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E book architecture - architectural record - 2004-07

  1. 1. Houses With Water Features RESIDENTIAL SECTION: JAZZES UP KOOLHAAS SEATTLE07 2004 $ 9 .7 5 A P U B L I C AT I O N O F T H E M C G R A W - H I L L C O M PA N I E S w w w. a rc h it e ct u ra l re c o rd . c o m
  2. 2. EDITOR IN CHIEF Robert Ivy, FAIA, rivy@mcgraw-hill.com MANAGING EDITOR Beth Broome, elisabeth_broome@mcgraw-hill.com DESIGN DIRECTOR Anna Egger-Schlesinger, schlesin@mcgraw-hill.com SENIOR EDITORS Charles Linn, FAIA, linnc@mcgraw-hill.com Clifford Pearson, pearsonc@mcgraw-hill.com Sarah Amelar, sarah_ amelar@mcgraw-hill.com Sara Hart, sara_ hart@mcgraw-hill.com Deborah Snoonian, P.E., deborah_snoonian@mcgraw-hill.com William Weathersby, Jr., bill_weathersby@mcgraw-hill.com Jane F. Kolleeny, jane_kolleeny@mcgraw-hill.com PRODUCTS EDITOR Rita F. Catinella, rita_catinella@mcgraw-hill.com NEWS EDITOR Sam Lubell, sam_lubell@mcgraw-hill.com PRODUCTION MANAGER Juan Ramos, juan_ramos@mcgraw-hill.com DEPUTY ART DIRECTOR Kristofer E. Rabasca, kris_rabasca@mcgraw-hill.com ASSOCIATE ART DIRECTOR Clara Huang, clara_huang@mcgraw-hill.com WEB EDITOR Randi Greenberg, randi_greenberg@mcgraw-hill.com WEB DESIGN Susannah Shepherd, susannah_shepherd@mcgraw-hill.com WEB PRODUCTION Laurie Meisel, laurie_meisel@mcgraw-hill.com EDITORIAL SUPPORT Linda Ransey, linda_ransey@mcgraw-hill.com John Wilson, john_wilson@mcgraw-hill.com EDITORIAL ASSISTANT Audrey Beaton, audrey_beaton@mcgraw-hill.com EDITOR AT LARGE James S. Russell, AIA, jamesrussell_editor@earthlink.net SPECIAL CORRESPONDENT Suzanne Stephens, suzanne_stephens@mcgraw-hill.com COPY EDITOR Leslie Yudell ILLUSTRATORS I-Ni Chen, Sophia Murer CONTRIBUTING EDITORS Raul Barreneche, Robert Campbell, FAIA, Andrea Oppenheimer Dean, David Dillon, Francis Duffy, Lisa Findley, Blair Kamin, Elizabeth Harrison Kubany, Nancy Levinson, Thomas Mellins, Robert Murray, Sheri Olson, FAIA, Nancy Solomon, AIA, Michael Sorkin, Michael Speaks, Tom Vonier, FAIA SPECIAL INTERNATIONAL CORRESPONDENT Naomi R. Pollock, AIA INTERNATIONAL CORRESPONDENTS David Cohn, Claire Downey, Tracy Metz GROUP PUBLISHER James H. McGraw IV, jay_mcgraw@mcgraw-hill.com VP, ASSOCIATE PUBLISHER Laura Viscusi, laura_viscusi@mcgraw-hill.com VP, MARKETING AND BUSINESS DEVELOPMENT David Johnson, dave_johnson@mcgraw-hill.com VP, GROUP EDITORIAL DIRECTOR Robert Ivy, FAIA, rivy@mcgraw-hill.com GROUP DESIGN DIRECTOR Anna Egger-Schlesinger, schlesin@mcgraw-hill.com MANAGER, RESEARCH Ellen Halfond, ellen_halfond@mcgraw-hill.com DIRECTOR, MARKETING COMMUNICATION Chris Meyer, chris_meyer@mcgraw-hill.com DIRECTOR, CIRCULATION Maurice Persiani, maurice_persiani@mcgraw-hill.com Brian McGann, brian_mcgann@mcgraw-hill.com DIRECTOR, MULTIMEDIA DESIGN & PRODUCTION Susan Valentini, susan_valentini@mcgraw-hill.com MANAGER, ADVERTISING PRODUCTION Stephen R. Weiss, stephen_weiss@mcgraw-hill.com DIRECTOR, FINANCE Ike Chong, ike_chong@mcgraw-hill.com DIRECTOR, SPECIAL PROJECTS Charles Pinyan, cpinyan@mcgraw-hill.com REPRINTS Wilda Fabelo, wilda_fabelo@mcgraw-hill.comEDITORIAL OFFICES: 212/904-2594. Editorial fax: 212/904-4256. E-mail: rivy@mcgraw-hill.com. Two Penn Plaza, New York, N.Y. 10121-2298. WEB SITE: www.architecturalrecord.com. SUBSCRIBER SERVICE: 877/876-8093 (U.S. only). 609/426-7046 (outside the U.S.).Subscriber fax: 609/426-7087. E-mail: p64ords@mcgraw-hill.com. AIA members must contact the AIA for address changes on their sub-scriptions. 800/242-3837. E-mail: members@aia.org. INQUIRIES AND SUBMISSIONS: Letters, Robert Ivy; Practice, Charles Linn;Books, Clifford Pearson; Record Houses and Interiors, Sarah Amelar; Products, Rita Catinella; Lighting, William Weathersby, Jr.;Web Editorial, Randi GreenbergARCHITECTURAL RECORD: (ISSN 0003-858X) July 2004. Vol. 192, No. 7. 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. Ride Along enclosed in edition 007. Canada Post International Publications MailProduct Sales Agreement No. 40012501. Return undeliverable Canadian addresses to: DPGM Ltd., 4960-2 Walker Road, Windsor, ON N9A 6J3. Email: P64ords@mcgraw-hill.com. Registered for GST as The McGraw-Hill Companies. GST No. R123075673. Postmaster: Please send address changes to ARCHITECTURAL RECORD, FulfillmentManager, P.O. Box 566, Hightstown, N.J. 08520. SUBSCRIPTION: Rates are as follows: U.S. and Possessions $64; Canada and Mexico $79 (payment in U.S. currency, GSTincluded); outside North America $199 (air freight delivery). Single copy price $9.75; for foreign $11. Subscriber Services: 877/876-8093 (U.S. only); 609/426-7046 (outside theU.S.); fax: 609/426-7087. SUBMISSIONS: Every effort will be made to return material submitted for possible publication (if accompanied by stamped, self-addressed enve-lope), but the editors and the corporation will not be responsible for loss or damage. SUBSCRIPTION LIST USAGE: Advertisers may use our list to mail information to read-ers. To be excluded from such mailings, send a request to ARCHITECTURAL RECORD, Mailing List Manager, P.O. Box 555, Hightstown, N.J. 08520. OFFICERS OF THEMCGRAW-HILL COMPANIES: Chairman, President and Chief Executive Officer: Harold McGraw III. Executive Vice President and Chief Financial Officer: Robert J. Bahash.Executive Vice President, Human Resources: David L. Murphy. Senior Vice President and General Counsel: Kenneth M. Vittor. Senior Vice President, Corporate Affairs, and Assistantto the President and CEO: Glenn S. Goldberg. Principal Operating Executives: Kathleen A Corbet, President, Standard & Poors; Henry Hirschberg, President, McGraw-HillEducation; Scott C. Marden, President, McGraw-Hill Information and Media Services. MCGRAW-HILL CONSTRUCTION: Norbert W. Young, Jr., FAIA, President. Vice Presidentand CFO: Louis J. Finocchiaro. COPYRIGHT AND REPRINTING: Title ® reg. in U.S. Patent Office. Copyright © 2001 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 toCCC, 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 212/512-4170, e-mailwilda_fabelo@mcgraw-hill.com, or fax 212/512-6243. Information has been obtained by The McGraw-Hill Companies from sources believed to be reliable. However, becauseof the possibility of human or mechanical error by our sources, The McGraw-Hill Companies or ARCHITECTURAL RECORD does not guarantee the accuracy, adequacy, orcompleteness 