Left to Right: Thomas hastings' 1916 drawing for a proposed sculpture gallery at The Frick mansion; a plan of the New Gallery with ITS Bluestone Floor; and a section showing DAvis Brody Bond's new glass curtain wall and ventilation system. (right).
Courtesy the frick collection/DBB
LEFT TO RIGHT: Illuminated at night, the Gallery becomes a vitrine for sculpture and ceramics; the modernist Curtain Wall defers to the Loggia's Beaux arts Colonnade; from the Rotunda, Houdon's Diana The Huntress (1776-1795) overlooks the 815-Square-foot gallery.
Governor Cuomo recently revealed the future of JFK Airport's iconic TWA Flight Center designed by Eero Saarinen. This terminal has sat vacant for 14 years. Although it's been known that the terminal would house a hotel, who would make develop this idea was a mystery until last week. MCR Development has a plant to turn the historic structure into The TWA Flight Center Hotel, a facility with 505 hotel rooms, 40,000 square feet of meeting space, six to eight dining establishments, and a 10,000-square-foot observation deck.
In a statement, CEO Tyler Morse says the development "will celebrate and preserve" the building, "returning the landmark to its original glory and reopening it to the public. [...] Whether staying the night or simply exploring, international visitors and New Yorkers alike will be able to experience the magic of the Jet Age in this extraordinary mid-century icon."
They say the building is "not about the architecture but the art", but passing it the other day it was hard not to appreciate this modern beauty. If you are NYC and have some free time make sure to give it a visit. http://www.npr.org/2015/05/12/406228505/whitney-museums-new-building-opens-doors-and-walls-to-outside-world The Whitney Museum of American Art has never stayed in one place for long. It has had four different homes in its 84-year history — the latest a $422 million glass-and-steel construction that recently opened in Manhattan's Meatpacking District — and each of those homes speaks to a particular moment in the evolution of American art and museum culture.
The museum's first home was established by its founder — a woman who was born into one of the country's wealthiest families, and then married into another. Her name was Gertrude Vanderbilt Whitney and she was a big supporter of the so-called Ashcan School and artists like George Bellows and Edward Hopper, who painted the gritty reality of life in the city. And according to Bruce Altshuler, director of the museum studies program at New York University, Whitney was also a working sculptor. "She was not just a patron," he says, "but actually a member of an artist community." Altshuler is standing inside the Whitney Museum's first home, which consists of several converted row houses that today house the New York Studio School. He says Whitney moved here in the 1910s. She lived upstairs, kept a sculpture studio downstairs and started organizing shows by American artists. "She amassed a quite substantial collection of artworks which, in 1929, she offered to the Metropolitan Museum of Art as a gift," he says. "They turned it down and she decided to open her own museum."
Left to right: Map showing portion of the Sheridan Expressway affected by the report; Moses-era map showing portion of the highway that was never built; map showing proposed changes.
Rory Scott reports for Archdaily.
[Image Courtesy of Architecture Research Office]
In this article on Fast Company, seven leading architects in the field of designing for disaster – including Peter Gluck, Michael Manfredi, and principals of James Corner Field Operations and Snøhetta – give their take on what lessons Hurricane Sandy, one year on, has taught us. Their responses raise a number of issues, but above all share one common theme: urgency. Aside from denouncing what he sees as “architects being ambulance chasers,” Peter Gluck, Head of Gluck+, advocates designing buildings with disaster in mind, for example raising a building of the ground or placing less important functions on the ground floor, so that the damage by a flood is restricted. Advocating multiple systems to deal with problems like flooding, Michael Manfredi of Weiss/Manfredi describes their Olympia Fields project, where they built water retention into the design. Much of Weiss/Manfredi’s work makes use of ‘soft infrastructure’ which absorbs water and energy to reduce the impact of storms. However, Lisa Switkin, associate principal at James Corner Field Operations seems to be in support of a combination of this green infrastructure and traditional storm protection, arguing that wetlands, beaches, dunes and parklands should be used “in addition to raising key infrastructure and utilities.” Principal of Snøhetta Craig Dykers brings in an interesting spin, mentioning not just design, but the education of residents, who could be given incentives to design their homes and gardens in a way that minimize storm impact. He supports small scale solutions in general, saying that “grand and sometimes epic conceptual thinking is useful, but it should be balanced with immediacy.” This thought is echoed by Diana Balmori of Balmori Associates, who advocates “nature based systems” that can be implemented quickly and cheaply, and also by the founder of publicinterestdesign.org John Cary. Cary criticizes “the proliferation of design competitions and contests” that appear after these disasters, saying they “don’t address or engage with the real needs on the ground.” Once again, realistic and immediate solutions are the order of the day. Stephen Cassell, a principal at Architecture Research Office believes architects need to think more often and more practically about how their buildings perform in disasters. Elements such as opening windows and escape routes are all small things that can help occupants in a storm. All seven responses see the design of these systems as an urgent problem, presenting realistic, realizable solutions over expensive or outlandish proposals. You can read the original Fast Company article here.