopy of an old-growth forest.• The Landscape Architecture of Paul Sangha documents the inspiration, process, and poetry of Paul Sangha’s designs. Coupled with text that vividly describes the details and design concepts, photographer
Nic Lehoux sensitively captures each project, narrating through image the spellbinding experience of discovering gardens. This book reveals the
inner-workings of a dynamic practice built on the notion that man can write himself in the land, and land can write itself in the man.
T H E L A N D S C A P E A R C H I T E C T U R E O F PA U L S A N G H A
Written by Carolyn Deuschle
Essay by Byron Hawes
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Landscape
Hardcover
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October 2014
920
100
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English Language
clamshell box
1.9 kg
2.3 kg
US$ 70
US$ 85
978-988-16195-0-1
978-988-12251-3-9
Paul Sangha is a gold medalist of UBC’s Landscape Architecture Program,
with 10 years’ experience as a senior landscape architect and designer for
Ron Rule Consultants Ltd., and three and a half years’ experience as partner
of Rule, Sangha and Associates Ltd. Paul established Paul Sangha Ltd. in
1999. Early in Sangha’s career he recognized his passion lay in creating
unique landscapes and has completely focused his career to pursue excellence within this. Uniting client aspirations in seamless harmony with the site
and home has become the signature of his work, whether it be a classic or
modern design.
Carolyn Deuschle is a Master’s of Landscape Architecture candidate at
Harvard University Graduate School of Design. Previously an editor at Princeton Architectural Press in New York, Carolyn is interested in making the
discourse surrounding landscape architecture more accessible to a mass
audience. Her writing has appeared in Landscape Architecture magazine
and on DesignObserver.com.
Byron Hawes is a Toronto-based writer, who has lived and worked across
the world. He writes primarily on architecture, design, fashion, and the arts,
and has contributed to publications including Architectural Digest, Azure,
Monocle and BlackBook, amongst others.
Nic Lehoux is a Canadian architectural photographer who works with
architects that push the boundaries of design of the built environment.
Nic is regularly commissioned to document significant buildings around
the world with his unique eye, lighting and sense of composition. His images are frequently published in the international architectural press. His
professional work puts a particular emphasis on incorporating people
within tightlycomposed architectural photographs. Nic is influenced by
the concept of the “decisive moment” – popularized by Henry CartierBresson – which he adapts to the rigors of architectural photography. His
images therefore serve as a reflection on the interaction of people with the
built environment.
73
Campo
Baeza
77
Complete Works
Campo Baeza CoMPLETE WoRKS
This monograph presents one of the most unique voices in contemporary architecture whose collection of built work makes a compelling case, with
some help from Hisao Suzuki’s photography, for the power of radical simplicity • Included amongst the projects featured are the Andalucian Museum
of Memory and Caja Granada two contiguous buildings united in a quiet yet monumental statement about Granada, and its history, as well as other
instant classics such as the Asencio, Gaspar, and Turegano houses. All share a basic dedication to simple composition with unadorned masses and
show Baeza’s uncompromising exercise of disciplined restraint in achieving architectural silence, his laconic answer to the deafening noise of the contemporary city • The projects explored in the book span four decades of an international architectural practice. Contributions by Richard Meyer, Jesus
Aparicio, Kenneth Frampton and Manuel Blanco offer critical commentary on Baeza’s persistent quest for beauty and relevance by means of simplicity.
Campo Baeza CoMPLETE WoRKS
Foreword by Richard Meier
Introduction by Jesus Aparicio
Essay by Kenneth Frampton
Interview by Manuel Blanco
Epilogue by David Chipperfield
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9,84 x 11,4 in / 250 x 289 mm
10,10 x 11,65 x 2,75 in / 256 x 296 x 70 mm
Portrait
632
Hardcover with limited edition clamshell box
October 2014
425
500
4 kgs
US$ 85
978-988-16195-6-3
Richard Meier received his architectural training at Cornell University and
established his own office in New York City in 1963. He has received the
highest honors in the field including the Pritzker Prize for Architecture, the
Gold Medal from the American Institute of Architects, the American Academy of Arts and Letters and the Royal Institute of British Architects as well
as the Praemium Imperiale from the Japan Art Association. Among his most
well-known projects are the acclaimed Getty Center in Los Angeles, the
High Museum in Atlanta, the Barcelona Museum of Contemporary Art and
the Frankfurt Museum for Decorative Arts. Current projects include the Italcementi ITC Lab in Bergamo, Italy, the St. Denis office complex in Paris,
Rothschild Tower in Tel Aviv, and the SoMa Newark Master Plan.
Kenneth Frampton was born in the United Kingdom in 1930 and trained
as an architect at the Architectural Association School of Architecture, London. After practicing for a number of years in the United Kingdom and in Israel, he served as the editor of the British magazine Architectural Design. He
has taught at a number of leading institutions including the Royal College of
Art, the ETH Zurich, EPFL Lansanne, the Accademia di Architettura in Mendrisio, and the Berlage Institute in The Netherlands. He is currently the Ware
Professor of Architecture at the GSAPP, Columbia University, New York. He
is the author of Modern Architecture and the Critical Present (1980), Studies in Tectonic Culture (1995), American Masterworks (1995), Le Corbusier
(2001), Labour, Work & Architecture (2005), and an updated fourth edition of
Modern Architecture: A Critical History (2007).
Jesus Aparicio graduated in architecture from the Escuela Técnica Superior de Arquitectura de Madrid (ETSAM). He has won the Rome Prize in
Architecture at the Academia de Bellas Artes de España in Rome, and a
Fulbright/M.E.C Fellowship. He was Visiting Scholar at Columbia University,
New York, where he obtained a Master in Architecture and Building Design.
He has a Ph.D. in Architecture and since 2009 has been Full Professor of
Building Design at the ETSAM.
David Chipperfield studied at Kingston School of Art and the Architectural
Association in London. After graduating, he worked at the practices of Douglas Stephen, Richard Rogers and Norman Foster. David Chipperfield Architects was established in 1984 and the practice currently has over 180 staff at
its main offices in London, Berlin, Milan, and Shanghai. The practice has won
more than fifty national and international competitions and many international
awards and citations for design excellence. In 2009, David Chipperfield was
awarded the Order of Merit of the Federal Republic of Germany and named
Knight Bachelor for services to architecture in the UK and Germany in the UK
New Year Honours List 2010. He has taught and lectured extensively.
Manuel Blanco, Full Professor of Architecture at the Department of Architectural Design at the Madrid School of Architecture, Escuela Técnica Superior
de Arquitectura de la Universidad Politécnica of Madrid, ETSAM UPM. First
Director of Spain’s National Museum of Architecture and Urbanism, 2007, he
was the Curator of the Spanish Pavilion at the X Biennale di Architettura di Venecia 2006, where he presented España [f.] Nosotras, las Ciudades. He has
curated and designed numerous exhibitions, conceived as installations, including the following series: Campo Baeza. The Creation Tree, Gallery Ma de
Tokyo 2009. Campo Baeza alla luce di Palladio, Basilica Palladiana de Vicenza
2004. Campo Baeza Light is More, at the Byzantine Basilica of Saint Irene for
the UIA Congress in Istanbul 2005, Urban Center of New York 2003, Mies Van
der Rohe’s Crown Hall, IIT Chicago 2003. Santiago Calatrava: Palazzo Strozzi
in Florence, the Olympic Museum Lausanne, National Gallery of Athens, Design Center of Malmö and Museo de Arte Moderno of Santo Domingo.
Prototyping
Architecture:
The Solar Roofpod
landfills are vast open spaces, this is not easily
achieved.
another option for handling waste are incinerator
plants or ‘waste-to-energy’ (wte) plants, which
some countries in europe or and South-east asia
have already transitioned to. Since the late 90’s
common waste policies (Landfill Directive 1999)
have changed over concern for shortages of landfill
capacity. often the preference is incineration because of its potential as an energy source for power and heating. Modern technology behind waste
incineration, releases, if accurately filtered, far
less emissions and is therefore less harmful to our
environment than the uncontrolled exhaust that is
typical of landfills. in short, burning trash is cleaner
than storing it in our environment for hundreds of
years. Developed countries like Japan, Sweden or
Denmark, have relied heavily on local incinerator
plants that, in turn, provide a substantial amount
of heat and power for their buildings. Suddenly,
waste becomes a resource for energy production. the principle being (see Fig 1.43) that after
the recyclable waste is sorted, the unrecyclable
materials are burned in a furnace at 800 - 1000˚F.
the garbage is then converted into ash, flue gases
and heat. after passing through several controlled
steps, the flue gasses produce steam via a boiler
that powers a turbine and generates electricity.
the ‘waste heat’ from this process can also be
recovered and used for district heating schemes.
the ash, a waste product of this process, can be
used for building material supplements, if it is not
too toxic (for example, as an ingredient in concrete
to replace lime). if it is too toxic, it must be landfilled. But any disposed ash still only takes up a
tenth of the space as the unprocessed material.
in addition, waste used as a fuel source ultimately
replaces the very fossil fuels that constitute a high
percentage of imported goods.
An Educational DesignBuild Research Project
what makes these plants feasible, is their filter
technology that remove toxins with chemical and
electrical reactions integrated into their emissions
control. at present, the cleanest incinerator plant,
which is in rahway, nJ, emits only a fifth of the
maximum emissions allowed by state legislation.
to put this into greater perspective, backyard burning of just ten pounds of trash can produce more
dioxins, furans, and PCBs than 100,000 pounds
of trash in an incinerator plant. However, all this
cleanliness comes at a price. Strict pollution controls, and of course manufacturing and maintaining
the equipment itself, cost millions of dollars, while
moving trash hundreds of miles to a landfill is most
often cheaper. as of yet, the factor of ‘cleanliness’
has not found the right price tag. the effects on
our environment are mainly of ethical consideration, while decisions are most often based on financial constraints. Laws that restrict the export
of waste materials across state lines can take a
step toward being environmentally conscious, and
would make incinerator plants more economically
competitive with landfills. also, this step would
provide the volume of waste, which is necessary
to run these plants more economically. Currently,
only a fraction of trash collected in Manhattan, only
approximately 3% of the city’s total waste stream,
goes to incinerator plants in new Jersey30. the
rest is transported out of state, involving much
longer distances in transportation. therefore, the
City has proposed a ‘Solid waste Management
Plan’ (SwMP) to enable more efficient long-distance waste disposal in the future. Unfortunately,
it intends to maintain its current strategy of longdistance hauling. But, it is planning to transfer the
waste by barge or rail to container stations, where
the waste will be transported to out-of-state landfills. this modest but beneficial change is an effort
to reduce the amount of truck traffic in new York
City neighborhoods and interstate highways.
exporting garbage by rail and barge will ultimately
be more economical than by truck, and it is intended to distribute garbage ¬to less expensive
landfills than previously possible. However, rail
and barge destinations are more limited than truck
accessible destinations, with the risk of economic
dependencies. even though the fuel used for transportation of garbage will be reduced, not much has
changed conceptually. instead of investing in more
technically advanced and locally applied solutions,
which new York often favored at the height of its
development, it continues to endorse the far away
landfills and embedded high transportation fuel
and emissions involved.
Miscellaneous
inorganics 2%
Fines 2%
Miscellaneous HHw 0%
Pesticides 0%
rubber 0%
Dry Cell Batteries 0%
non-Pesticide Poisons 0%
Diapers 4%
Car Batteries 0%
office Computer 1%
Paint/Solvent/Fuel 0%
non-corrugated Cardboard 3%
non-Bulk Ceramics 0%
Books/Phone Books 1%
t
textiles
6%
Lumber 3%
Mixed Paper 12%
Miscellaneous
organics 7%
Corrugated/kraft 5%
newsprint 10%
Food waste 17%
Magazines/Glossy paper 3%
Clear HDPe Containers 1%
Miscellaneous Plastics 2%
Colored HDPe Containers 1%
Polystyrene 1%
Clear Pet Containers 1%
Grass/Leaves 1%
Films and Bags 5%
other Ferrous metal 2%
1.44 nYC: Composition
of ‘Municipal Solid waste’
(MSw), Study of the
Department of Sanitation
(1990)(compiled by Marjorie
J. Clarke, www.geo.hunter.
cuny.edu/~mclarke/apr292002sancommtestimony.htm)
Clear Glass Containers 4%
Bi-Metal Cans 0%
Green Glass Containers 1%
Food Containers 2%
Brown Glass Containers 1%
Food Containers / Foil 1%
Beverage Cans 0%
1.25 Santiago De Chile,
(Chile), trellised office
building w/ integrated
planters
1.26 trellis support
system, mounting
alternatives
prototyping architecture
Christian
the solar roofpod
Volkmann
prototyping architecture
the solar roofpod
an educational
design-build
research project
Christian Volkmann
Close to 75% of primary energy in New York City is used in or for buildings. Amid the many different initiatives being implemented today to
increase energy efficiency, it is clear that it is our built urban environment that needs the most improvement. Besides the fact that existing buildings
have to be upgraded, the forgotten, interstitial spaces, where improvement can become architecturally tangible, should also be addressed. The
project described in this book developed from the observation that “our most abundant energy resource is the sun and our most underutilized
urban space is our rooftops”, and a successful entry into the Department of Energy’s 2011 Solar Decathlon whose goal was to design and build a
‘Net-Zero-Energy’ house to be exhibited on the National Mall in Washington DC.
4. ‘Plants protect our water.’ in rural environments,
the root system of plants prevent soil erosion
caused by rain. in urban environments, however,
vegetation is of much higher significance in its
capacity to influence stormwater management by
absorbing water in ‘soft scape’ areas. For example,
trees retain a high amount of rainwater on their
surface during light rainfall. Better yet, the soil
they grow in is able to absorb the water and slowly
release it over time via evaporation, or by any supporting drainage system.
new York is mostly ‘hard scaped surfaces’, made
up of concrete sidewalks and drained rooftops,
all ‘sealed areas’. in
n certain Manhattan neighbor
neighborhoods, such as Midtown, the ‘sealed area’ percentage is close to 100% . when it rains, all of the
water collected on these surfaces is immediately
drained into the public sewer system, which was
designed more than a century ago. this system
combines both sewage and urban runoff, and was
sized to carry three to five times the average dry
weather flows during downpours. the system has
since been significantly improved, but if these
loads cannot be handled, water is either released
into a stormwater overflow system, or if necessary
even into the rivers. (Fig.1.23). anecdotal evidence
of this occurrence is that the ‘Hudson river swimmers’ call off their swimming sessions immediately following a significant downpour. of course,
solving this dilemma by increasing the capacity
of the sewer system is an expensive undertaking.
though, instead of enlarging the infrastructure,
one could simply delay these loads, and lower the
peak of accruing rainwater loads. (Fig. 1.24) this is
where vegetation cover, like green roofs, kicks in
as a feasible solution: for every 5% of vegetation
cover added, stormwater runoff is reduced by approximately 2% .
Vegetation also acts as a natural filter for pollution.
it removes polluted particulate matter from the
flow as it reaches the storm sewers. reducing the
flow of stormwater reduces the amount of pollution
that is washed into a drainage area. trees use nutrients like nitrogen, phosphorus, and potassium,
all byproducts of urban living, that would otherwise
pollute and over-fertilize the rivers.
What if we could make use of infrastructure developed over generations by developing the underutilized space of apartment building rooftops to
generate some of the power for the ‘host-buildings’ underneath, and thus immediately renew the way we power our buildings and, beyond that,
our urban way of life? This visionary concept, documented here in comprehensive architectural detail, became reality when a team of students
from the City College of New York took on the challenge of presenting their vision of a built ‘Roofpod’ prototype that could be promoted in New
York City.