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 dam-ages resulting there from.THE AMERICAN INSTITUTE OF ARCHITECTS 2004 BOARD OF DIRECTORS • OFFICERS: Eugene C. Hopkins, FAIA, President; Douglas L Steidl, FAIA, First Vice President; Paul DavisBoney, FAIA, Vice President; RK Stewart, FAIA, Vice President; David H. Watkins, FAIA, Vice President; Lawrence R. Livergood, AIA, Secretary; James A. Gatsch, FAIA, Treasurer; DavidLancaster, Hon. AIA, CACE Representative to the Executive Committee; Norman L. Koonce, FAIA, Executive Vice President/CEO • REGIONAL DIRECTORS: Douglas E. Ashe, AIA; JamieAycock, AIA; John H. Baker, AIA; Ronald J. Battaglia, FAIA; William D. Beyer, FAIA; Michael Broshar, AIA; Randy Byers, AIA; Tommy Neal Cowan, FAIA; Glenn H. Fellows, AIA; Robert D.Fincham, AIA; Betty Sue Flowers, PhD; A. James Gersich, AIA; Ana Guerra, Assoc. AIA; T. Gunny Harboe, AIA; The Hon. Jeremy Harris; John J. Hoffmann, FAIA; William E. Holloway, AIA;Michael M. Hricak Jr., FAIA; Orlando T. Maione, AIA; Thomas R. Mathison, AIA; Carl F. Meyer, AIA; Robert E. Middlebrooks, AIA; George H. Miller, FAIA; Wayne Mortensen; Hal P.Munger, AIA; Gordon N. Park, CDS, AIA; David Proffitt, AIA; Marshall E. Purnell, FAIA; Bruce A. Race, FAIA; Miguel A. Rodriguez, AIA; Jerry K. Roller, AIA; Jeffrey Rosenblum, AIA;Martin G. Santini, AIA; Robert I. Selby, FAIA; Saundra Stevens, Hon. AIA; Norman Strong, FAIA; Stephen T. Swicegood, FAIA; M. Hunter Ulf, AIA; J. Benjamin Vargas, AIA; Bryce A.Weigand, FAIA. • AIA MANAGEMENT COUNCIL: Norman L. Koonce, FAIA, Executive Vice President/CEO; James Dinegar, Chief Operating Officer; Richard J. James, CPA, Chief FinancialOfficer; Jay A. Stephens, Esq., General Counsel; Helene Combs Dreiling, FAIA, Team Vice President, AIA Community; Ronald A. Faucheux, Team Vice President, AIA GovernmentAdvocacy; Barbara Sido, CAE, Team Vice President, AIA Knowledge; Elizabeth Stewart, Esq., Team Vice President, AIA Public Advocacy; Elizabeth Casqueiro, AIA, Managing Director, AIAAlliances; James W. Gaines Jr., Assoc. AIA, Managing Director, AIA Professional Practice; Suzanne Harness, AIA, Esq., Managing Director and Counsel, AIA Contract Documents; RichardL. Hayes, Ph.D., RAIC, AIA, Managing Director, AIA Knowledge Resources; Brenda Henderson, Hon. AIA, Managing Director, AIA Component Relations; Christine M. Klein, ManagingDirector, AIA Meetings; Carol Madden, Managing Director, AIA Membership Services; Philip D. O’Neal, Managing Director, AIA Technology; C.D. Pangallo, EdD, Managing Director, AIAContinuing Education; Terence J. Poltrack, Managing Director, AIA Communications; Phil Simon, Managing Director, AIA Marketing and Promotion; Laura Viehmyer, SPHR, CEBS,Managing Director, AIA Human Resources. PRINTED IN USA
  3. 3. 07.2004 On the Cover: Seattle Central Library, by OMA and LMN. Photograph by Timothy Hursley Photos Right: Loisium, by Steven Holl. Photograph by Margherita Spiluttini News Building Types Study 835 21 Piano chosen for Whitney expansion 133 Introduction: Restaurants by Clifford A. Pearson 30 New York selects potential Olympic Village design 134 Megu, New York City by Clifford A. Pearson* Kajima Associates Departments 140 Chlösterli, Switzerland by Philip Jodidio* Patrick Jouin 15 Editorial: That’s my opinion 144 Jefferson, New York City by William Weathersby, Jr.* 17 Letters* Philip Wu Architect 43 Dates & Events* 148 Soba Restaurant, Japan by Clifford A. Pearson* 49 Archrecord2: For the emerging architect by Randi Greenberg Kengo Kuma & Associates 53 Correspondent’s File: Athens by Sam Lubell For additional restaurant projects, go to Building Types 61 Critique: Gehry’s Stata Center by Robert Campbell, FAIA Study at architecturalrecord.com. 67 Commentary: The American Embassy by Jane Loeffler 73 Exhibitions: Milan Furniture Fair by William Weathersby, Jr. Building Science & Technology 77 Snapshot: Camera Obscura by Sam Lubell 153 Defining Component-Based Design by Barbara Knecht*240 Profile: Tord Boontje by Josephine Minutillo* Using the tools of mass production to rediscover true craftsmanship. 163 Tech Briefs: Charles de Gaulle Airport* Features Residential 80 Architecture Centers by Sam Lubell Bridging the divide between architects and the public. 167 Introduction 168 PIA and HUD Awards Projects 172 27, 27A, 27B Berrima by Robert Powell WOHA Designs 88 Seattle Central Library, Seattle by Sheri Olson* 178 Weathering Steel House by Raul A. Barreneche OMA joint venture with LMN Shim-Sutcliffe Architects Rem Koolhaas’s “information storehouse” redefines the library. 185 Texas Twister by David Dillon102 Kendall Square, Massachusetts by Nancy Levinson* Building Studio Behnisch, Behnisch & Partner and Steven Ehrlich Architects America’s archetypal college town welcomes two signature buildings. 188 Villa C by Philip Jodidio Groep Delta Architectuur114 Loisium Visitors’ Center, Austria by Liane Lefaivre* Steven Holl Architects 195 Kitchen & Bath Portfolio by Rita F. Catinella A visitors’ center makes a splash in Austrian wine country. 201 Residential Products by Rita F. Catinella and Josephine Minutillo120 Royal and General Archives of Pamplona, Spain by Paula Deitz* Rafael Moneo Products A medieval palace is reinvented as an archives and study center. 207 Storage & Shelving 222 Product Literature126 Brown Center, Baltimore by Deborah Snoonian, P.E.* 211 Milan Furniture Fair Review by Josephine Minutillo Ziger/Snead and Charles Brickbauer Dramatic contours signal a new era for an art college. 224 Reader Service* 226 AIA/CES Self-Report Form* The AIA/ARCHITECTURAL RECORD You can find these stories at www.architecturalrecord.com, Continuing-Education Opportunity is “Defining including expanded coverage of Projects, Building Types Studies, andComponent-Based Design” (page 153). Web-only special features. 07.04 Architectural Record 13
