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  6. 6. EDITOR IN CHIEF Robert Ivy, FAIA, MANAGING EDITOR Beth Broome, DESIGN DIRECTOR Anna Egger-Schlesinger, SENIOR EDITORS Charles Linn, FAIA, Clifford Pearson, Sarah Amelar, sarah_ Sara Hart, sara_ Deborah Snoonian, P.E., William Weathersby, Jr., Jane F. Kolleeny, PRODUCTS EDITOR Rita F. Catinella, NEWS EDITOR Sam Lubell, PRODUCTION MANAGER Juan Ramos, DEPUTY ART DIRECTOR Kristofer E. Rabasca, ASSOCIATE ART DIRECTOR Clara Huang, WEB EDITOR Randi Greenberg, WEB DESIGN Susannah Shepherd, WEB PRODUCTION Laurie Meisel, EDITORIAL SUPPORT Linda Ransey, Monique Miller, EDITORIAL ASSISTANTS Audrey Beaton, Larissa Babij, EDITOR AT LARGE James S. Russell, AIA, SPECIAL CORRESPONDENT Suzanne Stephens, COPY EDITOR Leslie Yudell ILLUSTRATOR I-Ni Chen CONTRIBUTING EDITORS Raul Barreneche, Robert Campbell, FAIA, Andrea Oppenheimer Dean, David Dillon, Lisa Findley, Blair Kamin, Nancy Levinson, Thomas Mellins, Robert Murray, Sheri Olson, FAIA, Nancy B. Solomon, AIA, Michael Sorkin, Michael Speaks, Ingrid Spencer SPECIAL INTERNATIONAL CORRESPONDENT Naomi R. Pollock, AIA INTERNATIONAL CORRESPONDENTS David Cohn, Claire Downey, Tracy Metz GROUP PUBLISHER James H. McGraw IV, VP, ASSOCIATE PUBLISHER Laura Viscusi, VP, MARKETING AND BUSINESS DEVELOPMENT David Johnson, VP, GROUP EDITORIAL DIRECTOR Robert Ivy, FAIA, GROUP DESIGN DIRECTOR Anna Egger-Schlesinger, MANAGER, RESEARCH Ellen Halfond, DIRECTOR, MARKETING COMMUNICATION Chris Meyer, DIRECTOR, CIRCULATION Maurice Persiani, Brian McGann, DIRECTOR, MULTIMEDIA DESIGN & PRODUCTION Susan Valentini, MANAGER, ADVERTISING PRODUCTION Stephen R. Weiss, DIRECTOR, FINANCE Ike Chong, DIRECTOR, SPECIAL PROJECTS Charles Pinyan, REPRINTS Reprint Management Services, EDITORIAL OFFICES: 212/904-2594. Editorial fax: 212/904-4256. E-mail: Two Penn Plaza, New York, N.Y. 10121- 2298. WEB SITE: SUBSCRIBER SERVICE: 877/876-8093 (U.S. only). 609/426-7046 (outside the U.S.). Subscriber fax: 609/426-7087. E-mail: AIA members must contact the AIA for address changes on their sub- scriptions. 800/242-3837. E-mail: INQUIRIES AND SUBMISSIONS: Letters, Robert Ivy; Practice, Charles Linn; Books, Clifford Pearson; Record Houses and Interiors, Sarah Amelar; Products, Rita Catinella; Lighting and Interiors, William Weathersby, Jr.; Residential, Jane F. Kolleeny; Web Editorial, Randi Greenberg. ARCHITECTURAL RECORD: (ISSN 0003-858X) April 2005. Vol. 193, No. 04. Published monthly by The McGraw-Hill Companies, 1221 Avenue of the Americas, New York, N.Y. 10020. Periodicals postage paid at New York, N.Y. RCSC and additional mailing offices. Canada Post International Publications Mail Product Sales Agreement No. 40012501. Return undeliverable Canadian addresses to: DPGM Ltd., 4960-2 Walker Road, Windsor, ON N9A 6J3. Email: Registered for GST as The McGraw- Hill Companies. GST No. R123075673. Postmaster: Please send address changes to ARCHITECTURAL RECORD, Fulfillment Manager, P.O. 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Executive Vice President, Human Resources: David L. Murphy. Senior Vice President and General Counsel: Kenneth M. Vittor. Senior Vice President, Corporate Affairs, and Assistant to the President and CEO: Glenn S. Goldberg. Principal Operating Executives: Kathleen A Corbet, President, Standard & Poors; Henry Hirschberg, President, McGraw-Hill Education; Scott C. Marden, President, McGraw-Hill Information and Media Services. MCGRAW-HILL CONSTRUCTION: Norbert W. Young, Jr., FAIA, President. Vice President and CFO: Louis J. Finocchiaro. COPYRIGHT AND REPRINTING: Title ® reg. in U.S. Patent Office. Copyright © 2005 by The McGraw-Hill Companies. All rights reserved. Where necessary, permission is granted by the copyright owner for libraries and others registered with the Copyright Clearance Center (CCC), 222 Rosewood Drive, Danvers, Mass. 01923. To photocopy any article herein for personal or internal reference use only for the base fee of $1.80 per copy of the article plus ten cents per page, send payment to CCC, ISSN 0003-858X. Copying for other than personal use or internal reference is prohibited without prior written permission. Write or fax requests (no telephone requests) to Copyright Permission Desk, ARCHITECTURAL RECORD, Two Penn Plaza, New York, N.Y. 10121-2298; fax 212/904-4256. For reprints call 800/360-5549 X 129 or e-mail Information has been obtained by The McGraw-Hill Companies