Text by Christian Volkmann
Preface by Barry Bergdoll
nYS: Sustainable materials management strategy for
waste (Dept. of environmental Conservation
nYS: Sustainable materials management strategy for
waste (Dept. of environmental Conservation
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7.30 x 9.30 in / 187 x 238 mm
Portrait
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October 2014
275
285
1.1 kg
US$ 40
978-988-16194-0-2
Christian Volkmann immigrated to the United States in 1997, after having
worked and studied in Berlin, Zurich and Lugano, among others at the offices
of J.P.Kleihues and Mario Campi. He holds an M.Arch. from the ETH Zurich,
and is a Registered Architect in New York. He has been teaching at the Rhode
Island School of Design and at City College of New York. At City College,
where he is currently an Associate Professor, he coordinates Design Studio,
Construction Technology and several electives focusing on the integration of
technical and environmental topics into the design process. He is part of the
joint faculty for CCNY’s interdisciplinary Masters program “Sustainability in the
Urban Environment”, combining Science, Engineering andArchitecture.
Michael Sorkin eceived his architectural training at Harvard and MIT and
holds degrees from the University of Chicago and Columbia. He is the principal of the Michael Sorkin Studio in New York City. He is founding President of
Terreform, a non-profit organization dedicated to research and urban intervention. He is President of the Institute for Urban Design; Distinguished Professor
of Architecture and the Director of the Graduate Urban Design Program at
the City College of New York (where he has taught since 2000) Professor of
Urbanism and Director of the Institute of Urbanism at the Academy of Fine Arts
in Vienna (1993 to 2000), and he has been a professor at numerous schools
of architecture. He lectures around the world, is the author of several hundred
articles, and is currently a contributing editor at Architectural Record.
1.4 richarBox:‘Field’,
Skenfrith/wales 2004
cities?; why is power produced far away?; under
what circumstances is it produced?; and how does
it affect us?
1. First of all, there are substantial transmission
losses in any kind of energy distribution: the farther away the source, the more energy gets lost
in transmission. it is estimated that approximately
20% of all energy produced in the United States is
lost in transportation . the artist richard Box (Fig.
1.4) brought attention to this issue when installing
a ‘field’ of more than a thousand fluorescent light
bulbs underneath a low-overhead power pylon. the
installation was entirely powered by this ‘waste energy’.
Hypothetically speaking, if we all had a smart ‘mini-generator’ in our apartment windows, and these
devices would only produce power as necessary,
the savings would be huge. Furthermore, we would
have an immediate relationship to our consumption
of fossil fuels.
in conclusion, one fact is clear: the current, centrally planned and controlled, distribution system
doesn’t work as efficiently as intended; it produces
a lot of wasteful ‘left-overs’.
2. Secondly, the means with which we produce energy is environmentally unconscious and not very
sophisticated. in the US, most of the energy used
to produce electricity is made of non-renewable materials: it is effectively fuel we burn using the resulting heat to generate electricity. these natural resources –mankind has consumed more fossil fuels
in the past 50 years than in its entire prior history–
are gone for good after they are consumed, when
they could be used more productively for chemical
or pharmaceutical applications, for instance. it is
worth noting that mankind has consumed more fossil fuels in the past 50 years than in its entire prior
history, and it is estimated that we will run out of oil
in ca. 40 years, out of natural gas in ca. 60 years,
and out of coal in ca. 200 years .
about ¾ of the US’s energy supply is based on a
mix of fossil fuel ‘products’: Currently, a bit less
than 50% of this mix is coal. natural gas is the new
favorite, approaching a 25% margin, and becoming
increasingly more popular. this is due to the fact
that gas plants operate more efficiently, have an
easier permitting process and contribute to less
Co emissions than coal plants .
about 90% of power plants constructed in the last
ten years are either gas plants or ‘dual-fuel’ plants,
81
City Works 6
85
City Works 6 is the sixth in a series of books which document the exciting work of students from The City College of New York Bernard and Anne
Spitzer School of Architecture. The City College of New York has a long and important tradition of producing internationally recognized scholarship
and research while maintaining its promise of an accessible public education for the city of New York. Through an emphasis on hand craft and
digital fabrication, interdisciplinary research, and ecologically and culturally sustainable practices, SSA encourages a responsible engagement
with the discipline of architecture, while cultivating rigorous exploration of new theories, materials and technologies. With three unique programs
including Architecture, Urban Design and Landscape Architecture, the student work represented here reflects some of the most progressive ideas
about how we inhabit both the natural and the built environment.
6
6
Bernard and Anne Spitzer School of Architecture
Bernard And Anne Spitzer School of Architecture
Edited by Bradley Horn
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September 2014
100
290
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Sand to
Spectacle
The Dubai Mall
89
DP Architects
S a n d
S a n d
t o
t o
S p e c t a c l e :
The Dubai Mall, completed in 2008, is currently the world’s largest mall and one of the largest structures in the world. Sand to Spectacle - The
Dubai Mall – DP Architects documents the design process of Singapore-based DP Architects as it realised a building the size of a city in just over
four years from sketch to construction. The authors perform an in-depth analysis of the historical, architectural, culture and physical forces at play
in the building’s design, and supplement the text with a unique comparative study of Dubai and Singapore to describe The Dubai Mall as a product
of both local and global influences.
S p e c t a c l e
The
D ub a i
Ma l l
T h e
D u b a i
M a l l
NartaNo
Lim
&
Widari
BahriN
Written by Nartano Lim & Widari Bahrin
Preface by Francis Lee
Contribution by Brian Lonsway
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8.95 x 11.95 x 1.5 in / 228 x 305 x 38 mm
Portrait
Hardcover
224
September 2014
180
95
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English Language with box
1.0 kg
1.5 kg
978-988-12250-7-8
978-988-12251-0-8
US$ 45
US$ 60
Nartano Lim is a Senior Associate with DP Architects. Since joining DP in
2008, Nartano has worked on Universal Studios Singapore at Resorts World
Sentosa, a number of design competitions including the Capitol Theatre development together with Rogers Stirk Harbour + Partners and is currently involved with the new Mediacorp media complex in collaboration with Fumihiko
Maki & Associates. Prior to joining DP in Singapore, he worked in New York
City with Robert A.M. Stern and Arakawa+Gins. In addition to practice, he was
an Assistant Professor of Architecture at the Syracuse University School of Architecture and an invited critic at Yale Univesity. His work has been published
in both IKEAgrams: Project on the Waterfront by Benjamin Pell and T.L. Brown
and a forthcoming book entitled Leisurama and Discipline: Late Modern PreFab Culture by Mark Linder.
Widari Bahrin is an Architectural Executive with DP Architects. Since joining the practice in 2010, she has worked on the winning proposal for the
Sun City master plan in Hanoi, Vietnam and a number of local and regional
projects including the New Sunray Woodcraft Headquarters in Singapore. Since graduating from the Architectural Association, London in 2009
Widari’s academic work has been presented at a number of international
symposiums and published in the IAARA Urban Space Journal. She is working towards publishing her research on transitory architecture in the port
city of Bandar Abbas, Iran.
Francis Lee Mr Francis Lee has served as the Chief Executive Officer of
DP Architects since 2004, overseeing the company’s strategic direction and
growth, particularly guiding its foray into the Middle East. He is actively involved
in the quest to transform the office by promoting service excellence, continuous learning and personal development within the company. Mr Lee is a
registered architect with the Board of Architects, Singapore and a member of
the Singapore Institute of Architects. In 2005 he helped form the Singapore
Business & Infrastructure Consortium, a partnership for the pursuit of development opportunities in the Middle East, which he chaired from 2005-2007.Mr
Lee’s work specialises in large-scale projects, and he has completed a number of developments in Singapore including Suntec City. His overseas work
includes The Dubai Mall, Doha Festival City Mall, and other major projects in
Dubai, Jordan and Qatar. Mr Lee also manages DP Consultants, which has
been engaged in the project management of Resorts World Sentosa.
Brian Lonsway is currently an Associate Professor at the Syracuse University
School of Architecture. An architectural theorist and technology researcher,
Professor Lonsway’s work is invested in the evolving relationships between
design technologies and spatial thought. He has lectured and written on issues
concerning the spatiality of computing, the architectural theory of data, and the
post-structuralist semiotics of contemporary design practices. His first book,
Making Leisure Work: Architecture and the Entertainment Economy appeared
in 2009 on Routledge Press. He is currently at work on a second book examining the various impacts of American law on the architectural landscape.
Beyond
Context
93
The Work of
Atelier Arcau Architects
Beyond Context
The architects of atelier Arcau are always sensitive to the elements of the contexts where they are called on to work. This could be almost the firm’s
hallmark, if it were visible, but it is a quality that precedes all visibility. The practice does not produce chameleon architecture, with every project
tinged with a local character. Atelier Arcau’s architecture is not versatile, but neither does it rest on a hard line which produces a style identifiable
at first glance. It not only sets itself firstly and necessarily in the service of its first function, or simply submits to it, but enhances its value. • Xavier
Fraud – You can’t get away from the contextual reading. On whatever terrain it may be, even if it’s really ordinary, our questions will always be the
same. How will the project be installed on the site? What will it be able to say? What sense should we give to our intentions? How will the residents
and users live in it? All the dimensions of this new arrangement are concerned. Architecture, city planning and landscape are inseparable, and
we believe that their combination lead to harmonious places. • Julien Veyron – In the ongoing relationship between things urban and architecture,
each way of thinking informs the other. What interests us is getting to know the site and who we’re dealing with… The studio approach is first of
all anthropological. The logic of projects does not have to do with the form of projects. It has to do with the urbanness you have to reckon with,
and the urbanness that we want to develop. Concept is virtual, process is pragmatic. • Xavier Fraud – We’ve never confined ourselves within a
response mode or plan. Does the Arcau studio have a style? I don’t think so. It doesn’t concern me. The architectural expression which has to
come out of it can’t be predetermined, so as to preserve always more desire and more freedom.
Beyond
Context
the work of
atelier arcau
architects
the work of atelier arcau architects
Introduction and text by Frédéric Paul
Essay by Rodolphe el-Khoury
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Hardcover
320
September 2014
350
250
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French Language
clamshell box
0.9 kg
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US$ 45
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ISBN
978-988-16195-5-6
978-988-12251-9-1
978-988-12251-8-4
Atelier Arcau is a French architectural studio that focuses on principles of
sociability, hospitality, education, justice and sustainability. The studio has won
several awards, including a World Architecture Award for Civic and Community Building for its Salorge Town Community Building in Pornic, France.
Frédéric Paul is a Head of FRAC Limousin then of Domaine de Kerguéhennec from 1988 to 2010, Frédéric Paul, PhD in Art History, is now
freelance writer and curator. He has recently published books and essays
on Beatriz Milhazes (Electa), Giuseppe Penone (RMN), Guy de Cointet
(Flammarion), Jochen Lempert (König Verlag), Robert Barry (Cahiers du
Musée national d’art moderne).
Rodolphe el-Khoury is Canada Research Chair in Architecture and Ur- ban
Design at the University of Toronto and a partner in the design firm Khoury Levit
Fong. He is the author of numerous critically acclaimed books in architectural
history and theory and a regular contributor to professional and academic
journals. His books include, Monolithic Architecture, Architecture: in Fashion,
Shaping the City; Studies in History, Theory and Urban Design, and See
Through Ledoux, Architecture, Theatre, and the Pursuit of Transparency. He
has received several awards and international distinctions for his design work
at Office dA, ReK Productions and currently at KLF. el-Khoury is particularly
interested in architectural applications for advanced information technology
aimed at enhanced responsiveness and sustainability in the built environment.
Contemporanea
97
Giovanni Presutti
Over the last few years, the Architecture Photographer Giovanni Presutti has photographed many of the most important buildings in major European cities, placing a special focus on constructions built in the last decade • The methodical research and surveys which he carries out before
each trip have led him to the conclusion that the majority of these buildings have two key aspects in common. The first is their very prominence;
their devotion to aesthetics. It is clear that the works are produced by contemporary society, with even those featuring complicated internal structures increasingly characterized by attention to exteriority. It is important to note, however, that these buildings do not lack functionality. The second
is the uniformity of style and planning. Presutti encountered similar ideas and materials in every country he visited which were often completely
unconnected to local traditions. This frequently made it difficult to place a certain building in a given country. It is as though the European Union,
having not yet achieved political or social unity, has somehow succeeded at an architectural level • Giovanni Presutti explores these issues in
Contemporanea, emphasizing the aesthetic qualities his subjects have in common; the lines, materials and reflections, as seen from different
perspectives. In the process, he has sought out pureness of form, and created a unique context; one that is representative of our time • A
foreword by Antonio Belvedere, and an introduction by the Parisian-born curator, critic and photography historian Gabriel Bauret, provide a critical
perspective on this collection of images.
Foreword by Antonio Belvedere
Introduction by Gabriel Bauret
Epilogue by Giovanni Presutti
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Landscape
Hardcover
September 2014
150
Edition
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English language with
Chinese translation and box
limited edition clamshell box
and five signed prints
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224
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1.2 kg
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978-988-16194-9-5
978-988-12251-4-6
208
2.1 kg
US$ 340 978-988-12251-6-0
Giovanni Presutti Born in Florence, Italy, on 03 30 1965, where he still
lives.Education: From 2003 to 2005 he develops the project “Reflexions” in
Paris, under the supervision of Giorgia Fiorio and Gabriel Bauret. In 2004 he
completes a master of reportage at John Kaverdash School in Milan with
the highest marks. In 1998 he graduates from the photography school Art.E
in Florence. He graduates in Classic High School and later in Law at the
University of Florence.
Renzo Piano was born in Genoa in 1937 and he maintains a home and
office in the area. He was educated at the Politecnico di Milano. From 1965
to 1970 he worked with Louis Kahn and with Makowsky. He worked together with Richard Rogers from 1971 to 1978; their most famous joint project
is the Centre Georges Pompidou in Paris (1977). He also had a long collaboration with the engineer Peter Rice. In 1981, Piano founded the “Renzo
Piano Building Workshop”, employing a hundred people with offices in Paris,
Genoa, and New York.On 18 March 2008, he became an honorary citizen
of Sarajevo, Bosnia and Herzegovina and he was recipient of the Pritzker
Architecture Prize, AIA Gold Medal, Kyoto Prize and the Sonning Prize. One
admirer said the “serenity of his best buildings can almost make you believe
that we live in a civilized world”
Antonio Belvedere was born in Catanzaro (Italy) in 1969. Before beginning his studies in Architecture he worked as a carpenter in his father’s
workshop, learning the specialist skills of turning and milling. This education
was very valuable in his later career as it gave him an intimate knowledge of
materials and construction processes. In 1997 he graduated in Architecture
from the University of Florence, presenting a thesis on the completion of the
“Axe Historique” in Paris. The following year in the same city he joined the
Renzo Piano Building Workshop where he gained wide-ranging international
experience on an urban scale (Masterplan for Columbia University in New
York, Lulu Island Cultural Development in Abu Dhabi, Masterplan for a mixed
use program in the “Ex Falck” area in Sesto San Giovanni – Italy) as well as
the building and detail scales (the Pinacoteca Giovanni e Marella Agnelli and
the Vehicle Design and Engineering School, both during the conversion of
the Lingotto; the historic FIAT factory in Turin.) Together with Paolo Colonna,
he won the RFI international architecture competition for “Small Railway Stations.” This was a new design concept for over 2000 small railway stations
scattered throughout Italy. After many years as an Associate, in 2011 he
became a Partner at RPBW. In this role he has been placed in charge of the
projects for the new Parliament Building in Malta and the new City Gate in
Valletta which will renovate the city’s historic entrance.
The Legacy
Project
101
New Housing New York
Best Practices in Affordable,
Sustainable, Replicable
Housing Design
New Housing
THe LegAcY ProjecT New
York
PlaNYC, the Mayor’s long-term visioning statement for the city’s future, projects that New York will add one million more residents by the year 2030.