  4. 4. That’s My Opinion Editorial By Robert Ivy, FAIA H ow could your otherwise fine magazine allow…” Thus begins a ments. Read them. “Editorial,” for example, announces the editor’s own lament, an actual complaint about a writer’s point of view. We get perspective, speaking for the magazine. “Critique” describes an essay, replete letters like this all the time from readers who want to tangle with a with Michael Sorkin’s or Robert Campbell’s personality, language, wit, and writer expressing a strong opinion in print. We exult in these arguments, individual worldview. “Commentary” contains the musings of a qualified even the hyperbolic ones, since few publications share such a committed, vital staff or outside writer. Those small tabs outside the projects act like road constituency as architectural record. You always tell us what you think, signs—important, but easy to miss. as if the future of the architectural profession depended on it. In a sense, it In addition to clarity, expect balance. If architectural record does, and we treat your opinions with that same concern. veers heavily toward one extreme, don’t panic. Read the accompanying arti- Ironically, the challenge to integrate more critical writing into these cle that tilts the argument from right to left, such as the twin stories we ran pages has come both from our editors and from you, who have continually about Chicago’s Soldier Field in May 2004, in which Joseph Giovannini and asked, like Oliver Twist with his porridge, for more. Your desire for a critical Stanley Tigerman took opposing corners. Or look during the following months voice reflects shared years of academic conditioning, where we regularly face for an answer to a question raised in an article, a response in a letter or occa- scrutiny (sometimes withering, sometimes cruel, sometimes enlightened) of sionally in another piece. When Michael Sorkin wrote a strongly worded essay professors, practitioners, and fellow students. In the design studio and jury, on Jerusalem’s Museum of Tolerance (which provoked a firestorm of contro- we learned to question and debate, to take nothing for granted. Then at versy), we agreed to publish a countervailing opinion from the client’s graduation, the clouds parted; suddenly, our clientele seemed too accepting of perspective that should air in August. Sorkin deserved ink, versed as he is as a our work, prompting us to yearn for those tougher early crits. Can’t a mag- professor who has studied the beleaguered city’s planning; but we are also azine provide the equivalent of a splash of cold water? making room for the museum’s client—a rare case, but an important one. Up to a point. Although you will encounter more of the writer’s voice Criticism can probe where the camera cannot, since ultimately real in our pages today, we mete out critical writing judiciously at record. While buildings (and unbuilt ones, too) are only as good as the ideas underlying the magazine began publication as a critical journal (as in offering evalua- them. We need critical writing to sift through the layers—social, environ- tion), over time it had broadened its point of view to become a literal record mental, psychological, tectonic, or aesthetic—piercing through the rhetoric, of the world’s most relevant ideas and structures. For years, a project’s mere exposing the emperor’s new clothes, balancing our praise with understanding,P H OTO G R A P H Y : © A N D R É S O U R O U J O N inclusion in the magazine implied a positive assessment. After strong inter- and offering the occasional, bracing splash. In the days to come, you will see nal debate, in recent years we have arrived at a consensus on our approach to more criticism; but remember, you asked for it, and we agreed: It’s critical. different types of reporting: Simply put, categories should be clear. Certainly, project stories now often combine straight reporting with points of view. But you, the reader, can expect to know what you are encountering elsewhere in the magazine, whether factual reporting (which characterizes the news, for example), descriptive text, or opinion. Your signals lie in the small, significant headings that precede each story in our depart- 07.04 Architectural Record 15
  5. 5. LettersFunds for university projects without an outcry is beyond me. However, I was disappointed when I ent-day design excess and mistakenly DEPARTMENTSThank you for the very well-written —Allen Rubenstein came across the Correspondent’s confuses playful with delightful.and comprehensive article docu- Los Angeles File [page 79], which discussed Critical opinion, based on the classicmenting the career of AIA Gold building in Toronto. Wooton/Scott triad, would frown onMedalist Sambo Mockbee [June Keep “her” out of it The article began by talking much that is presently published,2004, page 184], including the work I applaud your point of view in the about the recent explosion in the con- where extreme design becomes aof Auburn University’s Rural Studio. May editorial [“Beyond Style,” page struction of public buildings, such as role model and spawns “playful”Regarding the Rural Studio, the 17] for recognizing the offending New the Royal Ontario Museum addition architecture worldwide, ad nauseam.impression was left that due to the York Times Magazine article on by Daniel Libeskind, the Art Gallery of —James A. Gresham, FAIAuniversity’s very generous funding (an Pritzker Prize–winning architect Zaha Ontario addition by Frank Gehry, and Tucson, Ariz.annual commitment of $400,000) Hadid. Such gender-focused news the new Four Seasons Opera Houseand the fact that communities now coverage symbolizes a tenor in our by the firm Diamond and Schmitt. Correctionshelp with the cost of projects, that industry that may explain why barely Two thirds of Toronto’s major Due to a production error, the wrongthe Studio’s financial future is secure. 