from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, The McGraw-Hill Companies or ARCHITECTURAL RECORD does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions therein or for the results to be obtained from the use of such information of for any damages resulting there from. THE AMERICAN INSTITUTE OF ARCHITECTS 2005 BOARD OF DIRECTORS • OFFICERS: Douglas L Steidl, FAIA, MRAIC, President; Kate Schwennsen, FAIA, First Vice President; Shannon Kraus, AIA, Vice President; Thomas R. Mathison, FAIA, Vice President; RK Stewart, FAIA, Vice President; John C. Senhauser, FAIA, Secretary; James A. Gatsch, FAIA, Treasurer; Ana Guerra, Associate AIA, Associate Representative to the AIA Executive Committee; Saundra Stevens, Hon. AIA, CACE Representative to the AIA Executive Committee; Norman L. Koonce, FAIA, Executive Vice President/CEO. • REGIONAL DIRECTORS: Peter J. Arsenault, AIA, NCARB, LEED AP; Douglas E. Ashe, AIA; Michel C. Ashe, AIA; Ronald J. Battaglia, FAIA; William D. Beyer, FAIA; Michael Broshar, AIA; David J. Brotman, FAIA; Randy Byers, AIA; Tommy Neal Cowan, FAIA; Jacob Day; Jeremy Edmunds, Associate AIA, LEED AP; Glenn H. Fellows, AIA; Robert D. Fincham, AIA; Jonathan L. Fischel, AIA; Marion L. Fowlkes, FAIA; Saul Gonzalez; The Hon. Jeremy Harris, Hon. AIA; John J. Hoffmann, FAIA; William E. Holloway, AIA; Clark Llewellyn, AIA; Marvin J. Malecha, FAIA; Clark D. Manus, FAIA; Linda McCracken-Hunt, AIA; Carl F. Meyer, FAIA; George H. Miller, FAIA; Elizabeth E. Mitchell; Hal P. Munger, AIA; Robin L. Murray, AIA, PP; Celeste A. Novak, AIA, LEED AP; Gordon N. Park, CDS, AIA; David R. Proffitt, AIA; Marshall E. Purnell, FAIA; Miguel A. Rodriguez, AIA; Jerry K. Roller, AIA, NCARB; Jeffrey Rosenblum, AIA; Robert I. Selby, FAIA; Norman Strong, FAIA; Leslie J. Thomas, AIA; J. Benjamin Vargas, AIA; Bryce A. Weigand, FAIA. • AIA MANAGEMENT COUNCIL: Norman L. Koonce, FAIA, Executive Vice President/CEO; James Dinegar, CAE, Chief Operating Officer; Richard J. James, CPA, Chief Financial Officer; Jay A. Stephens, Esq., General Counsel; Helene Combs Dreiling, FAIA, Team Vice President, AIA Community; Ronald A. Faucheux, PhD, Esq., Team Vice President, AIA Government Advocacy; Barbara Sido, CAE, Team Vice President, AIA Knowledge; Elizabeth Stewart, Esq., Team Vice President, AIA Public Advocacy; David Downey, CAE, Assoc. AIA, Managing Director, AIA Communities by Design; Suzanne Harness, AIA, Esq., Managing Director and Counsel, AIA Contract Documents; Richard L. Hayes, Ph.D., RAIC, AIA, CAE, Managing Director, AIA Knowledge Resources; Brenda Henderson, Hon. AIA, Managing Director, AIA Component Relations; Christine M. Klein, Managing Director, AIA Meetings; Carol Madden, Managing Director, AIA Membership Services; Philip D. O’Neal, Managing Director, AIA Technology; C.D. Pangallo, EdD, Managing Director, AIA Continuing Education; Terence J. Poltrack, Managing Director, AIA Communications; Phil Simon, Managing Director, AIA Marketing and Promotion; Laura Viehmyer, SPHR, CEBS, CAE, Chief Human Resources Officer. 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  15. 15. 04.2005 On the Cover: Desert Nomad House, by Rick Joy Architects. Photograph by Jeff Goldberg/ESTO Right: Turbulence House, by Steven Holl. Photograph by Paul Warchol News 170 BR House, Brazil by David S. Morton* Marcio Kogan Architect 33 Thom Mayne wins Pritzker Prize 176 Solar Umbrella House, California by Deborah Snoonian, P.E.* 37 Drama over Trump’s Chicago tower Pugh + Scarpa Departments 182 Turbulence House, New Mexico by Clifford A. Pearson* Steven Holl Architects 19 Editorial: And in 100 Years? 188 Big Sur House, California by Suzanne Stephens* 23 Letters* Fougeron Architecture 69 Dates & Events* 194 Shark Alley House, New Zealand by Sarah Amelar* 95 Archrecord2: For the emerging architect by Randi Greenberg* Fearon Hay101 Critique: Architecture as Metaphor by Robert Campbell, FAIA 200 Layer House, Japan by Naomi Pollock* Hiroaki Ohtani105 Books: Looking at the Modern house 206 Casa Travella, Switzerland by Philip Jodidio*267 Record House of the Month by Sara Hart* Aldo Celoria Features To see six unbuilt houses, including renderings, models and drawings, go to Building Types Study at Five Cubes and a Blimp by Sam Lubell Pure and eloquent, miniature dwellings offer escape.132 The Long Journey Back: 50 Years of Record Houses Architectural Technology by Sarah Amelar 215 High-Performing Envelopes Demand Know-How Taking a look in the rearview at the