This publication documents the evolution of a new stage in the development, design, and construction of one of the most important services of the
city of New York: affordable housing • The New Housing New York Legacy Project brings together progressive approaches to affordable housing
in the fields of design, architecture, planning, and public policy. The collaborative nature of the New Housing New York Legacy Project reflects the
need for communication and exchange across the public and private sectors. The publication discusses the lessons of two international competitions and complementary revisions to procurement and implementation processes • As America’s urban population grows, its cities will be called
upon to draw inspiration from one another’s successes. This document is an important step in promoting such dialogue.
THe
LegAcY
ProjECT
New Housing New York
99
Best Practices in Affordable, Sustainable, Replicable Housing Design
Authored by Lance Jay Brown, FAIA; Mark Ginsberg,
FAIA; Tara Siegel
Foreword by Michael R. Bloomberg, Mayor of New York City
Preface by Lance Jay Brown, FAIA
Edited by Nathan Jerry Maltz, AIA; Oscar Riera Ojeda
Contributions by Karen Kubey and Michael Kimmelman
Epilogue by Shaun Donovan
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155
270
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WHEDCo / Durst / Cook+Fox
Lance Jay Brown was educated at The Cooper Union for the Advancement
of Science and Art and holds two Masters Degrees from the Harvard Graduate School of design. He is an ACSA Distinguished Professor at the Spitzer
School of Architecture at the City College of New York and a Fellow of the
American Institute of Architects and the Institute for Urban Design. In 2007 he
was awarded the highest honor given for an architectural educator in the United States, the AIA / ACSA Topaz Medallion. He was a founding member of
the New Housing New York Steering Committee and his recently co-authored
book, Urban Design for an Urban Century, was released in 2009.
Tara Siegel received a Master of Architecture from the New Jersey Institute
of Technology (2004) and a B.A. in Architectural Studies from the University of Washington (1995). Ms. Siegel works at the intersection of design,
development, and public policy, with a particular focus on providing quality
affordable housing and child care facilities in low income communities. She
is the author of Quality Environments for Children: A Design and Development Guide for Child Care and Early Education Facilities. She was the
co-Chair of the New Housing New York Steering Committee and served as
a Rose Architectural Fellow from 2004 to 2007.
Mark Ginsberg AIA, LEEDAP received a Master of Architecture degree
from the University of Pennsylvania and an undergraduate degree from
Wesleyan University. He has been designing housing for over twenty-five
years. He established Curtis + Ginsberg Architects in 1990, where the
practice has developed a focus on affordable housing. The firm is the recipient of the 2007 Andrew J. Thomas Pioneer in Housing award. A native
New Yorker, Mark currently serves as President of the Citizen’s Housing
and Planning Council. He was President of the AIA New York Chapter in
2004 and was co-chair of the New York New Visions Executive Committee, the Architecture and Planning community’s response to 9/11. Mark
was an organizer of both the New Housing New York Ideas Competition
and the Legacy Project.
Michael Bloomberg is the 108th Mayor of the City of New York. He attended Johns Hopkins University, and received an MBA from Harvard Business
School. In 1981 he began a small start-up company called Bloomberg LP.
Today, Bloomberg LP has over 275,000 subscribers to its financial news
and information service. His election as Mayor came just two months after the tragic attacks of 9/11 and under Mayor Bloomberg’s determined,
forward-looking leadership, New York rebounded faster and stronger than
anyone expected. In December 2006, Mayor Bloomberg unveiled plaNYC
2030 targeting ten goals, ideally achievable by the year 2030, to allow for
the growth and sustenance of New York City’s industry, population, environment, and infrastructure.
This scheme was presented first with a diagram that illustrated an expanded definition of sustainability, including sustained ecology, sustained family, and sustained cultural heritage. The team was
extremely interested in the intersection of those components. The history of music in the South
Bronx was a strongly influential factor.
a.concept
Considering sustainability in its broadest terms and within the “historical circumstances” of the
community, the team produced a multigenerational residence that “stitches together the local ecosystem, strengthens the social fabric, and nourishes the rich cultural traditions of this community,”
tapping into the South Bronx’s musical legacy and one of its early building typologies—the “oxbow.”
Designed as clusters of units set back from the street, the eight-story building’s “meandering” corridors feed natural light and air into apartments, hallways, and communal areas.
b.community
The public face of the project focuses on the area’s music culture, from jazz to hip-hop, and healthful living through the Bronx Legacy Music and Cultural Center (a 12,000-square-foot education
and performance space with theater, classrooms, and a digital recording studio – in which several
prominent musicians have expressed interest) and a greenmarket run by the nonprofit Just Food.
Community is also emphasized in the glazed, two-story lobby, which opens onto Brook Avenue
to the west and, to the east, a landscaped yard where gardens, water courses, and a playground
are protected by the site’s remnant rail corridor wall. This open space is conceived as part of the
planned South Bronx Greenway.
80 THE LEGACY PROJECT
c.sustainability
Many approaches, including daylighting and cross-ventilation, mine
readily available resources—sun, wind, air. Similarly, the roof gardens and interior greenway are irrigated with recovered rainwater.
Other systems include: an on-site cogeneration plant that captures
waste heat to supply units with hot water; wall-through energyrecovery ventilators that simultaneously exhaust stale air and deliver fresh, filtered air, removing 82 percent of particulates from
apartments, aiming to reduce the very high asthma rates in this
community; and low- or no-VOC (volatile organic compound) finishes. LEED Gold is the goal.
d.structure
Prefabricated glass-fiber-reinforced panels are hung from a system of lightweight metal-stud assemblies and precast hollow-core
planks, an inexpensive system.
e.affordability
Proposed rents start at $452 per month for studios occupied
by those making 40 percent of area median income (AMI) and
one-bedrooms at $750 for those earning 60 percent of AMI.
Proposed sales prices for homeownership units range from
$190,000 for a one-bedroom for those earning 110 percent of
AMI to $315,000 for a three-bedroom for those earning 140
percent of AMI.
The Finalists 81
Winning Proposal 121
“Via Verde: The Green Way” is born. The
green roof extends from the courtyard
garden winding its way towards the tower
top. Conceived as a journey atop the project,
landscape plans would later develop into an
amphitheater, tree stands, urban farm plots, a
native plant species field, and park spaces.
Winning Proposal 151
eastwest
105
Nabil Gholam Architects
A long curve of shopping outlets on the lower mezzanine
accompanies the visitor around the entire urban mall.
The landscaped bar atop the office tower is an intimate
enclosure and presents spectacular 360° views of Doha and
the Persian Gulf beyond.
The residential buildings offer a broad range of
apartment types, amongst them high-ceilinged lofts on
the upper floor setback.
A fully-equipped health club opens onto the elliptical
gardens from the first floor of the residential building.
WEST ELEVATION
WEST ELEVATION
EAST ELEVATION
EAST ELEVATION
WEST ELEVATION
WEST ELEVATION
Set against the backdrop of global architectural production, the work of the Lebanese architect Nabil Gholam and his associates defies easy
classification. On the one hand it can be regarded as a competent, modern, global practice for which the legendary SOM is still a model. On the
other, NGA are capable of creating works that possess a uniquely grounded, local character at a variety of scales, from one-off luxury villas to
the occasional monumental project at an urban scale, as in their entry for the Jabal Omar International Design Competition, planned for Mecca in
Saudi Arabia at the turn of the millennium. It is paradoxical that this prosperous, sophisticated practice should be located in what is still, despite its
prosperity, the unstable and often violent environment of Beirut.
nabil gholam architects
nabil gholam architects
Essays by Kenneth Frampton and Gökhan Karakus
Foreword by Nicolas Véron
Project texts by Warren Singh-Bartlett and Nabil Gholam
Editing by Warren Singh-Bartlett and Ana Corberó
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978-988-16195-2-5
978-988-12251-1-5
978-988-12250-3-0
978-988-12250-9-2
US$ 70
US$ 85
US$ 70
US$ 125
Kenneth Frampton was born in the United Kingdom in 1930 and trained as
an architect at the Architectural Association School of Architecture, London.
After practicing for a number of years in the United Kingdom and in Israel,
he served as the editor of the British magazine Architectural Design. He has
taught at a number of leading institutions including the Royal College of Art, the
ETH Zurich, EPFL Lansanne, the Accademia di Architettura in Mendrisio, and
the Berlage Institute in The Netherlands. He is currently the Ware Professor of
Architecture at the GSAPP, Columbia University, New York. He is the author
of Modern Architecture and the Critical Present (1980), Studies in Tectonic
Culture (1995), American Masterworks (1995), Le Corbusier (2001), Labour,
Work & Architecture (2005), and an updated fourth edition of Modern Architecture: A Critical History (2007).
Gökhan Karakus was born in Nusaybin, Turkey in 1966 and studied architectural history and theory Vassar College and New York’s Columbia University
in New York, USA. The author of the books Turkish Touch in Design (2007)
and Turkish Architecture Now (2009), Karakus works as an architectural critic, theoretician and designer. His field of study is especially related to locality in
design, modernism and architecture. His recent work has focused on design
and research in architectural strategies using informal urbanism in Istanbul and
the history of post-war architecture and design in Turkey. He has contributed
to publications such as Architects’ Journal, Bauwelt, Wallpaper, Details, ID,
and Icon Turkey and is currently working as the editorial director of Natura magazine, which concentrates on stone architecture in today’s Eurasian region.
Karakus was a nominator and reviewer for the Aga Khan Award for Architecture and the Mies van der Rohe Award for European Architecture. He has
taught architecture and design at Istanbul Technical University, Bilgi University
and the Politecnico di Milano. He is the founder and director of the interactive
and environmental graphic design studio, Emedya, which is based in Istanbul.
CROOS SECTION
CROOS SECTION
EAST ELEVATION
EAST ELEVATION
CROOS SECTION
Sinking chalets below ground had three significant advantages. Firstly, the process of
raising ground level enhanced the upper story view. Secondly, the visual impact of the
development on the surrounding environment was reduced without sacrificing home
size. Finally, the thermal buffering that resulted meant that houses were naturally cooler
in summer and warmer in winter.
ceilings that eliminate the need for air-conditioning in the summer. Roofs incline gently
up towards the north-facing façades, which are fully glazed.
As peripheral walls present the only real structure, layouts are flexible and are designed
to encourage cross-ventilation. Oriented along a north-south axis, the chalets have high
The restraint shown in developing the site led to the construction of fewer homes than
envisaged but to a higher standard than would have originally been possible. As a result,
the chalets commanded higher prices on the market. Not only did this prove the adage
that less can be more, it also produced a winning outcome for the developer, the social
context and the environment.
Here in what is by now a private setting, the mute walls of the entrance have been
replaced by fully glazed south-facing panoramic façades, shaded from the sun by a
series of gracefully cantilevered canopies. This transition from public to private happens
in a quiet, orderly procession of gradual discovery, so much so that it is only from the
expansive balcony and terrace that the full, quiet grandeur of the home is felt.
Perhaps most intriguing from an historical perspective - especially as this is a path few
other local or indeed regional architects have chosen to follow - the F House can be read
as a logical continuation of the Mediterranean modernism that was practiced in Lebanon
in the 1950’s and 60’s, before being brought to an abrupt end by the country’s descent
into conflict.
Careful orientation ensures cross-ventilation throughout the house and maximizes
views over the surrounding forest, mountain ranges and the Mediterranean. Generous
cantilevering results in deep, liveable balconies that form an additional line of defense
against the heat.
That said, F House does far more than simply take up where pre-war architects left off.
nga’s determination to minimize environmental damage to the site through use of green
roofs, state-of-the-art technology, local materials for construction wherever possible
and reliance on indigenous species for landscaping - which allows the house to almost
disappear into its surroundings - ensure this home is not just a perpetuation of the pre-war
continuum but more significantly, updates that tradition and brings it into modern times.
Nicolas Véron is a senior fellow at Bruegel, the Brussels-based international economic think tank, and a visiting fellow at the Peterson Institute for
International Economics in Washington DC. His research focuses on financial systems and financial regulation around the globe, including ongoing
developments in the European Union. He has been involved in the creation
and development of Bruegel since 2002, and since 2009 has divided his
time between the US and Europe. A graduate of France’s Ecole Polytechnique and Ecole des Mines, his earlier experience included policy work as
a French civil servant, and corporate finance as a junior investment banker,
chief financial officer of a small listed company, and independent strategy consultant. In 2006 he co-authored Smoke & Mirrors, Inc.: Accounting
for Capitalism (Cornell University Press). His publications in French include
L’Architecture des Villes, co-authored with Ricardo Bofill and published in
1995 by Editions Odile Jacob.
Warren Singh-Bartlett is a writer who has been based in Beirut since
1998. He is the Middle East correspondent for London’s design, architecture
and lifestyle magazine, Wallpaper. His work has also appeared in a number of
other publications including Tank, the Financial Times, the Handelsblatt, the
New York Times, the Wall Street Journal and American Express’ Departures
magazine. Singh-Bartlett is the author of four guidebooks published in the
Wallpaper/Phaidon Press Cityguides series - Dubai, Honolulu, New Delhi and
Beirut - and a collection of anecdotes, urban legends and unusual facts about
Beirut entitled Bet You Didn’t Know This About Beirut. He is currently working
on two separate projects; a television series based on his book about Beirut
and a second non-fiction book about Lebanon, which will be an account of
his experiences there and the inspiring individuals he has been privileged to
meet as a result.
CROOS SECTION
The Bali Villas
109
Bedmar & Shi
The Bali Villas
Perched on the spectacular southwest coast of Bali, this award winning villa by Bedmar and Shi is Ernesto Bedmar’s long awaited first project
on the island that has so inspired his successful career. The exquisitely designed villa was given the name The Jiva Puri, where “Jiva” in Hindu
religious texts denotes the immortal essence of a living organism or being and “Puri” in Sanskrit refers to a place or large dwelling. Although
highly contemporary in expression, the design is intrinsically linked to the built history of the island and shows a deep understanding of traditional Balinese architectural concepts and their relationship to the landscape. Featuring a foreword by Darlene Smyth that puts The Jiva Puri into
context before taking the reader on a detailed tour of every pavilion, and sumptuous photography by Albert Lim, the monograph also includes
comprehensive plans, elevations and details to give a fully rounded view of a villa complex that has set new standards of subtle architectural
brilliance on the island.
Photography by Albert Lim Koon Seng
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February 2014
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Bedmar & Shi is a Singapore based design practice established in 1986,
incorporating a wide range of architectural, conservation, landscape and
interior designs. Since its inception, it has always maintained a staff of 12,
a multicultural mix of personalities from various parts of the world, designers with a singular desire to explore the relationships between buildings
and nature with particular emphasis on quality design and execution of
its diversified portfolio. The company founders, Mr. Ernesto Bedmar and
Madam Patti Shi, personally liaise with and direct each of the company’s
projects. The list of projects stretches from New York, London, New Zealand, India and Malaysia to Indonesia, Thailand, Tibet, Bhutan, Hong Kong
and Singapore.
Darlene Smyth is a Canadian born writer and designer, she has a B.A. in
Communications and Music, a Bachelor of Environmental Design Studies
and Master of Architecture from the University of Ottawa. She is a professor
at the National University of Singapore and Director of the Singapore based
design practice, A. D_Lab pte ltd.
Albert Lim Koon Seng is an architectural photographer based in Singapore whose images have been published extensively in architectural journals
such as A + U, MIMAR, Singapore Architect, World Architecture, SPACE
and Monument. His photographs have also illustrated numerous books, including The New Malaysian House and Singapore Architecture: of a Global
City. His work has been displayed at several exhibitions including the Venice
Biennale and the Aedes East Gallery in Berlin.