20 percent of licensed architects in post-secondary institutions were image accompanied the descriptionThat is not the case. State laws do firms are women [News, May 2004, mentioned, including the new addi- of Centria’s Concept Series, a collec-not allow university funds to be used page 25], while in academia 42 tion to the Ontario College of Art tion of concealed-fastener exteriorfor project construction costs. Further, percent of graduate architectural and Design by Will Alsop. metal-wall-panel profiles, on pagecommunity contributions only cover students are women (according to The post-secondary institution 369 in the June issue. The correctabout 20 percent of the actual project NAAB and the 2000–2002 AIA Firm that was overlooked, and which I image appears below. On the samecosts. Approximately $250,000 Survey). As an architect and studio myself attended, was Ryerson page, the wrong measurement wasmust be raised annually from private leader with SmithGroup—in addition University, truly in the heart of down-sources in order to cover total con- to being a woman, a wife, and a town. Ryerson is currently undergoingstruction costs. mother—I add value to the profes- its own great expansion equal to We are in the process of rais- sion, as any individual does. I feel the University of Toronto’s. At thising an endowment to ensure that that I have accomplished a great deal moment, Ryerson is building six newthere is adequate construction in the course of my 20-year career, buildings—worth approximatelyfunding into perpetuity. Only then but I know that troubling perceptions $250 million—that will transform thewill the future of Sambo’s remark- and stereotypes still exist. I chose campus. I greatly enjoyed my time inable legacy be secure. architecture because of the high Ryerson’s architecture program, and—Daniel D. Bennett, FAIA ideals of the architects that I studied; I encourage everyone to visit RyersonDean, College of Architecture I’ve dreamt of making a difference University online at www.ryerson.caDesign + Construction and feel I’ve done that. Hadid has and www.ryerson.ca/build/. Now,Auburn University realized her dream, and I thank you everyone can see that Toronto has for insisting that the “her” aspect not two world-class architectural univer-Why ruin a masterpiece? overshadow the reason why architect sities being designed by leadingI have traveled to Barcelona twice, Zaha Hadid has risen to receive our architects.30 years apart, to see Gaudí’s profession’s highest honor. —Andrew RobinsonSagrada Familia [Correspondent’s —Anne Belleau-Mills, AIA Toronto, CanadaFile, June 2004, page 109]. There is Detroit given for the Lafarge Ductal compo-unanimity that this is one of the The qualities of architecture nents used in the Shawnessyworld’s great buildings. Its eight tow- Keep it coming Robert Campbell’s division of archi- Station project in Calgary, Canada.ers originally rose over a low-rise I would just like to thank you for help- tecture into the playful and the ethical The project used 24 precast curvedneighborhood. A grand central spire, ing to create public awareness on the is curious [Critique, May 2004, page canopies, each measuring 3⁄4 thick.as yet unfinished, was to grow out of rebuilding of the Twin Towers. I love 67]. Vitruvius chose not to divide In the May issue [page 123], thethe center to soar over the existing Ken Gardner’s design for the new WTC architecture into camps, but instead name of Greg Grunloh, AIA, a projecttowers and the local community. Until [News, April 2004, page 32]. Please assigned three essential and interre- manager for Holabird & Root, thenow. The setting of this masterpiece write more articles on the topic. lated qualities to it, namely: firmness, architect of record and structuralis completely destroyed by the adja- —Mike Beggen commodity, and delight. engineer for the McCormick-Tribunecent Agbar Tower, as your photograph New York City “Ethical” strongly suggests both Campus Center, IIT, in Chicago, wason page 110 clearly shows. How any firmness (structure) and commodity misspelled.architectural commentator could dis- My Toronto has Ryerson U. (function or usefulness). Campbell’scuss Barcelona regional planning I was impressed with the April issue. two-part thesis is permissive of pres- Send letters to rivy@mcgraw-hill.com. 07.04 Architectural Record 17
  6. 6. Record News Highlights Lower Manhattan news p. 22 Foster and OMA unveil designs in Dallas p. 24 Muschamp leaving the Times p. 30 New projects for Hadid, Herzog & DeMeuron, and Nouvel p. 34 AIA Convention draws record numbers to Chicago This year’s AIA Convention, held seminars, and continuing-education June 10–12 in Chicago, will be con- sessions were filled to capacity, as sidered a success for many reasons, were most sales booths. but perhaps the biggest—literally— On Friday, Samuel Mockbee and was its size. The event attracted a Lake Flato were designated AIA Gold record 22,159 registrants, topping Medalist and Firm of the Year, and the San Diego’s in 2003, which drew AIA inducted 81 new members into 20,025. The list of exhibiting compa- its College of Fellows. The next day, nies at cavernous McCormick Place Honor Award winners reviewed their also broke the record, reaching 850. projects, and Kate Schwennsen, FAIA, Before the crowd, architect was elected 2006 AIA president. In Helmut Jahn and authors Erik Larson other business, delegates adopted a and Virginia Postrel offered keynote $50 dues increase and a resolution addresses that captured, respectively,to support research efforts focusing on diversity in the profession. the scope of future projects in the city, the illustrious history of the metropo- An emotional highlight came on Participants check into the AIA Expo at Chicago’s McCormick Place. Thursday night with a screening of lis’s built environment, and the rise of aesthetic consciousness in the coun- Nathaniel Kahn’s Oscar-nominated winning the Academy Award,” Kahn plenary session. “Our buildings make try. Throughout the event, speeches, film, My Architect. Nearly 2,000 quipped. a statement about Chicago—they’re people braved a downpour Besides the AIA, the star of the bold, unconventional, and willing to gather at the splendidly show was Chicago itself. Convention to take risks.” He also discussed restored Auditorium goers could be spotted gawking at the city’s aggressive green-building Theater by Adler & skyscrapers on riverboat tours, visit- efforts. All new public buildings in the Sullivan for the event. ing Frank Lloyd Wright’s home and city are required to be LEED-certified, Kahn received a 90- studio in Oak Park, and viewing the more than 80 green roofs have been second standing ovation, upcoming Millennium Park. installed on tall buildings, and the city preceded that morning “This is a city that takes recently opened the Chicago Center by an AIA Presidential architecture seriously,” said Chicago for Green Technology, a resource for Citation. “This takes some Mayor Richard Daley as he wel- architects and the public. Sam Honorees at the AIA Fellows ceremony. of the sting out of not comed the crowd at the opening Lubell and Deborah Snoonian, P.E.P H OTO G R A P H Y : C O U R T E SY A M E R I C A N I N S T I T U T E O F A R C H I T E