evolution of an issue. by Nancy B. Solomon, AIA* New initiatives help architects apply technology to envelope design. Projects 225 Tech Briefs by Ted Smalley Bowen*145 Record Houses 2005 by Robert Ivy, FAIA*146 Desert Nomad House, Arizona by Clifford A. Pearson* Products Rick Joy Architects 231 Materials154 Second Plate, Japan by Naomi Pollock* 239 Product Briefs Urban Fourth 246 Product Literature164 Hill House, Nova Scotia by Jane F. Kolleeny* Brian MacKay-Lyons Architect 248 Reader Service* 254 AIA/CES Self-Report Form** You can find these stories at, including expanded coverage of Projects, Building Types Studies, and Web-only special features. The AIA/ARCHITECTURAL RECORD Continuing-Education Opportunity is “High-Performing Envelopes Demand Know-How” (page 215). 04.05 Architectural Record 13 TLFeBOOK
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  18. 18. This month at April 2005 Building Types Study—Record Houses From New Zealand to New Mexico, from the hills of Switzerland to the jungles of Brazil—this years 50th Annual Record Houses exemplifies our commitment to bringing you the best in single-family residential design. Daily Headlines Get the latest scoop from the world of architecture.BR House, Marcio Kogan(architect) Photography: ©Nelson Kon Project Portfolio 50 Years of Record Houses Our housing theme continues Were celebrating our anniversary into our Web-exclusive on the Web and we invite you to content. In our selection of visit a vintage Record House each unbuilt houses, get a glimpse month in 2005. We’ll treat you to of whats to come in resi- a glimpse of these exceptional dential work—be inspired! buildings as they’ve evolved since initially appearing on our pages.Vail Grant Residence, Courtesy Pugh + Scarpa Record Houses 1963 (mid-May)This month in Continuing EducationCorrection Receive CES Credits OnlineSome test questions published in the February 2005 Continuing Education This month: Bold invention overtakessection “Green Products: Trends & Innovations” were not correct. steady progress as new concreteThe corrected questions can be found on our Web site at: products create startling opportunities for architectural expression. Sponsored by connecting people_projects_products Find us online at TLFeBOOK
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  21. 21. And in 100 Years? Editorial By Robert Ivy, FAIA Y ou are in store for a visual treat. In this issue, we Ironically, today’s houses look remarkably similar to celebrate 50 years of Record Houses by including a their early-20th-century predecessors. Why, in an era rampant collection of 10 private residences from around the with plastic expressionism, and a popular culture overdosing world, most in stunning natural settings—flung out into the on the Retro-Mega-Neo style, has a new generation of the hip desert, perched by the water, clipped to hillsides. Saturated with embraced Modernism? The motives of today’s designers and naturalistic color, the images combine into a seductive experi- homeowners emphatically vary from the movement’s founding ence: Suffused with chromatically enhanced light, they almost principles. Do serious notions of social progress ever cross any- glow off the page. That is what we see, first. one’s mind when examining the house at Shark Alley in As architects, we then focus on the individual houses, Australia, or Ann Fougeron’s design for a house near Big Sur? which, to the casual observer, might seem stylistically similar The probable response is that the architectural results of an to houses first published in this magazine 50 years ago. The earlier era’s dogma (all that light, spareness, and openness) similarities are not intentional. Oddly, the stylistic palette may mesh with today’s nuclear lifestyle, urged less by idealism than have wavered over time, but the compass needle has returned by common sense. These houses with pencil-thin roofs and to the stark simplicities enunciated by the architects of the heated slabs allow us to touch the land so lightly, and toast our CIAM in 1928, Le Corbusier chief among them, who declared toes. No carpets to sweep; no tchotches to dust, save the artful, the value of a “machine à habiter.” precious few. Gone, the crusading theorists declared, were the sen- Less socially idealistic than sensible, yet potentially timentalities of the past, swept along in a grand social urge poetic, today’s Record House maintains certain traditions. toward