/02
Drawings
Kerry Hill
Crafting Modernism
State Theatre
Centre
Bangkok, Thailand
April 2000
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Kerry Hill
Kerry Hill
Crafting Modernism
Crafting Modernism
Essays by:
Geoffrey London
Paul Finch
Erwin Viray
Edited by:
Oscar Riera Ojeda
Crafting Modernism is a long overdue book that examines and celebrates more than 30 years
of consistently strong and innovative work by Kerry Hill Architects, an architectural studio with
offices in Singapore and Fremantle, Australia. This multi-award winning practice established
its reputation with a series of exotic resorts in locations throughout South-East Asia. It also
designed a brace of exceptional houses that were informed by the earlier resort work. The
resorts have been widely regarded as part of an architectural lineage initiated by Geoffrey
Bawa, recognizable in a shared response to location through climatic strategies, the use of
materials, and their form of construction.
Kerry Hill
Crafting Modernism
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This book examines the development of Kerry Hill Architects over a period of thirty years. Kerry Hill Architects is a Singapore-based practice with
a second office in Fremantle, Western Australia. Kerry Hill has received a number of distinguished design awards including the inaugural Kenneth
F. Brown Asia Pacific Culture and Architecture Design Award in 1995 and the 2001 Aga Khan Award three times, was a joint winner in 2003 of
the RAIA Robin Boyd Award for Residential Buildings and, in 2006, won the most prestigious award offered by his peers, the Gold Medal of the
Australian Institute of Architects. In 2010 Kerry Hill received the Singapore Designer of the Year Award • The book comprises a number of thematic essays developed from recurring themes within the practice, based around a small group of objects. The book concludes with a substantial
illustrated chronology of the practice’s work.
Over the past decade, Kerry Hill has embraced the uncertain world of architectural competitions
in order to engage with more civic and public works. The practice has enjoyed a particularly
high success rate and has completed and is now designing highly distinguished buildings
throughout the world.
80
81
140
141
An Australian who has spent his career in Asia, Kerry Hill brings a deep understanding of the
East to his increasingly refined contemporary architecture. His unique approach has been
formed from his experience of the cultural and spiritual coherence in places like Bali, Japan, Sri
Lanka and Bhutan. Hill’s architecture is made distinctive by the rich experience of his generous
and tranquil spaces.
Essays by:
Geoffrey London
Paul Finch
Erwin Viray
Edited by:
Oscar Riera Ojeda
Organized chronologically, this four-hundred-page book features an extended essay about
the evolution of the practice and a selection of forty of Kerry Hill’s most important works from
1992-2012. This gives readers a privileged view into the world and thinking of an architectural
practice that richly deserves international exposure.
With 900 illustrations, 590 in colour.
On the jacket:
Front: Albert Lim K.S.
Back: A selection of images from throughout the book.
Text by Geoffrey London
Introduction by Paul Finch
Afterward by Erwin Virray
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Portrait
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640
440
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Kerry Hill, is an Australian Architect originally from Perth, where he studied
at the University of Western Australia, graduating in 1968. He holds professional practice registrations in Singapore and most Australian states. Early in
his career, he moved to Asia with his family, and from 1971 lived and worked
in Hong Kong, Jakarta and Bali, Indonesia before taking up residence in
Singapore, where he started to practice in his own right in 1979. The practice
remains based in Singapore, and more recently opened an Australian office
in his home city of Perth. He now divides his time between Singapore, Perth,
and his other adopted home in Galle, Sri Lanka. He lectures and travels extensively, and has taught at several leading schools of Architecture. In 2008,
he was awarded the Honorary Degree of Doctor of Architecture by his alma
mater, The University of Western Australia, where he is also adjunct Professor of Architecture. His direction and dedication to the practice of architecture over more than 35 years has been recognised in the many design awards
given to the practice through the years, including the Aga Khan Award for
Architecture in 2001. In 2006, the Australian Institute of Architects honoured
him with the Gold Medal, in recognition of his achievements and contribution
to the profession over the years, and in 2010, he received the President’s
Design Award for the Designer of the Year in Singapore. He was most recently made Officer in the General Division of the Order of Australia (AO).
Geoffrey London is the Victorian Government Architect. He is also a Professor of Architecture at The University of Western Australia and has held the
position of Professorial Fellow at The University of Melbourne. He was, for
a period of nearly five years, the inaugural Government Architect in Western
Australia. He is a past Dean and Head of School at UWA, past Chair of the
Committee of Heads of Architecture Schools of Australasia, a past President
of the Western Australian Chapter of the Australian Institute of Architects,
and a Life Fellow of the Institute. He is currently a member of the Australian
Research Council’s College of Experts and has acted as a consultant on
numerous architectural and urban design projects. He has served on and
acted as Chair of many architectural design award juries and a large number
of competition juries.
Paul Finch is chairman of Design Council CABE (the architecture and
built environment wing of the UK Design Council). He is Director of the
World Architecture Festival, and Editorial Director of the Architectural
Review and Architects’ Journal. He was born in London and studied at
Selwyn College, Cambridge and in 2002 he was awarded an OBE for
services to architecture.
236
237
Make Alive
117
Prototypes for
Responsive Architectures
Edited by Rodolphe el-Khoury, Christos Marcopoulos
Carol Moukheiber, Nashid Nabian
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Portrait
296
Hardcover
January 2014
300
200
0.9 kgs
US$ 40
978-988-16194-6-4
The migration of computing from dedicated appliances to physical environments, thanks to increasingly proliferating microchips and ever-expanding information networks directly implicates and empowers architecture as a transformative agent and medium. The fact that objects can now
sense, think, act and communicate with the help of embedded technology is opening up the potential for an architecture that is more closely
aligned with the networked dynamics of living systems – a sentient architecture. The technological enhancement of physical matter charts a movement away from a mechanical paradigm towards a biological model. The shift manifests itself on several levels, from the micro scale in the form
of new composite or “smart” materials capable of registering and responding to external stimuli, to larger network formations between people,
objects, spaces, and landscapes. Radical artifice here serves to imitate nature, enmeshing built environments in a complex web of interactions
whose emergent properties approximate the resiliency of natural ecologies • It is precisely this fine attunement to life that has made these emerging technologies pertinent in dealing with a wide range of issues from the therapeutic benefits to the body, to the mediation of global and climatic
energy systems. The projects featured in this book demonstrate in working prototypes architectural applications of synthetic sentience in the
broad research area of ambient intelligence, focusing on: Immersive Spaces, Hybrid Living Systems, Responsive Cladding, Surface as Interface,
Augmented Building Technologies, and Individuated Experience. Initial informal efforts have evolved with this team into a focused and funded
university-based research. The projects establish a collaborative platform involving designers, scientists and engineers and a new family of spatial
problems where, architecture is re-charged.
Rodolphe el-Khoury is Canada Research Chair in Architecture and Urban
Design at the University of Toronto and a partner in the design firm Khoury Levit Fong. He is the author of numerous critically acclaimed books in architectural history and theory and a regular contributor to professional and academic
Carol Moukheiber is an Assistant Professor at the Daniels Faculty of Architecture at the University of Toronto. Prior to this, she was Adjunct Professor of Architecture at the California College of the Arts in San Francisco
for several years, and worked for design offices including SOM, and Bruce
Mau Design in New York and Toronto. She is a founding partner in the design practice, Studio n-1 (2001). Her work operates across several scales
focusing most recently on the intersection of architecture and responsive
technologies. She is the Founder and Director of RAD, Responsive Architecture at Daniels, which is probing the impact of responsive systems on
the physical environment toward health and environmental applications. She
is the co-editor of Wild Wild Urbanism, Redesigning California [CCA 2006].
Her work has been acquired by the San Francisco Museum of Modern Art,
and her built work has been published widely in academic and mainstream
media including The New York Times Magazine, Praxis, Journal of Architecture, and MONU (Magazine on Urbanism).
Christos Marcopoulos is an architect and Assistant Professor at the Daniels
Faculty of Architecture at the University of Toronto. Prior to this, he was Adjunct
Professor of Architecture at the California College of the Arts in San Francisco
and lecturer at UC Berkeley. For several years he worked as a project architect
at OMA (Rem Koolhaas) in Rotterdam and SOM in San Francisco. He is a
founding partner in the design practice, Studio (n-1) (2000). His work operates
across several scales focusing most recently on the intersection of architecture and responsive technologies. He is a founding member of RAD, Responsive Architecture at Daniels, which is probing the impact of responsive systems
on the physical environment toward health and environmental applications. He
is a co-editor of Wild Wild Urbanism, Redesigning California [CCA 2006]. His
work has been acquired by the San Francisco Museum of Modern Art and
has been published widely in academic and mainstream media including The
New York Times Magazine, Praxis, Journal of Architecture.

Ralph Johnson
of Perkins+Will
N
Skybridge
Recent Works
Chicago, Illinois
Located in the West Loop neighborhood, near downtown Chicago, Skybridge is as much a work of urban design
as it is a residential condominium tower. As the first tower to be built west of the expressway in this neighborhood,
and visible from all directions, it has a particular responsibility to be a good neighbor in terms of its scale, its
response to the streetscape, and its image.
The building’s base-and-tower parti is adjusted to accommodate the two extreme conditions on the site, the
neighborhood and the expressway. The length of the tower parallels the expressway and is pushed to the eastern
edge of the site, both reducing the canyon effect on Halsted Street and maximizing views of the skyline from the
residential units. The six-story base of retail and parking addresses the neighborhood scale. The base shifts
south from the tower, giving the building a dynamic feel from the expressway and allowing the tower to meet the
ground on the northern edge of the site, rather than sit statically upon its base.
The mass of the concrete residential tower has been manipulated to break up its bulk and reduce its effect as
a wall. It can be read as two towers connected by transparent walkways, or bridges, or as one linear slab. The
vertical void of the bridges also forms an overscaled window through the building. Use of subtle shades of gray
heightens the layering of the planes of the façade and further breaks up the mass. Muted primary colors are
used sparingly in specific areas such as entry points, voids or notches in the building. The two towers are united
at the top by a thin roof plane that becomes a cantilevered trellis above the north façade.
The work of Chicago architect Ralph Johnson explores the use of restrained modernism to enrich and clarify complex programmatic buildings with
intriguing assemblies that reveal their functions and hierarchical relationships. Mr. Johnson’s goal is to form, through the social art of architecture,
an urban environment of buildings that are good civic neighbors as well as distinguished citizens. The projects in this book, both built and unbuilt,
represent his concern for humanistic values and emphasis on process rather than preconceived product, allowing the work to respond to diverse
cultures and urban conditions • Mr. Johnson is a Principal and the Design Director at Perkins+Will • The book includes essays by Rodolphe elKhoury, Daniel Friedman and Thomas Fisher.
Foreword by Thomas Fisher
Introduction by Daniel S. Friedman
Essay by Rodolphe el-Khoury
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Ralph E. Johnson received his Bachelor of Architecture from the University
of Illinois and his Master of Architecture from Harvard University. He began
his career at Stanley Tigerman’s office and then joined Perkins+Will in 1976,
where he currently serves as its National Design Director and is a member
of its Board of Directors. His projects have been honored with more than
75 design awards, including eight national Honor Awards and numerous
regional Honor Awards from the American Institute of Architects and a
Progressive Architecture Design Award. He was elected to the College of
Fellows of the American Institute of Architects in 1995. Mr. Johnson’s work
has been exhibited extensively. He has lectured at numerous universities
and was a visiting critic at the University of Illinois, the University of Wisconsin
at Milwaukee, and the Illinois Institute of Technology. He is a member of
the Board of Overseers of the Illinois Institute of Technology School of
Architecture and a member of the Committee on Architecture of the Art
Institute of Chicago.
Daniel S. Friedman FAIA is Dean of the UW College of Built Environments
(formerly the College of Architecture and Urban Planning). Prior to joining
CBE, he served as director of the School of Architecture at the University
of Illinois in Chicago. Friedman lectures and writes widely on professional
education and ethics, public architecture, and 20th century theory. He holds
advanced degrees in architecture from the University of Pennsylvania, where
he completed his Ph.D. on the work and writings of Louis I. Kahn.
Thomas Fisher is a Professor and Dean of the College of Design at the
University of Minnesota. Educated at Cornell University in architecture and
Case Western Reserve University in intellectual history, he previously served
as the Regional Preservation Officer at the Western Reserve Historical Society
in Cleveland, the Historical Architect of the Connecticut State Historical
Commission in Hartford, and the Editorial Director of Progressive Architecture
magazine in Stamford, Connecticut. He has lectured or juried at over 40 different
schools of architecture and 60 professional societies, and has published 35
book chapters and over 250 articles in various magazines and journals. He
has published four books, and two new manuscripts will be published in 2010.
Design at the University of Toronto and a partner in the design firm Khoury
Levit Fong. He is the author of numerous critically acclaimed books in architectural history and theory and a regular contributor to professional and
academic journals. His books include, Monolithic Architecture, Architecture: in Fashion, Shaping the City; Studies in History, Theory and Urban
Design, and See Through Ledoux, Architecture, Theatre, and the Pursuit
of Transparency. He has received several awards and international distinctions for his design work at Office dA, ReK Productions and currently at KLF.
el-Khoury is particularly interested in architectural applications for advanced
information technology aimed at enhanced responsiveness and sustainability in the built environment.
121
Architecture
with and without
Le Corbusier
125
José Oubrerie
Architecte
Architecture with and Without Le Corbusier documents two architectural masterpieces: the Church at Firminy and The Miller House. The church
is a late work by Le Corbusier that was left unfinished for 40 years. José Oubrerie, a protégé of the great master who had worked on the project
from its inception, completed and built the canonical work, adapting it to current needs and standards while respecting the integrity of the original
design. The Miller House, Oubrerie’s own late masterpiece from the 90s, is a landmark in Lexington where the architect devotes his mature years
to academic leadership at the University of Kentucky. It is firmly on its way to securing a permanent place in the modernist canon. The thorough
documentation of the two buildings with an extensive collection of previously unpublished drawings, documents and photographs builds a precise
and vivid testimony of Oubrerie’s unique architectural trajectory with Le Corbusier’s formidable legacy as a formative and creative influence. The
two seminal works, presented side by side with commentary by George Renalli and Kenneth Frampton yield insight into the evolution and current
resonance of modernist architecture in a story that spans two worlds and two distinguished careers.
The church approached from the West.
Opposite Page: South façade. To the left, the ramp leading us to the church level, to the right, under the canopy, the entrance to the Museum.
Texts by José Oubrerie, Paul Penney and Jeffrey Kipnis
Introduction by Kenneth Frampton
Edited by Luis Burriel Bielza and Oscar Riera Ojeda
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José Oubrerie is a professor at the Austin Knowlton School of Architecture
and a registered architect in France. He has maintained a balanced career
of teaching and practice. He has taught at the Unite Pedagogique #8 in
Paris, and was a visiting lecturer at The Cooper Union, New York Institute
of Technology, Columbia University GSAPP, and was both professor and
Dean of the College of Architecture of the University of Kentucky. He has
lectured and written extensively on architecture in the U.S. and abroad, and
has been widely exhibited.
Kenneth Frampton was born in the United Kingdom in 1930 and trained
as an architect at the Architectural Association School of Architecture, London. After practicing for a number of years in the United Kingdom and in
Israel, he served as the editor of the British magazine Architectural Design.
He has taught at number of leading institutions including the Royal College
of Art, the ETH Zurich, EPFL Lansanne, the Accademia di Architettura in
Mendrisio, and the Berlage Institute in The Netherlands. He is currently the
Ware Professor of Architecture at the GSAPP, Columbia University, New
York. He is the author of Modern Architecture and the Critical Present
(1980), Studies in Tectonic Culture (1995), American Masterworks (1995),
Le Corbusier (2001), Labour, Work & Architecture (2005), and an updated
fourth edition of Modern Architecture: A Critical History (2007).
Luis Burriel Bielza is an Associate Professor at the School of Architecture
and Technology (ESAyT) at the University Camilo José Cela (Madrid, Spain).