CT S Renzo Piano chosen to design Whitney Museum expansion Reflecting a change in priorities, the Whitney Museum of Art on June 16 and he has a wonderful sense for details and materials.” Design and budget chose Italian architect Renzo Piano to design an expansion of its building on for the project have not yet been set, but museum officials say Piano will East 74th Street in Manhattan. Piano will replace Rem Koolhaas’s Office for work to improve and enlarge gallery spaces, and that he is interested in utiliz- Metropolitan Architecture (OMA), which had proposed a much more sizable ing (not destroying) nearby historic town houses, perhaps for museum offices. plan, abandoned last year. Weinberg says Piano’s project may rise above the museum’s current height. The Architecture Selection Committee of the Museum’s board picked Koolhaas’s proposal, developed more than two years ago, had a $200 Piano after a six-month search. The biggest factor, say Whitney officials, was million budget and would have virtually reshaped the building’s exterior. It a desire to put more emphasis on viewing art inside than on the view of the was abandoned about 18 months ago. “I think his plan was spectacular,” building from the street.“We already have a destination,” says museum director says Weinberg. “But I think this idea will be more doable in terms of Adam Weinberg, of the Whitney’s iconic 1966 Marcel Breuer edifice. “To my expense, program, and preserving historic landmarks.” Piano’s replacement mind, the spectacle should be as much or more about art than architecture.” of Koolhaas at the Whitney virtually repeats a scenario at the Los Angeles Weinberg adds, “Renzo is incredibly sensitive to the needs of contemporary County Museum of Art, which recently replaced a massive plan by Koolhaas/ art and artists. He loves natural light, his interiors have a very human scale, OMA with a more understated, and cost-effective, design by Piano. S.L. 07.04 Architectural Record 21
  7. 7. Record News oculus will be the above- ground face of the new center, much of the new design will be underground. The Fulton Street subwayREBUILDING LOWER MANHATTAN platforms would connect to Santiago Calatrava’s OFF THE RECORD Design for Fulton proposed PATH station byARCHITECTURAL RECORD is curating the Street Transit Hub underground passageway, and changes to the under-exhibition Transcending Type for the unveiled ground station will simplifyU.S. Pavilion at the Venice Architecture New York City’s Metropolitan confusing ramps, add esca-Biennale, to be held September 12 to Transportation Authority (MTA) has lators, and increase accessNovember 7. Participating firms released drawings for a new transit to subway platforms.include Kolatan/MacDonald, Reiser + hub in Lower Manhattan, to be Existing art in theUmemoto, Lewis.Tsurumaki.Lewis, designed by Grimshaw’s New York station will be preserved,George Yu Architects, Studio/Gang office. The new building will link sta- A model of Grimshaw’s 50-foot-glass pavilion. though relocated, whileArchitects, and Predock_Frane. tions for nine subway lines, and will James Carpenter Design stand at the corner of Broadway and Wheeler, the MTA’s director of spe- Associates is developing new artThe Museum of Modern Art in New Fulton Street, about a block from the cial project development and for the station. A team from theYork will open its new facility in site of the World Trade Center. planning. “It’s very hard to find, and MTA stations department is work-Midtown Manhattan this November. The building itself is planned as it’s very hard to navigate once ing to incorporate new materials. a 50-foot-tall glass pavilion, with a you’re down there. And light was The architects also collaboratedDaniel Libeskind has been named tapering steel-and-glass dome rising a big factor. So that directly trans- with Daniel Frankfurt, Lee Harristhe United States Cultural Ambassador from the middle. The design, say its lated into the solution.” Pomeroy Associates, and staff fromfor Architecture by the U.S. State architects, is intended to make the The design incorporates two the MTA.Department. station a neighborhood landmark small stores at street level, and The building is expected to and bring light into the now-dark preserves the Corbin Building, an cost $750 million and will be com-Rafael Viñoly’s $875 million Boston subway platforms below ground. ornate office building from 1889 pleted in 2007. Funding will comeConvention and Exhibition Center “We wanted to improve the ori- that sits adjacent to the new subway entirely through federal grants.opened in June. At 1.7 million square entation of the facility,” says William entrance. Though the pavilion and Kevin Lernerfeet, it is the largest convention center I M A G E S : C O U R T E SY G R I M S H AW N E W YO R K / M E T R O P O L I TA N T R A N S P O R TAT I O N AU T H O R I T Y ( TO P ) ;in New England. Institutions chosen for WTC cultural sitesProfessor Peter Cook is stepping down TOWER 1: PERFORMING TOWER 2 FREEDOMas chairman of the Bartlett School of In a festive presentation on June 10 square feet apiece. No details TOWER ARTS CENTERArchitecture, University College featuring musicians, dancers, about funding or designers WEDGE OF LIGHT PLAZALondon. actors, and world luminaries, Lower have been worked out, said PATH TERMINAL PATH Manhattan officials named the insti- LMDC president Kevin Rampe. PLAZA CULTURALNew York’s High Line, which plans to tutions that will host cultural facilities One hundred twelve MEMORIAL BUILDING SITE TOWER 3 ANDbuild a public space at the city’s old at the former World Trade Center site. institutions had expressed MEMORIAL CENTERwest side rail lines, has named The winners included the Joyce interest in hosting space, and LO W E R M A N H AT TA N D E V E LO P M E N T C O R P O R AT I O N ( B OT TO M )design finalists that include Diller, Theater Foundation, a dance organi- some may still find locales TOWER 4Scofidio + Renfro; Skidmore, Owings & zation; the Signature Theater; the near the site, officials said.Merrill; Zaha Hadid Architects; Drawing Center, a visual arts gallery; Mayor Michael BloombergSteven Holl Architects; and Michael and the Freedom Center, a new noted: “Only in New YorkVan Valkenburgh Associates. institution dedicated to examining would we be able to look in TOWER 5 