progress. Gone too were the symbols of bourgeois life, Obviously, the term denotes singularity. If not a freestanding from the fretted details of the historicist styles to the anti- unit, then a discrete unity. Born in the postwar, democratic macassars on the sofas. The Modern era demanded clarity, 1950s, Record Houses continues to promote autonomy, iden-P H OTO G R A P H Y : © A N D R É S O U R O U J O N simplicity, transparency, which spoke to new methods of con- tity, and even economic advantage through careful design. struction and benefits for all people. Manufacturing, not Tied by the automobile to the larger world, the homes adver- handcraft, should dictate the contemporary aesthetic, and tise mobility and freedom of choice, then and now. And unlike houses could then become vertical cities, providing equitable the sprawling mansions of our grandparents’ dreams, these residences for workers of all stations. In classical Modernist dwellings seem approachable, even affordable. We can see that dogma, the house morphed into “housing,” replete with its much in the pictures. own vocabulary. What we cannot see, amid the cacti and the rolling 04.05 Architectural Record 19 TLFeBOOK
  22. 22. Editorialhills, is the future. Having embraced the forms of the past in For architects, and for smart clients, it is possible totoday’s structures, can we discern any directions for growth, foresee houses that provide significant energy on their own andany positive movement within architecture, or are such hopes minimize their impact on the land (as Pugh + Scarpa’s Solarillusory in our through-the-looking-glass era? What bases can Umbrella House in Los Angeles does). It is even possible to see,we build our homes on for the future? Look to Record Houses in that house particularly, the attempts at a new aesthetic, onefor clues. Look hard. that simultaneously embodies strong ideas about our place in Begin with nature. The architectural photography that the world and our responsibilities to the world in its physicalour annual April issue celebrates, along with the private house, fabric and form. Could the awareness of climate changedepicts an exquisitely fragile world. The physical laws do not or the price of natural gas provoke the evolution of the Recordchange, yet our environmental conditions, including the ample House, or does radical change in sensibility only come aboutsunlight and shifting vagaries of rain, wind, and tide, are chang- through necessity?ing at a frightening rate. In his best-selling book, Collapse, We admit that Record Houses aestheticizes the indi-author Jared Diamond has described how earlier civilizations vidual, freestanding house. We’ve been doing so for half afailed, citing a litany of reasons, including deforestation, soil century. The larger questions of relationship and urban plan-depletion, water management problems, and human population ning lie outside these pages. However, powerful images can freegrowth, among others. Analogies with our own civilization are the mind, allowing it to wander and to speculate. The housespronounced, though not definitive. that you see, and the underlying issues that you do not, beg a The basis of a new theoretical framework for architec- question of fundamental importance, one that the next genera-ture may lie in realizing the fact that much of our own world’s tion of architects may respond to: What will be the theoreticalfuture lies within our hands, and building accordingly. Not the framework for the house of the future? Will we want to cele-environmentalism born of sentimentality. We went down those brate a centennial?roads in the 1970s, complete with Birkenstocks and theGrateful Dead, and they are too readily abandoned. Sentimentis the most easily discarded emotion. (Who among us, in allhonesty, separates the trash out of deep feeling?) Necessity,instead, demands strong change. The high cost of energy inEurope, for example, coupled with a powerful lobby of workers,has forced governments to demand efficient, productive work-places. In the United States, with oil in excess of $50 per barreland gasoline approaching $3 per gallon, will we be far behind? AR was the proud recipient of a National Magazine Award for General Excellence, 200320 Architectural Record 04.05 TLFeBOOK