His PhD. dissertation “Saint-Pierre de Firminy- Vert: the building as an objet-àréaction-émouvante” was presented at the E.T.S. of Architecture (ETSAM) at
the Polytechnic University of Madrid and was accepted Summa Cum Laude in
2010. His writings and research, mainly focused on Le Corbusier, and his photography, have been widely featured in national and international magazines.
He has been awarded Research Grants by the Canadian Center for Architecture and the J. Paul Getty Museum Research Institute. He combines teaching
and scholarly research activities as well as complimentary professional endeavours which ultimately enrich his work as a practicing architect. Along with his
two partners, his design firm “SOMOS.Arquitectos” has won different prizes in
several public competitions, some of which were eventually built.
Third floor parent's interior window.
Left: Up to third floor.
City Works 5
129
1st SEMESTER
DESIGN
CITY WORKS 5
FACULTY
Robert Marino
Co-existing with this need for release, very much hidden
from view, is another great need, a need born of density,
of consumption, the inescapable need to replenish with
the new, and consequently the need to rid the city of
what it has used up. This is a practical, urgent need. It is
a theme wholly invested in the present.
Robert Marino
Visiting Distinguished Professor
03
02
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CITY WORKS 5
01
BACHELOR OF ARCHITECTURE | SECOND SEMESTER DESIGN
JOHANNA DICKSON, CRITIC
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The goal of our semester will be to address these issues through the design of a new Gansevoort Marine
Transfer Station.
Nop Leetavorn
COMPREHENSIVE
C
OMPREHENSIVE D
DESIGN
ESIGN
Two great Kahnian themes are at play on the west side,
in lower Manhattan. The first is represented in an open
park on the shores of the majestic Hudson River. This is a
place where perhaps our desires for freedom and open
space are made manifest. The realization of what might
be can take a form close to nature, and provide citizens
with a release from the everyday. It is a theme wholly invested in the future.
GARY MCNEIL, CRITIC
“The measure of (a city’s) greatness as a place to live
must come from the character of its institutions, sanctioned by their sensitivity to desire for new agreement,
not by need, because need comes from what already
is. Desire is the thing not made, the roots of the will to
live. It is the mind of the architect that is best suited to
bring all of the forces that make a city into a symphonic character.” Louis I. Kahn
City Works 5 is the fifth in a series of books which document the exciting work of students from The City College of New York Bernard and Anne
04
01-04 | Sino Mukhitdinov
05-06 | Ngala Newton
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01-03 | Sean Gunther
107
Unexpect
Beneath the “belly” of the
house, guests encounter
The spaces are designed to reflect the clients’ values: everyone together, up top, with the best views and the coolest breeze.
The Works of
Michael Ryan Architects
184
185
We often prefer temporal materials that weather with time. They give the houses a comfortable lived-in feel, and also acknowledge the generations who live in and pass through them.
unobstructed views of the
26
dune and sky. Greeting
them is an unexpected,
elegant entrance made of
wood and glass.
27
32
33
With the prominence of the house’s windows, much of the furnishing’s colors and textures were
The new space, recaptured in a
footprint 12-feet wide by 56-feet long,
created to match the color of the bay. In essence, we’ve brought the outside in, blurring the
would free the existing interior spaces
division of the two and forcing people to stop thinking in such terms.
to be reconfigured in a way that would
work for the next phase of our clients’
lives. In essence, the reconfigured
second floor would be designed as a
single-level home. The kitchen could
now be much larger and open, both
horizontally and vertically, revealing
Unexpect is a monograph of the work of Michael Ryan Architects, a practice based in Philadelphia, PA. Written by Michael Ryan, it is far from
being a conventional architectural monograph. Through storytelling, he takes a fresh and perceptive look at the work of the firm. Projects are
documented with detailed photographic explorations and descriptions that embody Michael Ryan’s architectural vision, talent and principles.
Also included is a comprehensive appendix of plans and elevations for each project. The monograph features the philosophy of the firm as well
as a brief history of Michael Ryan’s education, career and main influences. The firm’s collaborative approach is shown through the interior design
work of Ryan’s wife, Randee Spelkoman. The introduction is written by the respected academic Gray Read who was a classmate of Ryan’s at
the University of Pennsylvania.
the entire height of the original stone
wall now exposed.
Three bedrooms on the third floor
would still accommodate family and
guests for occasional stays. Vast
technical changes were made,
improving the comfort of the large,
open spaces.
Those were the first words I heard over the phone from a past client.
The house I had built with him years earlier, on the bayfront of Long
Beach Island, had been a large and—at times—stressful endeavor.
Luckily for me it had turned out very well, and he was still enjoying
time there with family and friends.
This new house would also be a shared space designed to
accommodate rotating groups of guests; one where the key
would be left under the front doormat. Nestled up in the Catskills, it
would be a base for fall and winter activities as well as family
gatherings. If you could find it, and there was an empty room, you
would be welcome to stay.
148
149
Once inside, the main living area is immediately
apparent. The entire room can be read: the simple
steel structure, braced in each direction; the clerestory
separating the roof from the surrounding walls.
9 x 11.5 in / 228 x 292 mm
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Bayview provided us with another
unique opportunity. The property was
situated with 270 degrees of view,
south to east, of the Barnegat Bay.
Written by Michael Ryan
Introduction by Gray Read
Edited by 160over90
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Both the walls and ceiling are made of plaster, left in its
The property has an odd shape, tapering
natural state and finished with a clear coat. There is a
from narrow at the road to the broad
reflective quality to the surface. And at times the walls
outside corner facing the bay. Water
and ceiling take on the colors of the meadow.
views to the north would be the most
calm and serene with the sun striking
the water from behind. This view would
always have the greatest depth and
color. The southwest view would be
bright and reflective in the afternoons,
the water turning silver in the reliable
late-day thermal breezes.
Michael Ryan established MRA in 1989 with the goal of providing comprehensive design services: Architecture and Interiors. A graduate of Penn
State with a Master of Architecture from the University of Pennsylvania, his
interests are broad and extend across the cultural landscape to include
fine art & contemporary music. His philosophy is based in practice as it
recognizes the collaborative nature of building. Michael’s role extends to
each project and is best described as a director, working closely with team
members, guiding a process that enables everyone to express their talents..
Gray Read teaches Architectural History, thesis seminar and thesis studio.
Her research focuses on modern architecture and modern theatre in Paris
in the 1920s and 30s. She is preparing a book on the topic: Quintessential
Theatre: Modern Architecture in Paris. One chapter of the book will appear
as an essay entitled “Theatre of Public Space” in the May, 2005 issue of the
Journal of Architectural Education. Her recent publications include “Aragon’s
Armoire” in a recent anthology, Surrealism and Architecture edited by Thomas Mikal.( Routledge, 2005), and “The Bacardi Building in Miami: Architec-
ture Rum and Revolution” in AULA 2003. She has also published articles
on literary allusions in Le Corbusier’s sculpture and on architectural theory.
She received both a professional masters in Architecture and doctorate in
Architecture from the University of Pennsylvania, completed in 1998. Prior
to joining the faculty in 2000, she taught at the University of North Carolina
in Charlotte and was a partner in a design firm in Philadelphia Pennsylvania.
OneSixtyOverNinety is a creative branding and advertising agency located in Philadelphia, Pennsylvania. We have created brand strategies for
fashion lines, cultural, and consumer products, food and beverage services, sports labels, and universities, among others. By integrating thoughtful
design, innovative marketing strategies and groundbreaking interactive and
Web campaigns, 160over90 has become one of the premiere advertising
agencies in the Northeast. Our work has been featured in Brandweek, Adweek, Print magazine, and the One Show’s creative showcase. Part thinktank, part media and design shop, we approach every project with a unique
perspective. And a heap of originality.
68
69
88
89
Retreat does not mean surrender
Calling this house a retreat has two
Banking on previous approaches, initial
interpretations. Both are valid but have
schemes explored separate houses
more meaning when combined. The first
within one, with the goal of creating
implies an escape from the everyday;
privacy for various families. But I kept
the second speaks to a gathering of
coming back to the “guarded” beach
people. Rather than a place to simply
they so cherished and realized what
escape as in a solitary way, gathering
they really desired: a single large,
would be crucial and the house would
shared living floor; a place that would
have to promote this.
accommodate everyone, at various
activities, but on one level. Bedrooms
could be gathered together on the
floor below.
My serendipitous history with the property in question began in the
summer of 1981. Our good friend had been working for an architect
on Long Beach Island NJ, and indicated that the firm needed another
intern. He persuaded us to visit LBI and consider a move. The three of
us arranged to meet at the lot that would affect so much of our future—
an oceanfront property— to view a new house that was nearing
completion in a town called Loveladies. Randee and I had never
visited the area before.
In 1981, many of the tracts on Loveladies were not subdivided. Houses
sat back from the road on casual dirt lanes. Driving off the road, up a
small gravel lane through wild bayberry and pine trees, the new house
appeared. Formally speaking, it was modern, but the material was
the traditional wooden shingles of older beach houses. The shingles
allowed the crisp volumes to appear like a skin. They were new and
were the color of light honey. The air had a fresh-sawn fragrance mixed
with a familiar smell, like a surf shop.
The interior surface is white cedar, which adds a luminous, soft quality and serves as a
neutral background. It also replaced the standard use of drywall or plaster.
182
183
20
21
166
167
133
Concrete Ideas
137
operation: scarring of
Philosopher’s Walk
Jessie Grebenc
Material to Shape a City
Operation: Scarring
There are few building materials that protect us from fire and noise like massive, dense
concrete. It is all-powerful and very low-maintenance, however, it is subject to deterioration
by the elements.
Scarring interrupts the consistency of the perfectly smooth concrete surface by strategically
‘injuring’ its surface to create a marked, modelled pattern. The engineered surface is now
afflicted by cracks and wrinkles. It succumbs to a kind of grain or veining akin to a natural,
as-found material.
2005
PERIPHERIQUES
Architectes
Paris, France
the atrium screen is reconsidered in super-thin
precast concrete
Flowstone
ultra smooth concrete
concrete ideas:
Concrete Ideas: Material To Shape A City is about possibilities in concrete architecture. It visually speculates, through a series of montages,
drawings and photographs, about concrete architecture’s capacity as an urban catalyst, its capacity for defining cites and for virtuosity in urban
renewal. It is another iteration of speculations begun in a graduate architecture studio at the University of Toronto, which asked: given the now
mainstream nanotechnologies that transform the performance of materials at the molecular level without fundamentally changing the material
aesthetic, can we anticipate and provoke a change in its inherent authority, perception and aesthetic culture? The work uses the case of Toronto
with its predominant 60’s and 70’s brutalist stock and unique minus 30 - to plus 30 - Canadian climate to test these speculations with building
projects that challenge the limits of concrete performance. With contributions from architects and thinkers such as Mark West, George Baird, Will
Bruder, and Charles Waldheim among others, Concrete Ideas is meant to create a seductive argument for the reconsideration of this age-old
building material as supple, light, and instrumental in the re-presentation of existing concrete “citizens.”
concrete
ideas:
Flowstone grey, white and super
white are high performance
cementitious binders made from
Portland Cement and a microfine
cement. The production of the
concrete can be processed as fluid
or self-compacting concrete. For
the various applications, Dyckerhoff
Flowstone will be supplemented by
appropriate aggregates, pigments
and additives from the end-user.
Flowstone can have a w/c ratio
between 0.29 and 0.35 to achieve a
flexure tensile strength up to 15 MPa
and a compressive strength of more
than 100 MPa and a surface so perfect
it approaches the uniformity of plastic.
“For various applications, Dyckerhoff Flowstone is supplemented by appropriate aggregates, pigments and
additives from the end-user. Through the wide range
of aggregates, fine grained concretes can be realized.
Therefore, concrete can be manufactured in different
grain sizes and with outstanding, intense colours. Independent of the grain size chosen, the concrete properties
will always achieve the strength and durability required.”
material to shape a city
Paid for in equal shares by the EU Commission of the
Environment, the municipality and private investors
(who gain development rights on adjacent properties), the project is breathing new life into this aging district . Projects of a similar scale are underway
throughout the EU.
New Architectures
While too often these tower upgrades utilize aesthetically questionable re-clads, many are elegant,
and a handful are remarkably comprehensive urbaninvestment projects worthy of emulation. In these
examples, aging tower districts were completely
reimagined through new infill development, public
space and landscape upgrades. They have become
popular neighbourhoods for young families; they include cultural facilities, markets and, in the case of
London, even successful urban agriculture. Of particular note are the Bijlmermeer (Amsterdam, NL),
Marzahn (Berlin, Germany), Swiss Cottage (London,
UK) and Topli Stan (Moscow, Russia).
When walking through a modern tower block neighbourhood, one can’t help but be struck by the sheer
monumentality of these structures; heroic statements
from a by-gone era. The ambitious generative principles
that led to the development of these modern planned
communities remain relevant today. They offer a remarkable context for reengagement.
“Different forms must be sought out, not for the sake
of form – but to change the content of the forms – and
this will create new forms.”
George Candilis, 1991
Close examination of these ‘tower in the park’ sites is
in some senses like visiting a half completed project.
It appears as a concrete frame with block walls on an
expansive, though empty site, completely devoid of
programme. Their inherent flexibility, both in building
Anne Miller
Abstraction of Nathan Phillips Square
edited by Pina Petricone
material to shape a city
edited by Pina Petricone
us $55
9881 512505
Edited by Pina Petricone
Foreword by George Baird
Contributions by Jürgen Mayer H., Sarah Iwata,
Graeme Stewart, Will Bruder, George Elvin, and Mark West
Afterword by Charles Waldheim
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Pina Petricone is a partner with Ralph Giannone in the office of Giannone
Petricone Associates Architects, a multi-disciplinary office best known for
projects such as Osteria Ciceri e Tria, Herman Miller Canada, UofT’s Centre
for Ethics, PCL Seminar Room, Inn on College and re:TreetHouse – work that
has garnered international recognition through numerous awards and publications. Her work and research centres around ideas of tectonic representation that test the relationship between architecture and cultural difference.
With the support of an Arcus Endowment Grant from UC at Berkeley, Pina
is pursuing a speculative design project entitled Boundaries of Difference:
The Toronto Party Wall Project which examines the enduring urban fabric of
Toronto and traces the durability of its party wall as a designed object in old,
renovated and new constructions across culturally specific neighbourhoods.
This research has already become clearly distilled throughout her professional practice including the recently completed Il Fornello Restaurant in the
Church Street (Gay Village) district of Toronto; and, the recently commissioned new Centre for Ethics at the University of Toronto. Giannone Petricone
Associates is engaging more and more in urban redevelopment projects at
a variety of scales, including the Don Mills Redevelopment and the Portland
Street Infill project, projects which have fuelled the search for sustainable
models of redevelopment and material research that experiments with a kind
of “tectonic urbanism” at every scale. In this vein, the City of Toronto’s pilot
project for Chester Le Public School and Community Space, presents a new
model for shared public amenity and has allowed indulgence in questions of
material culture. As an associate professor at the John H. Daniels Faculty of
Architecture, Landscape, and Design, Pina teaches design and critical theory
at every level of the graduate architecture program, and has enjoyed
acting as primary advisor for numerous award-winning thesis students whose proposals tend to question socio-aesthetic practices in architecture as
urban constructions. Pina Petricone received a Bachelor of Architecture from
the University of Toronto in 1991 and in 1995, with a full fellowship award,
received a Master of Architecture (II) from Princeton University.
George Baird is the former Dean (2004-2009) of the John H. Daniels Faculty of Architecture, Landscape, and Design, and is a partner in the Toronto-based architecture and urban design firm Baird Sampson Neuert Architects. Prior to becoming Dean at the University of Toronto, Baird was the G.