freedom worldwide. Each will be our own backyard and findLandscape architect Charles Jencks lodged in one of two cultural build- such a tremendous array ofhas won the $175,000 Gulbenkian ings at the northern end of the Trade cultural groups to choose The new spaces (in orange) will includeMuseum of the Year Prize for the Center site, measuring 250,000 from.” S.L. cultural and performing arts venues.Scottish National Gallery of ModernArt in Edinburgh. Cultural Buildings munity meeting room, donor’s lounge. • Signature Theater Company: 499-seat auditorium, • The Drawing Center: Up to six gallery spaces,Mohsen Mostafavi, chairman of 299-seat auditorium, and a flexible 99–199-seat audito- spaces for public programs, education, and events.London’s Architectural Association, rium. Bookstore, café, lobby. • The Freedom Center: Exhibition spaces, a theater,was named dean of Cornell University’s • Joyce Theater Foundation: 900–1,000 seat prosce- presentation space, classrooms, reception space, grandCollege of Architecture, Art, and nium theater. Rehearsal studios, café, gift shop, com- entrance, café, bookstore, “Place of Contemplation.”Planning.22 Architectural Record 07.04
  8. 8. Record News OMA’s Wylie Theater will be made mostly of glass. be surrounded by lobbies, promenades, and restaurants. The glass walls will open onto a grand plaza shaded by a floating sunscreen. “The last thing we want is a cultural ghetto,” says Spencer de Grey, lead designer of the Opera House. “We want the influence of both projects toDallas unveils designs for extend through and beyond the entire arts dis-performing arts center trict.” Koolhaas and OMA presented an 11-story tower, with a glass-walled theater occupying theAfter a period in which only two major buildings lower floors, and offices, rehearsal studios, cos-were constructed in 20 years, the Dallas Arts tume shop, and other support spaces stacked onDistrict is quickly making up for lost time. Following top. The project is another version of the “verticalRenzo Piano’s Nasher Sculpture Center, which city” idea that Koolhaas first introduced in his bookopened last October, on June 8 Foster and Partners Delirious New York.and Rem Koolhaas’s Office of Metropolitan “Height allows a small building to hold its ownArchitecture (OMA) unveiled preliminary designs among larger neighbors,” explains project architectfor an opera house and the- Joshua Ramus. “If it were quietater, centerpieces of the and modest, it wouldnt be the$275 million Dallas Center populist building we want.”for the Performing Arts. The stage will be recon- The pair of buildings figurable by means of lifts,represents a dramatic break pulleys, turntables, and otherwith the existing low-slung, mechanical devices. And aslimestone aesthetic of the with the opera house, theArts District. The Winspear glass walls will open directlyOpera House will be the dis- Foster’s Winspear Opera House. onto a public plaza. Plazas,trict’s first primarily glass gardens, and a canopy ofbuilding, the Wyly Theater its first tower. Both trees will link the Foster and Koolhaas buildings,designs aim for visual prominence. plus a smaller, third theater by Skidmore Owings The Opera House, a red polished-concrete & Merrill, Chicago.egg in a curving glass box, will seat 2,200 and Construction on both projects will begin I M A G E S : C O U R T E SY DA L L A S C E N T E R FO R T H E P E R FO R M I N G A R T S FO U N DAT I O Ncost an estimated $150 million. The main audito- in 2006, with the entire performing arts centerrium will form a traditional horseshoe shape and scheduled to open in 2009. David Dillon OMA and Chinese authorities deny demise of CCTV project Speculation is raging over the future of Office for Metropolitan Architecture (OMA)/Rem Koolhaas’s proposed headquarters and national broadcast center for China Central Television (CCTV). The much- publicized scheme calls for a 55-floor angular building on a large and valuable piece of land in the heart of Beijing’s new Central Business District at an estimated cost of $730 million. Many in China regard the project as unrealistic, given its hefty price tag, complex design, and location within the capital’s commercial and financial core. Some in China’s state council are said to be apprehensive about the scheme, though the council has still given its tacit approval to the project. The Chinese press has been mum on the subject, but Hong Kong’s South China Morning Post reported that the project had been stalled, hinting that it may have been suspended. Additionally, the Chinese central government recently issued a directive curbing expensive building projects, with the aim to cool down the country’s extensive building craze, adding fuel to the rumors about the building’s future. However, both CCTV and OMA insist the project is on track. “I know there’s been a lot of high-level political discussion about how China should spend its money, and the gap between rich and poor,” says Ole Schereen, OMA’s lead architect on the project, “but I can assure you, [CCTV Headquarters] is by no means dead.” Daniel Elsea
  9. 9. Record News KUSSER AICHA Graniteworks USA Design with Natural Stone Paris Opera completes renovation of its Grand Foyer Making the Few Paris buildings are as spectacular as the icism, but Garnier had saved money by using oil Impossible Opera Garnier. A virtual palace, it anchors one of paint, with nuances of gold applied only to visible Reality! Baron Haussmann’s famous radiating urban axes. surfaces. He also mass-produced some of the Surrounded on four sides by traffic-choked roads, decorative bronze elements, coating reusable the Opera has suffered for its location and had molds by electrolysis. While every inch of wall · Original KUGEL lost most of its patina. In the 1990s, the French appears carved in gold, the substructure is made Floating Ball · Floating Objects government launched an ambitious total restora- up of wood and plaster. · Monumental Works tion to be fazed over 12 years. In 1995, the The restoration, overseen by France’s Service of Art theater and stage were restored and modernized. National des Travaux with lead architect Alain · Granite Fountains, In 2000, the newly cleaned entry facade was Charles Perrot, returns the hall to its original Waterwalls unveiled, exposing a variety of colored