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  25. 25. TERRART ® Letters ARCHITECTURAL TERRACOTTAEnvironmental disconnect courthouses, but no matter. TheIn his February Critique, Michael larger point about the need to keepSorkin praises the National Museum pursuing true design excellence inof the American Indian (NMAI) for its an environment that may want toexterior, with its curved stone walls tug us all back into mere “optimiza-and their link to Native American tion” (at best) is the key.forms [page 59]. While convincing My compliments, too, on thewith regard to the facade, the cri- March issue in general and itstique overlooks one main aspect “Modernism’s Reign in Spain.”of the project: the presence of and Absolutely terrific. A joy to seeimpact on the environment. some of this work. It is the most Living in the environmentally stirring single issue in memory.conscious age that we are, it is our Your correspondent in Madrid,responsibility as architects and David Cohn, did a great job. Façade design witharchitectural writers always to con- Again, my compliments. A large-formatsider how a building plays into and terrific editorial and a terrific issue. ceramic elementsaffects the surrounding environment. —Todd S. Phillips, AIA for a uniqueIn keeping with Native American tra- Middleburg, Va. architectural style.ditions, it would seem fitting for thematerials used to be natural and In search of compatibility Progress through diversity.local. Sorkin mentioned only one One of your photo captions for thenatural material, and that was the Teatro El Musical in Valencia [Marchlimestone used for the facade. The 2005, page 86] is quite curious. TheNMAI was described as a curvilinear caption claims that the building’sbuilding within a setting of orthogonal facade “respects the surroundingbuildings. According to the article, the built context.” Essentially absent anyway the museum fights the rationale remote semblance of scale, propor-that surrounds it is symbolic of Native tion, material, or even floor level,American heritage. I agree with this would you please explain exactlyassessment, although I feel that the where the announced “respect” is?Native American’s way of life was not Ironko window frames? Stark con-integrated enough into this design. trast is not a sign of respect, noHistorically, their lives were connected matter how you want to define nature in every way. This building As urban recovery expands inmay be a success as a museum, the U.S., the key element—as yetbut not as a design that reflects the unanswered by the profession ofNative American way of life. architecture—is “compatibility.”—Stacy A. Hassell Contemporary/compatible is yet toRoger Williams University be seriously addressed, much less www.nbk.deBristol, R.I. clearly defined. The result is growing visual nonsense.March assessment A well-researched article on NBK Keramik GmbH & Co. KGRobert Ivy’s March editorial about Ed the subject with ample examples Reeser Str. 235Feiner’s departure from the General would address the dilemma and at D-46446 Emmerich · GermanyServices Administration and looking least put some sense in the wide- Phone +49 (0) 28 22 / 81 11- 0ahead now [page 17] struck a beauti- spread arguments between the Fax +49 (0) 28 22 / 81 11 - 20fully tuned balance between optimism historics and the sincere developers. E-Mail: info@nbk.deand vigilance. Both will certainly be And please don’t mimic theneeded at this time. This next itera- government’s edict by the Secretary National Sales Manager,tion of civic architecture is in for quite of the Interior’s Standards as they U.S.A. F.J. „Bud“ Streff, jr.a ride, I think. I wish I could agree with entirely avoid the “compatible” Massachusetts (MA) U.S.A.Ivy about Richard Meier’s “stunning” question by merely suggesting stark Phone (7 81) 6 39 - 26 62 CIRCLE 13 ON READER SERVICE CARD OR GO Fax (7 81) 6 39 - 80 55 TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/ E-Mail: TLFeBOOK