Ware Travelstead Professor of Architecture at the Graduate School of Design, Harvard University. He has published and lectured widely throughout
most parts of the world. He is co-editor (with Charles Jencks) of Meaning
in Architecture (1969), and (with Mark Lewis) of Queues Rendezvous, Riots
(1995). He is author of Alvar Aalto (1969) and The Space of Appearance
(1995). Most recently, his researches in architectural theory have focused
on the question of the political and social status of urban public space, and
on debates revolving around subject of “critical architecture”. In this regard,
his much discussed essay: “Criticality and Its Discontents” was published
in the Harvard Design Magazine in Fall 2004, and his subsequent text: “The
Criticality Debate: Some Further Thoughts” appeared in September in T/A
Magazine, Shanghai. Baird’s consulting firm, Baird Sampson Neuert, is the
winner of numerous design awards, including Canadian Architect Magazine awards over many years, and Governor General’s Awards for Cloud
Gardens Park in 1994 and Erindale Hall on the campus of the University of
Toronto at Mississauga in 2006.
sky Beach at
rail Yards site
tangie Genshorek
t
At the depressed railway yards, below the mammoth
Rogers Centre’s domed stadium, Tangie Genshorek’s
Sky Beach utilizes a geothermal service core which
skewers a series of concrete trays. Its labyrinthine thermal coil stores then slowly releases heat where various
leisure activities defy seasonal limitations in the open
2010
Zaha Hadid
MAXXI
air. Accessible by car, bicycle and foot, the outdoor
pools/ice rinks utilize a strategic profile of conductive
concrete where its concrete mix contains micro steel
fibres and steel shavings for stable electrical conductivity – enough heat is generated to selectively prevent ice
formation on the concrete pavement.
1966
fins of glass-fibre-reinforced concrete emphasize the
curvilinear flow of the galleries
tX active®
smog eating cement
The technology called TX Active ,
developed by Italcementi has been
proven to reduce pollutants (nitric
oxides and dioxides, sulfur
dioxides, carbon monoxide) by about
50%. Referred to as ‘smog-eating’
and ‘self-cleaning’ this invisible
concrete coating, which is a blend
of titanium dioxide that acts as a
photocatalyzer, can be incorporated
in cement, mortar, paints, and plaster.
Essentially, in the presence of natural
or artificial light, the photocatalyzer
significantly speeds up the natural
oxidation processes that cause the
decomposition of pollutants.
“From now on in new constructions and in the restoration of large urban surfaces it will be necessary to take
this new material into account. (Given) the limited amount
of TX Active cement used and its positive environmental and social impact - (it is) completely compatible with
those carried out with traditional materials.”
sPecULation
-noun
‘assumption of unusual risk in hopes of
obtaining commensurate gain.’
Can the more self-conscious tectonic innovations of concrete, such
as strategic interventions of infrastructure, building and surface afford
new presence to existing concrete architectures by providing the
lens through which we perceive and experience them? This question
begs further questions about an inherent cultural specificity afforded
by any building material. What Kenneth Frampton refers to as ‘critical
regionalism’, a building strategy whose aim is to reflect and serve
the limited constituencies in which they are grounded, seems to
pertain directly to the search at the level of nano-technologies for new
versions of concrete. Directives to adjust the performance of concrete
seem to come from specifics in climate, geography, social values,
economy, and traditions – factors that define cultural specificity.
We can therefore speculate on current material questions in
architecture that do not limit themselves to technology and building
performance, rather they extend to psychological, cultural and
aesthetic techniques. For example: If material is a form of thinking in
architecture, how does one define material research that is outside
conventional questions of technology and experiments and concerned
instead with questions of authority, perception and aesthetic culture?
Further, given the now mainstream nano-technologies that
transform the performance of materials at the molecular level
without fundamentally changing the material aesthetic, can we
anticipate a shift in its cultural status? Ultimately, concrete might
look the same but it is no longer burdened by its unsustainable,
gravity-ridden heaviness.
van den Broek
& Bakema
Aula of Delft
formwork and poured-in-place concrete render an
‘honest’ finish
City Sink
.03
.03
Urban
carbon cycle
“From the first growth of the tree,
many a limb and branch has
decayed and dropped off, and
these lost branches of various sizes
may represent those whole orders,
families, and genera which have
now no living representatives,
and which are known to us
only from having been found in
a fossil state.”
Charles Darwin
Carbon Cycle
Infrastructure for our
Built Environments
mycorrhiza active
at root in active
soil
mycorrhiza
active
mycorrhiza
root
in soil
atat
root
in soil
photosynthesis
photosynthesis
transfers
C to
photosynthesis
transfers
C to
planttransfers
tissue
plant tissue C to
plant tissue
The carbon cycle is the flow of carbon between the atmosphere and biosphere: biotic life, dead organic matter, oceans, soil and rock. It is a closed system; a finite
total amount of carbon is distributed in various quantities
in terrestrial and marine carbon reservoirs, otherwise
known as sinks. The cycle processes play out at a range
of time scales as carbon is transferred from one reservoir to another.
The greenhouse effect refers to regulation of the earth’s
temperature wherein heat from the earth’s surface is absorbed by certain gases in the atmosphere, Greenhouse
Gases (GHG) —such as water vapor, ozone, CO, CO2,
N2O, Methane, and man-made gases such as some fluorocarbons— and then re-radiated back towards the surface thus warming the lower atmosphere. Carbon cycle
stability, contingent on consistent levels of carbon stored
in atmospheric, terrestrial and marine reservoirs, is a
key factor in stabilization of the earth’s temperature by
controlling the amount of GHG in the atmosphere.
Urbanization alters greenhouse processes in a variety of
ways over a spectrum of time-scales:
rootroot
transfer
and
transfer
and
decomposition
into
decomposition
root transferinto
and
sinks
soilsoil
sinks
CC
decomposition
into
• by release of carbon from biomass sinks through deforestation (clearing for urban and agricultural land uses)
and landscape practices that accelerate decomposition
of organic material;
soil sinks C
Key processes in carbon exchange are:
• Photosynthesis, the exchange of carbon between aquatic
and terrestrial plants and atmosphere. Through photosynthesis plants metabolize atmospheric carbon compounds
into internal organic compounds releasing oxygen.
• Respiration is the re-mineralization of carbon, with oxygen, back into the atmosphere from plants and soil.
• Decomposition of organic material releases carbon from
the geo-sphere into the atmosphere.
bio-mass
bio-mass
bio-mass
Deforestation has contributed to high atmospheric carbon
levels. To recover carbon sink capacity in urban ground requires landscapes designed to:
soil
soil
dead organisms
organisms
dead
soil
mycorrhiza
mycorrhiza
dead organisms
bacteria
bacteria
mycorrhiza
bacteria
atmospheric CO2
atmospheric
CO2
atmospheric CO2
• by release of stored carbon in soil (tilling), and elimination of areas with potential for transfer of carbon into soil
(paving and certain landscape management practices);
photosynthesis
• by release of carbon stored in the lithosphere through
burning fossil fuels; gasification transfers carbon directly
into the atmosphere.
photosynthesis terrestrial sink
bio-mass
decomposition
photosynthesis
soil terrestrial sink
bio-mass
decomposition
terrestrial
soil
sink sink
bio-mass marine
decomposition
marine
sink
sea bed
deposition
soil
Synchronizing cities with biosphere ecologies will require
adjusting urban landscape practices to accommodate biotic life-cycles that are multi-scalar in both space and time.
d
oce a n se
d
oce a n se
marine
sea bed deposition
sedim sink
ent
ary
nt
ig
sneedoim
ime sea bed deposition
roc
use
k
nrt
nt
ime
oce a n s
ent
edim
a
s ro en k
c ta r
i
magmagneousk y rock
roc
k
igne sed ry r
magma
ou im oc
land use change
land use change
living creatures
• Build soils by using plant management practices that operate more than just skin deep, and that prioritize interactions above and below the ground surface,
• Accommodate ongoing transformation of site-specific
plant-soil systems to lessen high energy (and high cost)
maintenance inputs,
• Increase complexity, by layering plantings to optimize
land area with biomass and ensure resilience in low maintenance scenarios by providing a greater range of potentially adapted plant types,
• Synchronize multiple land use life cycle time frames to
optimize land area for sink performance;
• Aggregate performance of small parcels to build capacity
rather than take up untenably large land areas.
These mandates cannot be achieved without changing the
culture of cities and the popular understanding of what ur-
living creatures
living creatures ban landscape is and how it performs.
magma
.04
.04
sink duration
POINT SINKS
On death and taxes...
City Sink is a design research proposal for a meta-park of dispersed landscape infrastructure to boost carbon stocks in biomass and through
formation of long-term sequestration reservoirs for soil organic carbon in New York City and Long Island. City Sink research merges urban land-use
lifecycles and the carbon cycle to describe a systemic response to elevated atmospheric carbon levels provoking climate change. The project is
a model for reimagining urban landscapes as urban ecological infrastructure.
In traditional urban landscapes, trees are often objectified
rather than recognized as agents in ecological processes.
In the carbon sink landscape, maintenance regimes that
seek to neutralize environmental processes to retain a scenic status quo are replaced with temporally adjusted practices that reveal life cycle processes. Revaluing all aspects
of the cycle, such as dead wood means accepting that
plant lifecycle and successional conditions are not always
neat, and the mandate for maintenance often arises from a
short-term desire to appear managed.
Written by Denise Hoffman Brandt
Foreword by Michael Sorkin
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11.5 x 9.25 x 1.25 in / 292 x 234 x 31 mm
Landscape
Hardcover
144
January 2013
230
70
1.0 kg
US$ 35
978-988-15125-8-1
In the carbon sink landscape, maintenance regimes that
disrupt environmental processes to retain a picturesque
status quo are replaced with temporally adjusted practices
that reveal life cycle transformation. This entails accepting
that ecosystems are not always neat, and the mandate for
energy intensive maintenance is a by-product of dysfunctional attitudes towards nature in the city.
Tax dollars support energy intensive management practices that transform plant-soil systems into atmospheric
carbon sources rather than capitalizing on their potential
as terrestrial sinks. Cities are currently seeking to decrease atmospheric carbon emissions, and plantings are
emblematic of those efforts, but when it comes to the most
prevalent component of urban landscapes, trees, green is
not always really green.
David Nowak’s research (2002) indicates that landscape
management protocols can have a significant impact on
stored carbon rates. He notes that carbon storage in urban
trees is only 4.4% of the total stored carbon in non-urban
forest ecosystems. Urban forestry programs that seek to
elevate that percentage in a meaningful way will have to
alter management practices to achieve sink rather than
produce source carbon emissions.
Denise Hoffman Brandt is principal of Hoffman Brandt Landscape Architects and a professor of Landscape Architecture at the City College of New
York School of Architecture, Urban Design and Landscape Architecture. Her
work focuses on landscape design as a means for environmental sustainability, and she has been involved in numerous public design projects including the landscape plan for the Queens Museum of Art and the master plan
of the New York Hall of Science, which received a Design Excellence award
from the Art Commission of the City of New York. Hoffman Brandt has previously worked as Senior Landscape Architect at Matthews Nielsen and as
Project Landscape Architect at Michael Van Valkenburgh Associates. She
holds an MFA in Painting from Pratt Institute and a Masters in Landscape
Architecture from the University of Pennsylvania. Denise Hoffman Brandt’s
CITY-SINK is an investigation of our potential to catalyze urban carbon sequestration reservoirs, or sinks. Combating a common idea of the city as
‘unnatural’ and reciprocally, that nature is ‘un-urban’, Hoffman Brandt reframes urban planting as an operative program rather than a scenographic
device. Coincident with the launch of the Million Trees programs in New
York and Los Angeles, CITY-SINK provokes and challenges these efforts
to adopt a more environmentally productive framework for urban landscape transformation—one that understands trees to be functional organisms
dependent upon complex environmental processes. According to Hoffman
Brandt, the average life of a street tree is between 2 and 10 years, which
is a direct result of planting practices that treat trees as artifacts—isolating
them from sustaining vegetative plant associations and constraining soil and
hydrologic processes. Urban street trees are more like totemic objects than
eco-system constituents. Without comprehensive planning and management, she argues, Million Trees has the potential to release more carbon
Trees, both living and dead, are important ecological components. Urban landscape management plans prioritize
manicured and ornamental effects, investing tax dollars
and energy inputs into maintaining artificially fixed landscape scenes – devoid of dead plant material.
“When fossil fuels are used to manage
or maintain vegetation, the carbon
emissions will offset the carbon gains
through time. Eventually more carbon
will be emitted due to maintenance
activities than will be sequestered
by a tree.”
“… while it only covers 3% of the soil
surface in the lowlands, dead wood is
responsible for 25% of DOC leaching.”
• Phyto-labs, urban land given over to testing phytoremediation technologies, or plant-soil system improvement
research,such as the effect of elevated ozone levels on plant
pathology. These require sites with specific conditions common in urban industrial land.
• Biofuel Grasslands could take food-grade land out of
biofuel production scenarios. This might be possible with a
pervasive program for growing biofuel plant material. There
is a question of economies of scale; production within 50
miles of the generator would have to be high enough to be
worthwhile.
• Urban Agriculture sites are also sink sites. Uncontaminated soils, large lots and a ready labor pool are hard to
find, so industrial scale is not an easy fit. Multi-scale cooperative community gardens were the model applied in this
research and sites were contingent on potential for community participation.
• Nursery Production can be relocated into the city. This
cuts the carbon emissions of trucking plant material and
could establish a revenue stream for the Parks Department.
CIVIC STRIPS
Layered plantings maximize biomass and amplify both
soil organic carbon and the experiential intensity of urban landscape. When there is an expectation that complex
plantings will appear tidy, maintenance costs of pruning,
clearing debris, fertilizing and pest management go up exponentially as species are added to plant lists. Reducing
ongoing management costs means not just accepting, but
finding value in a looser look. Naturalized conditions have
a conceptual appeal, but it can be difficult to convince the
public that the boom and bust of plant lifecycle change is
appropriate in an urban context.
Maintenance regimes are generally designed to value only
living trees. The legibility of trees as ecosystem components is lost, to the detriment of both human and nonhuman biotic habitat. Dead trees provide avian and small
mammal habitat, as well as cycling nutrients back into
soil. Some pathogenic fungi cannot survive on deadwood,
so its presence protects germinating trees. An Institute for
Eco-System Studies project looked at the effects of dead
wood on carbon and nutrient dynamics. On the property’s
lowland flood plain old logs were hot spots for dissolved
organic carbon (DOC) production.
through installation/ management energy inputs and dead wood decomposition than it sequesters. During her fellowship term, Hoffman Brandt will
develop and publicly disseminate a plan for the dispersal, deployment, and
design of urban carbon sinks in New York City. She will locate opportunities
in the city’s macro-scale infrastructural systems to infiltrate sinks throughout
the metropolitan area, and she will use case studies of projects to generate
sink typologies and local-scale tactics that work within the urban substrate
to intensify carbon sequestration.
Michael Sorkin is Distinguished Professor of Architecture and Director of the Graduate Program in Urban Design at the City College of New
York. From 1993 to 2000 he was Professor and Director of the Institute for
Urbanism at the Academy of Fine Arts in Vienna. Sorkin’s long academic
career has also included professorships at Cooper Union, Harvard, Yale
(holder of the Davenport and Bishop chairs), Cornell (Gensler Chair) Columbia, Pennsylvania, Texas, Minnesota, Illinois. Michigan (Saarinen Chair),
Nebraska (Hyde Chair). Sorkin lectures widely and is the author of several
hundred articles on architectural and urban subjects. For ten years he was
the architectural critic of the Village Voice and is currently contributing editor
for Architectural Record. His books include Variations on a Theme Park,
Exquisite Corpse, Giving Ground (edited with Joan Copjec), Wiggle, Local
Code, Some Assembly Required, The Next Jerusalem, After the World
Trade Center (edited with Sharon Zukin), Starting from Zero, Against the
Wall, and Indefensible Space. Forthcoming are Twenty Minutes in Manhattan, Eutopia, All Over the Map, and Project New Orleans. Sorkin is also
President of Terreform, a non-profit organisation engaged in urban research
and advocacy and President of The Institute for Urban Design.