marbles splendor, encompassing ceiling paintings, parquet, · Natural Stone and blinding gold statues. And in May, the Grand mirrors, 7-foot-high statues, marble, drapery, and Elements Foyer reopened after a $5 million face-lift. chandeliers. The job took the work of more than · Prestressed Granite Charles Garnier was 100 skilled craftsmen in 18 · Custom Design relatively unknown when different specialties, and a · Complete he won the competition in great deal of research. The Engineering Support 1861 to build the Opera, fabrics, for example, were which was inaugurated in reproduced by the factory 1875. As dictated by the that first made them and original program, the Opera that had kept samples, iden- included a foyer where peo- tified through old receipts. ple would not come to sit The final step in the but to stroll. It was therefore Opera’s restoration will focus designed to be “as long as on the building’s perimeter, possible.” Garnier went one including lampposts and step further in making his exterior stairs, as well as the 195-foot-long foyer accessi- two lateral facades and the ble to all floors and people cupola. The entire project of all classes. The grandeur will be completed by 2007. of the space drew some crit- The Opera’s renovated Grand Foyer. Claire Downey New Marcus Prize will honor emerging architects Inspired by the Pritzker Prize, Milwaukee’s arm of the Marcus Corporation, which owns and Marcus Corporation Foundation has announced operates movie theaters, resorts, and hotels, a new $50,000 Marcus Prize, to be awarded including Baymont Inns and Suites, throughout biannually to an emerging architect. Unlike the the United States. Stephen H. Marcus, chair and $100,000 Pritzker Prize, which recognizes an chief executive officer of the corporation, says, already well-known architect’s career or body of “Our long-term vision for the award is to attract P H OTO G R A P H Y : © J E A N - P I E R R E D E L A G A R D E work, the Marcus Prize will recognize individual international attention to Milwaukee.” architects earlier in their careers, when they are Applications for the initial Marcus Prize will just on the cusp of greatness. be available in January 2005, and a jury of archi- The Marcus Corporation Foundation will tects, critics, and members of the Milwaukee provide an additional $50,000 to the University community will select the winner in June 2005. Aicha vorm Wald, Germany of Wisconsin-Milwaukee School of Architecture The winner is expected to be a guest lecturer Material: Tittlinger Granite and Urban Planning to administer the prize and and critic in a new graduate-level Marcus Design kusserUSA@kusser.com www.kusserUSA.com bring the recipient to the school as a guest critic. Studio that will focus on an urban design chal- Bob Greenstreet, dean of the school, orches- lenge in Milwaukee. 800-919-0080 trated the development of the award with the Visit the University of Wisconsin-Milwaukee Marcus Corporation Foundation and the City of Web site at www.uwm.edu/sarup for more Spiral staircase Milwaukee. information on the Marcus Prize. John E. The Marcus Foundation is the philanthropic Czarnecki, Assoc. AIA CIRCLE 17 ON READER SERVICE CARDOR GO TO WWW.LEADNET.COM/PUBS/MHAR.HTML
  10. 10. NATIONAL BUILDING MUSEUM Record News AT NBM Designers develop alternatives to Gehry’s Brooklyn plans When architect Joel Towers first saw developer Towers, a partner at SR + T Architects and lectures Bruce Ratner’s proposal for a $2.5 billion Nets director of Sustainable Design at Parsons School July 7 arena complex in Brooklyn, he saw one problem: of Design, then drew up another scheme, called Wolf D. Prix His home was within the site. “Swerve,” which reconfigures Atlantic Avenue, IMAGE BY FLORIAN HOLZHERR COURTESY SOM co-principal of Soon afterward, Ratner announced that he near the site, to provide more land for the project. Coop Himmelb(l)au, would remove buildings in the area through emi- He presented the plan at a city council meeting Vienna, Austria nent domain, a law that allows the city to condemn in April that was attended by Ratner. rescheduled from June property for urban renewal, Meanwhile, Brown and and Towers quickly began his team, after meeting with July 8 sketching his own plan—one residents in March, offered Sasaki: that would preserve his house. an option that calls for five- Designing the Civic Realm Towers is one of several to 10-story buildings, a winding Dennis Pieprz, president of local architects working on green space, and a reconnec- Sasaki Associates, Boston, MA counterproposals to Ratner’s tion of streets now severed by July 12 plan, designed largely by the rail yards. The plan does Sea Ranch Frank Gehry, FAIA, that aims not include an arena. Instead, Donlyn Lyndon, professor at University to construct a 15,000-seat it aims to move it to the of California, Berkeley arena and four soaring resi- Brooklyn Navy Yards, a 300- dential towers over the acre swath of land owned by July 22 Atlantic rail yards in downtown the city on the East River. Roger Duffy: SOM Brooklyn. The new plans vary Brown’s plan includes a winding park Congressman Major Owens partner of Skidmore, Owings & greatly, but all attempt to and a relocated stadium. also commissioned architect Merrill, New York, NY prevent the displacement of Jennifer Gelin to examine the residents and businesses. “We are working to site. Her proposal links the arena with the 2012 exhibitions create a menu of alternatives,” says architect Marshall Brown, who is working with district Olympic bid plan, which relies heavily on water- borne transportation. Liquid Stone: council member Letitia James and a team of As of now, Ratner has not made any further PHOTO BY ALAN KARCHMER FOR SANTIAGO CALATRAVA New Architecture neighborhood architects and urban designers. commitments to review the alternative proposals. in Concrete Towers’ first plan, called “Shift,” moves the However, James Stucky, vice president of Forest through January 23, 300,000-square-foot arena onto a platform above City Ratner (FCR), said the company is making 2005 the Atlantic Center, just north of the rail yards. New every effort not to displace residents. “We will residential buildings would remain in the plan but either have to buy the buildings or carve out a Affordable be horizontally scaled and densely