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  27. 27. Letters Tara Classic Profi MeiréundMeiré Professional functionality for the kitchencontrast to separate old and new. paintings beautifully displayed,—Owen Kugel go look at the Prado in Madrid.Lancaster Pa. —Frederick Farme retired architectMaking noise about noise Via e-mailI was extremely pleased to read SaraHart’s recent article about urban Where the art isnoise [February 2005, page 143]. The review of the dazzling new 21stI see this subject as being as signifi- Century Museum of Contemporarycant as the other forms of pollution Art in Kanazawa, Japan [Februarythat are steadily being eliminated. 2005, page 88] caught me offAccordingly, I strongly support guard with the quote, “In the U.S.,ARCHITECTURAL RECORD’s intention you do not find installations liketo raise the awareness of the archi- these.” This is a woefully absolutetectural community to address this statement in an article about a newrising challenge. More media atten- contemporary art museum. I believetion on this subject will benefit us all. one of the first showings, if not the Architects are well positioned first showing, of Leandro Ehrlich’sto guide improvements—whether Swimming Pool was in the humblethrough the development and use of Glassell School of Art in Houston inadvanced construction materials, the late 1990s. Texas alone hassystems, and techniques; policy and several enviable permanent instal-legislation advocacy and develop- lations of late-20th-century-to-ment; or local awareness building. contemporary art; for example, theIncreasingly, though, as urban noise is Chinati Foundation in Marfa (Judd,rapidly invading the rural landscape, Flavin, Chamberlain, Kabakov), theit will require a much more systemic Museum of Fine Arts in Houstonsolution than merely those that relate (Turrell), Live Oak Friends Meetingto construction. And since legislation House in Houston (Turrell), and thewithout effective enforcement is Nasher Sculpture Center in Dallasmeaningless, perhaps larger-scale (Turrell, Serra, etc.).environmental-noise-cancellation Additionally, much of thetechnology is where a solution may artwork featured in the article’sneed to be found. In the meantime, I photographs is not identified,will continue to sleep with earplugs though the works’ installation isas the most effective possible strat- claimed to be significant. Thisegy to protect my precious “zeds.” lack of acknowledgement of the—Wayne Ruga, AIA works within this inventive buildingManchester, England leaves this reader feeling only partially informed.Museum keeps to the wings —John Reeves Armaturen.Accessoires.Interiors.Culture Projects.In his concluding paragraph review- Sabatini Architectsing the Rheinisches Landesmuseum Lawrence, Kans.[February 2005, page 80], PhilipJodidio states, “By no means perfect, Corrections: Asheville: BIRD DECORATIVE HARDWARE & BATH, Phone (828) 210-0280.the Rheinisches Landesmuseum is The photograph of Philip Johnson in San Francisco: THE BATH & BEYOND, Phone (415) 552-5001.nonetheless an exemplary counter- the March issue [page 23] shouldweight to the flights of architectural have been credited to Luca Vignelli.hubris seen in other recently In the February interview with Jimdesigned museums.” Amen. Are you Cutler [page 72], the city location With its purist form, TARA CLASSIClistening, Mr. Libeskind? Are you, Mr. of the Kimbell Art Museum in Texas has since become a faucet classic by Dornbracht. As TARA CLASSIC PROFI,Gehry? The world is too full of new was misstated. It is in Fort Worth, it now combines its minimalist design with the functionality of a professionalmuseums whose architects have not Dallas. kitchen faucet. TARA CLASSIC PROFI was designed by SIEGER DESIGN. Our free product magazine “Kultur im Bad” or a complete catalog andmistaken their building for the most specification manual for $ 15 may be ordered from: Dornbracht USA, Inc.,important exhibit. If you want to see Write to 1700 Executive Drive South, Suite 600, Duluth GA 30096, Phone 800 -774 -1181, Fax 800 - 899 8527, E-Mail www. TLFeBOOK CIRCLE 15 ON READER SERVICE CARD OR GO TO ARCHRECORD.CONSTRUCTION.COM/PRODUCTS/
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  35. 35. Record News p.34 Teams vie for new Manhattan train station p.37 Drama over Trump’s Chicago tower Highlights p.44 “Northern Versailles” rising in Russia p.48 Cambridge’s architecture school saved Thom Mayne wins Pritzker Prize PRITZKER PRIZE Often referred to as architec- artistic tumult more than LAUREATES ture’s “bad boy,” Thom Mayne, government efficiency. 