Economic sinks:
Retaining dead wood in park landscape management plans
would boost ecosystem functions without emissions. Dead
wood could be used to accelerate successional processes
in parks, speeding up woody encroachment into managed
lawn areas. Human access systems generally necessitate
reduction of plant layers to canopy trees and groundcover
or low shrubs in order to accommodate circulation and
security standards. Prioritizing for the operation of carbon
sinks means revaluing public domain to encompass complex, layer-dependent plant systems.
A high percentage of street trees are short-lived. Mechanical harvesting, transport and mulching of dead trees negate the benefits of carbon storage in tree biomass. Nowak
found that 50% of biomass stored carbon is released within
three years of mulching, with the remainder lost over a period of 20 years. Above-ground biomass that is land-filled
however releases carbon much more slowly – at a rate of
only 3.7% in the first five years. Recycling deadwood can
reduce the rate of carbon emissions, and deadwood can
be used to improve and diversify forest growth. Dead trees
support a variety of microscopic and insect species at various stages of decay (Jonsson et al. 2005.)
Analog Sink Typolgy
LEFTOVER LAND
Environmental Sinks (based on Maritime Plant
Communities):
• Maritime Dune has low sink capacity and is paradigmatic
of few urbanized land types except for conditions of extremely
unstable, coarse, granular soils prone to desiccation.
• Maritime Grasslands have moderately high sink capacity,
and are salt tolerant. They are important avian habitat and
have been largely eradicated by urbanization. These species, and new grass, forb and perennial combinations can
be tested for adaptability to urban conditions. The objective
is sink performance so the key criteria for the plant assemblage are biomass growth and soil-building capacity.
• Maritime Shrubland and Upland Shrubland are uniquely
opportune for sites in proximity to hazards from road salt
or windblown coastal salt. High shrubs obstruct views and
plant species might be constrained in situations where visibility is important; but they could have more broad application than is presently the case.
• Maritime Forest and Upland Forest have high sink capacity but take time to establish because of their many layers of components. These would require sites with longterm stability.
• Freshwater Wetlands have high sink capacity, and while
difficult to establish, are extremely stable carbon sink systems. They provide opportunities to combine storm water
management with carbon sink landscapes.
• High/Low Salt Marsh has diminished in the New York
Estuary due to changing water temperatures and salinity
levels. Improving overall water quality would improve these
plant communities and carbon sink investment can be attached to clean water initiatives.
Productive and Analog plant
communities as a basis for sink planning
There is tremendous diversity in land conditions available for
carbon sink sites in New York City and Long Island. Ecosystem variability is beneficial to the outcome of developing a
carbon sink infrastructure, but it creates the challenge to establish criteria for determining what type of planting scenario
would be appropriate under given conditions. The project was
positioned to explore an alternative to rules based planning
regimes; they are not flexible enough to adapt to the diversity
and dynamism of the environmental systems involved.
Analogs are offered instead as a flexible rubric for urban
sink landscapes. Identifying site characteristics for estab-
lishing analogous plant community context shifts design
criteria away from production of an unattainable image of a
past plant system, toward achieving biotic productivity within urban land use scenarios. A typology of productive planting regimes and environmental sinks, which support native
habitat and eco-system processes, was devised to structure
the sink planning research. The degradation of the Jamaica
Bay vegetative system became a stimulus to disperse new
constructed, analogous plant communities.
Analog plant communities are not intended to mimic or restore a historic biotic condition. They are used here as models for plant species complexity and adaptive capacity. The
analogs provide a range of characteristics that proposed
plantings would be designed to conform with.
The marine system is one of many possible analog typologies that could be applied to carbon sink sites. It was used
here as a framework to establish a means of setting criteria for synchronizing carbon sink processes with urban
land use processes, and to study design strategies based
on existing local-scale conditions. The typology diagrams
and cultural characteristics describe the criteria a planning structure such as this would require; they lay out a
framework for parity between native and constructed plant
systems. There are obviously other analogous plant communities appropriate for consideration within this rubric;
and this is good, because expanding the typology would increase urban ecosystem diversity.
.05
Usufruct. In the civil law. The right of
enjoying a thing, the property of which
is vested in another, and to draw
from the same all the profit, utility,
and advantage which it may produce,
provided it be without altering the
substance of the thing.
Open Space
Apparently vacant and under-used lots are common in
former industrial areas depreciated by globalization of
manufacturing. Used with abandon to stockpile detritus,
and for marginal industries that require a low cost-per
square foot to stay profitable, these areas have in recent
years been eyed as sites for big-box retail (Gowanus and
Red Hook in Brooklyn). The impulse to find a transformative use for such sites is complicated by their proximity to
economically distressed residential neighborhoods, which
are desirable, even necessary, because of their low property values.
The operations of big box retail can support local communities with new jobs (although they often hire workers from
across the city), but they have a negative impact on the
neighborhood’s quality of life by increasing truck traffic
and creating vast open areas of paved surface for parking.
If it is bad for the environment odds are good it is not good
for a neighborhood. Recent initiatives to bring community
gardening to low-income neighborhoods (BK Farmyards
among others) are models for the bottom up organization
that can be applied to carbon sink sites.
City Sinks can enliven flagging industrial neighborhoods with a green economic
engine. Neighboring properties are not degraded by sink infrastructure, but
have enhanced value at many levels. Green industries offer opportunities for
employment and training in skilled land management to local communities.
.06
.05
.05
7
NURSERY PRODUCTION - This site is shown
reactivated with nursery production as part of
a neighborhood scale redevelopment initiative.
Although it is small-scale, it is accessible to local
truck routes and production could be increased
with greenhouse plant culture.
8
CONTAINER NURSERY AND SALES LOT - This lot is
adjacent to apartment buildings in a residential area
and could serve as a point of purchase in a networked nursery industry.
9
CONTAINER NURSERY - Like site 8, this lot is in a
residential neighborhood. Its slightly larger scale
is opportune for managed care of balled and burlapped plant material prior to distribution to public
spaces across the city.
10
CONTAINER NURSERY - A very tiny lot, likely
contaminated, in a residential area, nursery production at this site would be focused on greenhouse plant culture, perhaps to provide plugs and
seedlings for city parks.
11
UPLAND FOREST/PARK - This site next to an
apartment building was, at one time, a recreation
area for neighborhood families. Improvements and
maintenance costs be supported by activation as a
long-term sink site with upland forest.
12
BIOFUEL PRODUCTION - The interstitial spaces
created by large-scale market infrastructure could
be put to duel use as carbon sink and biofuel
production zones. Individual sites are too small
to be significant production zones, however when
aggregated, capacity soars.
10
11
13
14
12
Suburban Morphology and Strip
Sink Opportunities
Street strips can activate the heavily occupied zones of regional and local circulation infrastructure with non-human
biotic processes, and generate impacts beyond their sphere of immediate influence. As previously noted, Glen Cove’s
over-burdened storm water system (contributing to low
oxygen levels in Long Island Sound) needs updating, and
the existing tax base cannot support new water treatment
facilities to improve water quality before it is released into
the Sound. Strip sink linear retention areas could do double-duty as public greenways that would increase runoff
infiltration and decrease peak levels and total volume of
storm water flow at the existing treatment plants.
In Farmingdale, vast, bleak, commercial strips can be
converted to a more comfortable, self-sustaining terrain
of biofuel grassland or bioswale wetland. Increasing ver-
ge area increases production, providing an incentive for
municipalities to reduce roadway width and encourage
public transit use. Excessive impervious roadway surface
is a major contributor to storm water rates that exceed
treatment capacity. Highway bioswales would support regional water management initiatives.
Babylon’s riparian park corridor already sinks carbon in
maritime wetlands, preserving and expanding those areas
would increase storm surge buffer zones. Each of these
initiatives improves the daily lives of citizens without the
high energy inputs of altering the suburban plan or largescale hard infrastructure.
141
City Works 4
145
The City College of New York Bernard and Anne Spitzer
City Works 4 is the fourth in a series of books that document the exciting work of students from The City College of New York Bernard and Anne
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English Language
8 x 10 in / 203 x 255 mm
Portrait
200
October 2012
110
230
0.7 kg
US$ 30
978-988-15125-1-2
Brad Horn is co-founder and principal of Berman/Horn Studio, a firm specializing in residential and hospitality projects in the United States. The firm
incorporates the design of lighting and furniture into an interdisciplinary practice that combines an interest in architecture with interior design. Horn’s writing
and work have been published internationally in journals and books including
Architectural Record, 3: Lux Letters, The Architect’s Newspaper, the AN
Blog, Taschen’s New York, Frieze Magazine, Journal of Architecture and
Computation Culture and Autogenic Structures from Taylor and Francis
Press. He has taught design at The Cooper Union, Harvard University, the
Pratt Institute, and Columbia University. Horn has been awarded numerous
grants including those from the Graham, LEF, and Solow Foundations for research conducted at The City College of New York Spitzer School of Architecture, where he is currently Director of the Master of Architecture Program.
Ineffable
149
Architecture,
Computation and
the Inexpressible
Ineffable documents a timely and invaluable debate surrounding the use of computational tools in architecture and their effect on the nature of
human expression. A distinguished group of architects, educators, and theoreticians discuss both the potential benefits as well as the perils associated with the recent turn to ever increasing computational complexity in contemporary design culture. Topics considered include: architecture in
the post human era; the value and role of history within a computational paradigm; the relationship between humans and machines for the future
of architecture; computers and design pedagogy; and digital-phenomenology in architecture. With essays from leading figures and 260 color
photographs, illustrations, and drawings, Ineffable is for anyone interested in learning more about the political, social, and theoretical implications
of the computer revolution in architecture.
Text by Maria Berman, Karl Chu, Evan Douglis,
Yael Erel, Todd Gannon, David Gersten, N. Katherine Hayles,
Brad Horn, Eric Howeler and Meejin Yoon, Ed Keller,
Ben Nicholson, Jose Oubrerie, Alberto Perez-Gomez,
George Ranalli, Yehuda Safran, Ashley Schafer, Michael Silver,
Jason Vollen and Lebbeus Woods.
170
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English language with clamshell box
7.25 x 9.25 in / 185 x 235 mm
8 x 10 x 1.5 in / 254 x 203 x 38 mm
Portrait
Hardcover
256
October 2012
170
40
0.9 kg
US$ 45
978-988-15125-5-0
Brad Horn is co-founder and principal of Berman/Horn Studio, a firm specializing in residential and hospitality projects in the United States. The firm
incorporates the design of lighting and furniture into an interdisciplinary practice that combines an interest in architecture with interior design. Horn’s
writing and work have been published internationally in journals and books
including Architectural Record, 3: Lux Letters, The Architect’s Newspaper,
the AN Blog, Taschen’s New York, Frieze Magazine, Journal of Archi-
tecture and Computation Culture and Autogenic Structures from Taylor
and Francis Press. He has taught design at The Cooper Union, Harvard
University, the Pratt Institute, and Columbia University. Horn has been awarded numerous grants including those from the Graham, LEF, and Solow
Foundations for research conducted at The City College of New York Spitzer School of Architecture, where he is currently Director of the Master of
Architecture Program.
171
Back List
Generic Specific
Continuum
155
1
Julio Salcedo /
Scalar Architecture
3
2
4
5
Previous page. Morris Park Supermarket, Bronx, New York 2010
1. Lulu and Mooky’s, New York, New York, 2009
2. Lulu and Mooky’s, New York, New York, 2009
3. SVS House, Branch Lake, Maine, 2005
4. SVS House, Branch Lake, Maine, 2005
5. Culinary Loft, Brooklyn, New York, 2010
adapt-ive-ed
This book presents the work of the Spanish architect Julio Salcedo in a series of built and speculative projects. Salcedo’s houses, early achievements that stunned both academic and professional circles with their fresh originality and precocious sophistication, are presented along with
unpublished competition proposals for large-scale buildings. The projects’ varying locales, scales and ambitions all demonstrate a commitment to
architecture as a conceptual medium with the capacity to tackle complex ideas as well as a material practice of transformative, worldly practicality.
Each is a built essay that works through architectural problems of form, construction and material to achieve thought-provoking resolutions of a
difficult yet satisfying beauty • The book complements a thorough graphic documentation of selected projects with Salcedo’s own writings and
critical essays by Luis Rojo and Ivan Rupnik. They situate the projects in Salcedo’s multi-faceted conceptual and professional world and place them
in the context of the constellation of ideas that currently shape and propel the field • “...Julio Salcedo’s ongoing interest in landscape and urban
design has informed his architectural work, producing a rich, invested and responsible practice. In all, I believe his work illustrates his ambition
to inform even modest architectural projects with broader issues present in contemporary practice, something that I believe speaks highly for his
intense and profound interest in design.” Rafael Moneo
Adaptive sets in motion a process by which a series
of actions modify a field structure towards a desired
state. In this process of modification a pattern surfaces not as representation of similar gestures, but as the
series of traces that accumulate to produce a determined realm/structure. Through the discreet intensification in space, these traces conform to a simulation
of compounded intents. This process overall is akin to
the sedimentation and erosion of a landscape by active climatic forces or the conforming of an object to
the body through use. The chronology of this process
is collapsed in the realm of representation. Through
representation, architectural design becomes a means
to simulate a prolonged process of conformation. The
final product remains as a latter instance of the patterns produced by traces.
adapt-ive-ed
GENERIC
SPECIFIC
Foreword by Luis Rojo de Castro
Essay by Ivan Rupnik
Text by Julio Salcedo
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7.25 x 9.25 in / 184 x 235 mm
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Hardcover
168
January 2012
95
135
0.8 kg
US$ 25
978-84-9936-1925
Julio Salcedo studied architecture and sculpture at Rice University and
completed his architecture studies at Harvard’s Graduate School of Design. Salcedo is an Associate Professor at City College, New York, and has
taught courses on design, history and theory of architecture at the Harvard
Graduate School of Design, Syracuse University, the University of Pennsylvania and Cornell University. Salcedo also writes for several international
journals. He is the principal of Scalar Architecture, an award winning international design firm based in New York City and Spain.
Luis Rojo de Castro architect, professor and theorist, practices in Madrid
with Fernandez-Shaw. Their practice builds significant public and cultural
projects many of which have stemmed from winning competition entries.
He graduated from the Escuela Técnica Superior de Arquitectura de Madrid
in 1987, where he has been teaching design since 1992 and is currently
Associate Professor at the Department of Architecture. Rojo obtained his
Masters degree at the Graduate School of Design, Harvard University, in
1989 – the year he received a Fulbright Scholarship –, and was Visiting
Professor of Architecture at the GSD on a regular basis between 1994 and
1998, and again in 2002. Since 1999 he has been Visiting Professor of
History and Architecture Theory at the Escuela de Arquitectura de Navarra.
As a result of his academic and research practice, his writings on contemporary architecture have been published in A+U, El Croquis, Cassabella,
Tectónica, Revista Arquitectura, CIRCO, etc.
Ivan Rupnik architect, urban designer, professor and theorist, works between Boston and Zagreb. Rupnik co-authored Project Zagreb: Transition
as Condition Strategy, Practice, a book published by Actar and Harvard
University that explores the types of architectural design practices that
emerge from the context of prolonged instability. Also at Harvard, Rupnik’s
PhD work researches the notion of experimentation as distinct from avantgarde architectural practice in post-war theory and practice. Rupnik is Assistant Professor at Northeastern University’s School of Architecture and
he is currently working on a 100 hectare university campus in collaboration
with the Spatial Planning Office of the University of Zagreb and an urban
park and infrastructural node in collaboration with HPNJ+ Architects, also
in Zagreb.
left Communal table and service counter
above Site plan and project diagrams
New Architecture
in the Emerging
World
159
Projects by Andrew Bromberg,
Aedas
New Architecture in the Emerging World chronicles eight critical years in the career of Andrew Bromberg, beginning in 2001 when he emigrated
from Seattle to join Aedas Hong Kong, and running to 2009 when, as Aedas Executive Director of Design for the Middle East and Asia, Andrew
designed dozens of phenomenal projects from Beirut to the Yellow Sea • New Architecture in the Emerging World traces the intertwined fortunes
of Andrew, Aedas and the Asian Continent during the time when the world’s economic center-of-gravity appeared, at least for a while, to have
perma- nently tilted towards the East. During this tumultuous and unprecedented era, Aedas grew to become one of the five largest architectural
practices in the world, in part due to the firm’s significant presence in Hong Kong preceding the boom, and in part due to the furious energy and
ambition that Andrew Bromberg brought to the firm, taking advantage of the explosion of economic and development activity throughout the Asian
Continent. The projects profiled in New Architecture in the Emerging World illustrate the extremely diverse range of projects that Andrew Bromberg
has designed. They additionally illustrate the exceptional design versatility that Andrew Bromberg employed in order to address the wide variety
of clients, sites, architectural programs, schedules and cultural parameters, several million square meters in all, spanning one-third of the globe,
with which he was presented in little more than eight years..
Foreword by Ralph Lerner
Introduction by Aaron Betsky
Essays by Larry Rouch and Joseph Giovannini
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9,45 x 8,46 in / 240 x 215 mm
Landscape
384
January 2012
100
800
1.7 kgs
US$ 50
978-84-9936-720-0
Ralph Lerner (Master of Architecture, Harvard University; Bachelor of
Architecture, The Cooper Union School of Architecture) is a Fellow of the
American Institute of Architects and Member of the National Institute of
Architectural Education, The Architectural League of New York, New Jersey AIA, The Van Alen Institute, and India International Centre (New Delhi,
India). Ralph Lerner Architect PC, located in Princeton, is an architectural
practice whose portfolio of projects has achieved the highest standards
of excellence in design, ranging from architecture to urban design and
historic preservation. The office has been awarded numerous international
design commendations.
Aaron Betsky is the Director of the Cincinnati Art Museum. Previously,
he was Director of the Netherlands Architecture Institute (2001-2006) and
Curator of Architecture and Design at the San Francisco Museum of Modern
Art (1995-2001). In 2008, he directed the 11th International Architecture
Biennale in Venice. Mr. Betsky is the author of over a dozen books including
False Flat: Why Dutch Design is so Good, Landscrapers, and Architecture
Must Burn. He writes regularly for both lay and professional publications,
and lectures on art, architecture and design.
Larry Rouch (MArch Univ. of Washington, Seattle) established Larry Rouch
Co. in Seattle after producing large commercial and public projects for other
firms. The firm has designed notable residences and commercial and interior projects throughout the Western United States, including the 55,000
square foot San Francisco exhibition: “Toshimitsu Imai—Ka Cho Fu Getsu.”
Larry Rouch Company projects have been featured in numerous international publications. Larry has also taught graduate design at the University of
Washington and SCI-ARC, and has been a guest instructor of criticism at
several architecture schools in North America.
Joseph Giovannini has written on architecture and design for three decades for such publications as the New York Times, Architectural Record,
Art in America, Art Forum and Architecture Magazine. He has also served
as the architecture critic for New York Magazine and the Los Angeles Herald
Examiner and is currently a contributor to numerous publications including
Architectural Digest. Mr. Giovannini heads his own design firm, Giovannini
Associates, and he is currently working on several apartments in New York
and lofts in Los Angeles. Published projects have appeared in Architectural
Digest, the Los Angeles Times Magazine, A + U, Domus, House and Garden, GA Houses, Architekur und Wohnen, Sites, and Interior Design.
west kowloon terminus
west kowloon terminus
280
281
5 in Five
163
Reinventing Tradition
in Contemporary Living
Bedmar & Shi
In this captivating collection of five houses built in five different Asian-Pacific countries, Argentinian-born designer Ernesto Bedmar explores his
fascination with traditional architectural styles and reinvents them for the contemporary world. Using his deep understanding of the histories and
building cultures of these regions, Bedmar seamlessly knits his designs into the collective memory of each site. The five houses, located in India,
Thailand, Singapore, Indonesia and New Zealand, demonstrate the flexibility of the designer’s trademark tropical architecture and showcase a
diverse set of modern forms that resonate deeply with the local landscape and make use of water as a unifying and harmonizing element. The book
contains a wealth of drawings and plans that detail the innovative construction techniques, and the resulting houses are captured in a breathtaking
series of photographs showing the use of spaces and materials as well as the spectacular sites on which they sit.
Essay by Ernesto Bedmar
Photography by Albert Lim Koon Seng
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9 x 9 in / 229 x 229 mm
Square
464
December 2011
400
150
2.2 kgs
US$ 65
9 788499 361864
Bedmar & Shi s a Singapore based design practice established in 1986,
incorporating a wide range of architectural, conservation, landscape and
interior designs. Since its inception, it has always maintained a staff of 12,
a multicultural mix of personalities from various parts of the world, designers with a singular desire to explore the relationships between buildings
and nature with particular emphasis on quality design and execution of
its diversified portfolio. The company founders, Mr. Ernesto Bedmar and
Madam Patti Shi, personally liaise with and direct each of the company’s
projects. The list of projects stretches from New York, London, New Zealand, India and Malaysia to Indonesia, Thailand, Tibet, Bhutan, Hong Kong
and Singapore.
Darlene Smyth is a Canadian born writer and designer, she has a B.A. in
Communications and Music, a Bachelor of Environmental Design Studies
and Master of Architecture from the University of Ottawa. She is a professor
at the National University of Singapore and Director of the Singapore based
design practice, A. D_Lab pte ltd.
Albert Lim Koon Seng is an architectural photographer based in Singapore whose images have been published extensively in architectural journals
such as A + U, MIMAR, Singapore Architect, World Architecture, SPACE
and Monument. His photographs have also illustrated numerous books, including The New Malaysian House and Singapore Architecture: of a Global
City. His work has been displayed at several exhibitions including the Venice
Biennale and the Aedes East Gallery in Berlin.
States of
Architecture in
the Twenty-First
Century
167
New Directions from
The Shanghai World Expo
Expo 2010 Shanghai was the most ambitious world exposition to date with more than 70 million visitors. It boasted an unprecedented collection
of pavilions that represented the ambitions of individual nations as well a collective vision for cities in the new millennium. Together, the buildings
constitute a cross section of contemporary trends in architecture, showcasing a full spectrum of cutting edge technology, building materials
and design sensibilities • This book captures this extraordinary architectural event with the eloquent and probing photography of Nic Lehoux. The
thorough documentation includes detailed photographic accounts of the various architectural features and the public spaces and landscapes
that bind them into a total and unique environment • The accompanying essay situates the event in a long standing tradition of world expositions while underscoring the particular geographic, cultural and political aspects of the Chinese context that shape The Shanghai Expo and its
thematic orientation.
Text by Rodolphe el-Khoury & Andrew Payne
Concept and Compilation by Oscar Riera Ojeda
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8 x 10 in / 203 x 255 mm
Portrait
384
Softcover with ¾ flaps
December 2011
335
230
1.7 kgs
US$ 50
978-981-08-6450-7
Design at the University of Toronto and a partner in the design firm Khoury Levit Fong. He is the author of numerous critically acclaimed books in architectural history and theory and a regular contributor to professional and academic
Andrew Payne is a Senior Lecturer in the Daniels Faculty of Architecture,
Landscape, and Design at the University of Toronto, where he also teaches
in the Literary Studies Program. His articles on architecture, art, and contemporary culture have appeared in publications like the Harvard Design
Magazine, Praxis, Public, and Parachute. He is also the author of numerous
monograph and catalogue essays on various contemporary artists and architects. He is currently working on two book manuscripts. The first, Thales
or Some Other: The Intellectual and Cultural Legacies of Construction, examines the significance of a single term, construction, within the modernization of intellectual and cultural disciplines. He is also co-authoring a second
book manuscript with Rodolphe el-Khoury, Distributions of the Sensible:
Architecture, The Reorganization of Sense Experience, and the Meaning of
Modernity. The book examines the successive recalibrations of the relationship between sense experience and cognition in architectural theory and
practice from the seventeenth century to the present.
Nic Lehoux is a Canadian architectural photographer who works with
architects that push the boundaries of design of the built environment.
Nic is regularly commissioned to document significant buildings around the
world with his unique eye, lighting and sense of composition. His images
are frequently published in the international architectural press. His professional work puts a particular emphasis on incorporating people within tightlycomposed architectural photographs. Nic is influenced by the concept of
the “decisive moment” – popularized by Henry Cartier-Bresson – which he
adapts to the rigors of architectural photography. His images therefore serve
as a reflection on the interaction of people with the built environment.
171
CLAIRE NAPAWAN, CRITIC
MASTER OF LANDSCAPE ARCHITECTURE | FOURTH SEMESTER DESIGN
CITY WORKS 3
City Works 3
POE PARK: TRANSITION AND TRANSIT
01
02
Rollout Section 1”= 8’
03
01 | Amy Lou Sullivan
02 | Alexa Helsell
03-04 | Bronwynn Gropp
174
04
175
City Works 3 is the third in a series of books that document the exciting work of students from The City College of New York Bernard and Anne
digital fabrication, interdisciplinary research, and ecologically and culturally sustainable practices, the SSA encourages a responsible engagement
ALBERTO FOYO, CRITIC
01
03
BACHELOR OF ARCHITECTURE | THIRD SEMESTER DESIGN
CITY WORKS 3
02
01-02 | Zbigniew Markiewicz
03-04 | George Fahim
44
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8 x 10 in / 203 x 255 mm
Portrait
200
October 2011
110
230
0.7 kg
US$ 30
978-84-9936-1918
Brad Horn is co-founder and principal of Berman/Horn Studio, a firm specializing in residential and hospitality projects in the United . The firm incorporates
the design of lighting and furniture into an interdisciplinary practice that combines an interest in architecture with interior design. Horn’s writing and work
have been published internationally in journals and books including Architectural Record, 3: Lux Letters, The Architect’s Newspaper, the AN Blog,
04
45
Heirlooms
to Live in
175
Homes in a New
Regional Vernacular
Hutker Architects
A specific region’s environmental needs often lead to a regional vernacular architecture that embraces a common style. Yet, Hutker Architects,
Inc., has designed over two hundred homes in coastal New England that avoid a single style. The twenty-five diverse residential projects in this
book illustrate a process–not a preordained style • The common thread running through the Hutker projects is the use of the life equity principle:
a home should generate social and emotional equity over time. The conversation between the architect and each client reveals the way to design
and build this home once well to ensure positive and enduring social and emotional outcomes. A home with life equity provides for the owner’s
long term needs, both physical and psychological, uses materials best suited to the spaces needed, and accommodates ever-changing family
arrangements. Hutker homes fit clients so well, that they are rarely sold outside the families that build them. Whether small or large, owners treat
these homes as heirlooms to be preserved and handed down to the next generation.
Edited by Leo A. W. Wiegman and Oscar Riera Ojeda
Foreword by Marlon Blackwell and David Buege
Preface and Introduction by Mark A. Hutker, FAIA
Principal Architectural Photography by Brian Vanden Brink
Context Photography by Alison Shaw
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10.25 x 8.25 in / 260 x 210 mm
11.22 x 9.25 x 2.2 in / 285 x 235 x 57 mm
Landscape
Hardcover
536
January 2011
785
165
2.5 kg (3.1 kg including clamshell)
US$ 75
978-84-9936-1895
Mark A. Hutker AIA, Principal and Founder. A registered architect in the
Commonwealth of Massachusetts, Mark is a graduate of the University of
Cincinnati’s College of Design, Architecture and Art with a Bachelor of Architecture degree (1982). After working with Jon McKee in Boston, Mark joined
Dunn Brady Associates in 1985 on Martha’s Vineyard. He bought the firm in
1987, and renamed it Hutker Architects. In 2008, the New England Design
Hall of Fame inducted Mark as an honoree [www.nedesignhalloffame.com].
Mark Hutker is particularly dedicated to design education and serves as a
mentor within highly accredited associations, as well as serving on various
civic associations such as the Dukes County Housing Authority, West Tisbury
Historic District Commission, the Board of Island Elderly Housing, and the
Board of Falmouth Academy. Mark is also a long-standing Director of the
Lyceum Fellowship Committee, an annual competition that awards traveling
fellowships in architecture to young architects [www.lyceum-fellowship.org].
He and his family live in Falmouth, Massachusetts.
Marlon Blackwell, FAIA, is an architect and professor at the University of
Arkansas in Fayetteville, Arkansas. Working outside the architectural mainstream, he generates design strategies that at once celebrate the vernacular
and transgress the boundaries of the conventional. Work produced from his
private practice, Marlon Blackwell Architect, has received national and international recognition through numerous design awards and architectural publications. A monograph entitled “An Architecture of the Ozarks: The Works of
Marlon Blackwell” was published by Princeton Architectural Press in 2005.
David Buege is the Fay Jones Chair in Architecture at the University of Arkansas, where he had been director of the Architecture Program in the 1990s.
He has taught at Auburn University, Mississippi State University, and the New
Jersey Institute of Technology, and served as interim director of Auburn’s Rural
Studio in 2007-08.
Leo A. W. Wiegman, writer. Born in the Netherlands, and a graduate of
Tufts University, Leo is married to the architect Julie D. Evans and lives in New
York’s Hudson Valley. A writer and editor, he worked in book publishing for
many years, publishing non-fiction books in basic sciences, photography, the
environment and current affairs for general readers and for college courses,
before launching E to the Fourth Strategic Communication, a firm dedicated to helping environrnmental organizations get their story out to the public.
Leo serves as Mayor of the Village of Croton-on-Hudson, New York, and is
co-author with David Blockstein of The Climate Solutions Consensus (Island
Press). http://etothefourth.com
Brian Vanden Brink is often chosen as an architectural photographer by
those in the design world. He has been photographing award-winning architecture for three decades. Brian’s name is synonymous with a respect for
design and a passion for light. His work has been featured widely in a variety
of design and consumer publications such as Architectural Digest, Architectural Record, Boston Globe Magazine, Coastal Living, Design New
England, Down East, La Vie Claire, Maine Home & Design, Metropolitan
Home, New England Home, New York Times Magazine, Photo District
News, Residential Architect, and View Camera Magazine. His photographs grace many books including his own At Home by the Sea: Houses
Designed for Living at the Water’s Edge and At Home In Maine: Houses
Designed to Fit the Land. Brian’s new book RUIN: Photographs of a Vanishing America, a photographic study of abandoned architecture throughout
the United States is out now.
left kitchen, dining, and living areas
right living area set in the view
The interplay of frames and mullions
reveals a structure that must withstand
gale force winds.
above octagonal life room
right the foyer at night
left life room with corner windows
right life room with views in three directions
179
Neal Spanier
Research
& Design
Faculty Work
The work of the faculty of the Bernard and Anne Spitzer School of Architecture represents the perfect blend of rigorous academic ideas and practical application of these theories within the public realm. This book and the accompanying exhibition are the products of the faculty’s professional
work: vibrant, intellectually rich, professionally accomplished, and theoretically inclined. Architects who teach utilize the academy as a laboratory for
their ideas based on experience garnered from practice. Specific ideas in some of the built and unbuilt works appear as studio projects where they
can be explored more fully, often unencumbered by the practical realities of clients, budgets, and programs. The school is a perfect setting for the
architect working in the field who brings professional acumen to the rarified experiments of the academic studio.
Athanasios Haritos
Text by George Ranalli
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December 2010
160
110
0.89 kg
US$ 25
978-981-083-9666
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