1979 Philip Johnson FAIA, has officially become These works, and the United States part of the establishment by recently finished Caltrans 1980 Luis Barragán Mexico winning the 2005 Pritzker District 7 Headquarters in 1981 James Stirling Prize. Mayne, 61, becomes Los Angeles [RECORD, Great Britain the 27th winner of the award, and January 2005, page 120], are good 1982 Kevin Roche the first American to win since indicators of Mayne’s architectural United States Robert Venturi in 1991. He will be vision, born out of the chaotic, often 1983 I.M. Pei United States honored in Chicago on May 31. formless and rootless ethos of Los 1984 Richard Meier Mayne’s buildings, which often Angeles, and out of his desire, begun United States utilize diverse combinations of rough- in the 1960s, to break free of the 1985 Hans Hollein hewn metals and translucent norms and tunnel vision of the “elite” Austria meshes, frequently maintain 1986 Gottfried Boehm Germany a coarse, unfinished air, while 1987 Kenzo Tange the architect himself has also Japan been known for rough edges. 1988 Gordon Bunshaft A founding principal of Santa United States Monica, California–based Oscar Niemeyer Brazil Morphosis, he is notorious 1989 Frank O. Gehry for pushing clients and spurn- United States ing compromise to secure 1990 Aldo Rossi his artistic vision. Such an Italy 1991 Robert Venturi unyielding approach helped United States him break new formal ground, 1992 Alvaro Siza uniquely deconstructing Mayne’s Diamond Ranch High School (top right), the Caltrans District 7 Headquarters Portugal spaces and creating a sense (bottom right), and an upcoming federal building in San Francisco (bottom left). 1993 Fumihiko Maki JapanR O L A N D H A L B E ( B OT TO M R I G H T ) ; C O U R T E SY M O R P H O S I S ( B OT TO M L E F T ) of uneasy movement, remi- 1994 Christian deI M A G E S : © M A R K H A N AU E R ( I N S E T, TO P ) ; TO M B O N N E R ( TO P R I G H T ) , niscent perhaps of the earthquakes architects he grew up admiring. combinations of atypical materials Portzamparc that strike his adopted state. But Mayne’s projects respond to a huge and forms. Yet the larger scale of France early on, Mayne stayed on the fringes list of ever-evolving contextual factors recent projects, says Mayne, is better 1995 Tadao Ando Japan of the architectural elite, with a small (hence the name Morphosis), like suited to his work’s complexity, not to 1996 Rafael Moneo circle of clients. He says he has human interactivity, urban connectiv- mention his sway with clients. “If I can Spain greatly improved at compromise. ity, technology, and ecology. argue for the building’s logic and per- 1997 Sverre Fehn “I had to go through huge The architect spent most of formance, then I can often find a way Norway changes,” says Mayne. “I gradually his childhood in Whittier, California, to argue for its aesthetics,” he says. 1998 Renzo Piano Italy learned how to balance my artistic outside of Los Angeles. He studied His firm’s turning point, Mayne 1999 Norman Foster life with the real world.” The “real architecture at USC, and later at notes, was the Diamond Ranch High Great Britain world” has certainly learned to the Harvard Graduate School of School (1999) in Pomona, California, 2000 Rem Koolhaas embrace Mayne’s vision in return. Design. He formed Morphosis in the revolving around an angular main The Netherlands Commissions have climbed, and early 1970s with Jim Stafford, and street and slanting, seemingly kinetic 2001 Jacques Herzog and Pierre de Meuron very traditional clients such as the later, Michael Rotondi. Well-known metallic buildings. Upcoming commis- Switzerland U.S. General Services Administration work, like the Blades Residence in sions include a daring New York City 2002 Glenn Murcutt have hired him for major projects. Santa Barbara, California [RECORD, Olympic Village [July 2004, page 30], Australia These include a federal building in April 1997, page 64], and the Kate the Alaska Capitol in Juneau [page 2003 Jørn Utzon Denmark San Francisco and a courthouse in Mantilini restaurant in Beverly Hills, 34], and a student building at the 2004 Zaha Hadid Eugene, Oregon, whose layered, exemplify early efforts to add intricacy Cooper Union in New York [November Great Britain unwoven forms match the spirit of at a smaller scale, with elaborate 2004, page 30]. Sam Lubell 04.05 Architectural Record 33 TLFeBOOK
  36. 36. Record NewsTeams vie to design newMidtown Manhattan train stationAfter years of false starts, the con- Properties with Jones Lang LaSalle,version of New York’s Central Post and The Related Companies withOffice into a major train station in Vornado Realty trust.Midtown Manhattan appears to be The $600 million project, cen-moving closer to reality, with teams tered around a 4-million-square-footvying to develop the space. transportation facility, may serve On February 24, the Empire commuters for the Metropolitan Although not identified with specific teams, designs call for office space, likeState Development Corporation Transportation Authority or New Jersey the tower above, and for retail and public amenities, as seen below.announced it was choosing among Transit. Other elements are 750,000several proposals for the new square feet of office and commercial a curved glass-and-steel canopy“Moynihan Station” (named for the development and 250,000 square that will arch over the new station.late New York Senator Daniel Patrick feet for the U.S. Post Office. The proposals also include designsMoynihan, a staunch proponent of Because of competition rules, for office towers, including a smooththe project), which will be built in and renderings could not be identified glass structure with an extrudingaround the Farley Post Office build- with teams’ bids, and teams could central envelope, and a thin towering, just west of Penn Station on 8th not comment, but proposals that covered with a regimented patternAvenue. Submitted designs came have been released preserve much of steel beams.from Foster and Partners, Cesar Pelli of the existing Beaux-Arts post office Winners are scheduled to beAssociates, Robert A.M. Stern space and call for large interior chosen early this summer, andArchitects, Kohn Pedersen Fox, and spaces made up of retail and public development is expected to beginHOK. Development teams include circulation. All incorporate David shortly afterward, with completionBoston Properties, Tishman Speyer Childs, FAIA’s “potato chip” structure, in 2010. S.L. I M A G E S : C O U R T E SY E M P I R E S TAT E E C O N O M I C D E V E LO P M E N T C O R P O R AT I O N ( TO P ) ; M O R P H O S I S ( B OT TO M ) The dome’s interior is designed to the jury. “It was a very sophisticated collect natural light and provide views. and transparent process,” notes Statsny. “It’s rare that you have this in the rotunda, where, etched into much public interaction.” the dome’s glazed interior, are words “We have just begun the from the state’s constitution. The process of making our capitol truly interior is designed to collect natural Alaskan,” says Mike Mense, the light, simultaneously providing views Alaska associate on the Mayne-led of the summit of Mt. Juneau. Mindful design team. Mense, a resident of the of Alaskan’s reverence for the land, state since 1976, explains that his the capitol is intended to “symbolize firm, mmense Architects, will help to the nature and vastness of Alaska.” educate the team on the unique and Uncomfortable with the “futur- harsh weather conditions that affect istic” designs submitted by finalists, building. “But I think my much more residents voiced their opinions on important task is to infuse our designMorphosis chosen to design Alaska Capitol the official Alaska Capitol Web site with the spirit of Alaska,” he adds. and in local newspapers. The capitol Juneau Mayor Bruce BotelhoAlaska, the 49th state, will soon dome, is only a rough sketch. “This should “not stand out like a sci-fi wants to see the building con-have a new capitol to call its own. is literally just the beginning,” says exhibit,” noted one resident in the structed at about $100 million byOn March 1, a jury selected red-hot Mayne, who focused most of his jury Juneau Empire. Many have referred 2009, for the state’s 50th anniver-firm Morphosis (its principal, Thom presentation on the history of the to the Morphosis dome as looking sary. Considering it’s taken 46Mayne, FAIA, just won the Pritzker dome as a symbol of the nation. like an “egg.” years to get this far, the mayor’sPrize; see page 33) to design Out of four finalists, including Donald Statsny, FAIA, competi- goal seems ambitious. But Maynethe building for the capital city of Moshe Safdie and Associates, tion manager and adviser, says the believes Alaskans are indeed ready.Juneau. Given just a few weeks to Yazdani Studio of Cannon Design, proceedings invited public input, “This is the last capitol to be built indevelop a concept in Stage III of the and NBBJ, Morphosis’s entry was the including the submission of ideas for the States,” he says. “They are verycompetition, Mayne says his design, only one that included a dome. The the building. Residents were even serious about this. I see it all hap-which features a 150-foot glass Morphosis design locates the “heart” encouraged to apply for a seat on pening quickly.” Allison Milionis34 Architectural Record 04.05 TLFeBOOK
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