packed to blend space for them,” he says. Beth Davidson, an FCR Housing: with surrounding buildings and preserve existing spokesperson, says the company has already Designing an structures. In January, Towers discussed his proposal gone through 36 sketches in order to minimize American Asset with Ratner and Gehry. Gehry liked the platform the need for condemnation. Still, such plans through August 8, 2004 idea but insisted the arena stay at ground level. remain vague at best. Christina Rogers Samuel Mockbee and the Rural Studio: Community Architecture Reed Kroloff named Tulane architecture dean through September 6, 2004 Reed Kroloff, former editor of Architecture Magazine, was recently appointed dean of Tulane I M A G E : C O U R T E SY M A R S H A L L B R O W N University’s School of Architecture in New Orleans. His appointment becomes effective October 1. national building museum Ron Filson, FAIA, has been serving as interim dean since January. 401 F Street, NW A recipient of the Rome Prize, Kroloff is completing his residency at the American Academy in Washington, DC 20001 Rome. He has held teaching positions at the University of Texas and Arizona State University. He also 202 / 272-2448 serves as principal of Reed Kroloff Design Services of New York, which in addition to its own work, www.NBM.org serves as consult on architectural competitions worldwide. “Given his national prominence, varied experiences, and remarkable accomplishments, we are For more information and to register confident Reed will help lead our school of architecture to a new level,” says Scott Cowen, Tulane’s for programs, call or visit our website. Discounts for members and students. president, in a statement. One of the nation’s oldest architectural programs, Tulane began offering courses in architecture in 1894. Tony Illia
  11. 11. Record News New York chooses design for potential Olympic Village If any architectural commission requires the typology of the continuous apartment block “juice,” that burst of breakaway energy on the by breaking free of the right angle both in plan athletic field, it’s Olympic architecture—and and section. Leaning backward and forward as juice is exactly what the New York City 2012 they curve across the site, and mixing in typology, Committee got when officials announced in May the buildings generate an energy field whose vec- that Thom Mayne’s Morphosis had won an tors lead north toward a dense urban nexus of invited competition to design the Olympic Village apartment towers surrounding an urban square. proposed by the city in its bid to capture the Alexander Garvin, NYC2012’s director of plan- 2012 Games. ning and design, asked the five competing architect The proposed village would be located just teams “for a new kind of plan,” he says, “and a new opposite the United Nations in Hunters Point, standard for housing.” Morphosis’s subsequent plan Queens, on a former industrial site bounded on inventively breaks free of precedents, using archi- two sides by the East River and Newton Creek. Mayne has made a 43-acre park, designed with landscape architect George Hargreaves, the central organizational feature of a 52-acre com- plex of mixed-use buildings, 4,500 apartments, and Olympic facilities that, after the games, would convert to market-rate apartments and community facilities. The park’s design includes wind-protective berms and creases, whose fluid spaces are shaped by what are effectively horizontal, undu- lating skyscrapers. Mayne carefully breaks and elevates the blocks to achieve view corridors to the East River and the Manhattan skyline, while Morphosis’s design breaks free of right angles. easing the park on a slope down to the Newton Creek, where the design team cultivate an inti- tecture as an urban design tool to create a highly mate relationship with the water via boardwalks active, people-centered urbanism. set among abundant vegetation. Along the East Garvin is sanguine that if the bid for the River, the design includes docking facilities and Olympics fails, the numbers—“If I do my job a recreational pier, which protects a welcoming properly”—will justify building an adapted ver- beachhead. sion of the plan that goes forward on a market The complex’s buildings, which strongly basis. Even without the Olympics, Queens West recall Corbusier’s Unités d’Habitation, reinvent will still have juice. Joseph Giovannini introducing au s t in™ by Muschamp leaving post as Times architecture critic New York Times architecture critic Herbert them, and some don’t.” robert chipman, ASLA Muschamp will be moving to a new beat, confirms Landman would not say when the move a source within the paper. will take place. He added that Muschamp had Culture Desk editor Jonathan Landman been thinking of changing assignments for told RECORD that Muschamp decided “he’s been some time, although he could not remember doing it long enough, and he wants to do some- when he and Muschamp had first discussed I M A G E : C O U R T E SY N YC 2 0 1 2 thing else.” Landman notes that Muschamp’s the topic. The last conversation came the week move will be of his own volition, and says that of June 7, he says. landscapeforms.com he was not at all displeased with the critic’s A source at the Times has confirmed performance. that Nicolai Ouroussoff, who is currently the 800.430.6208 “I thought he was a great critic who Los Angeles Times architecture critic, has engaged a lot of people in the subject who been named to take over the position. At press CIRCLE 21 ON READER SERVICE CARD never knew they were interested in it. The thing time, it had not been determined when he willOR GO TO WWW.LEADNET.COM/PUBS/MHAR.HTML about critics is that some people agree with assume the new post. S.L.
  12. 12. Record News The plan features a circular boardwalk. and the port during several false starts at redeveloping the area over the past eight years. The Sasaki/Quigley team disre- garded competition rules by preserving a historic police headquarters building on the site slated for partial demolition, and by envisioning a grassy, 6.5-acre park that challenged expectations, pro- posing to dredge old landfill to create an iconic mini harbor encircled by a 3,600-foot-long Arc Walk. Proposed attractions within the arc include a San Diego approves designs to sandy beach, a floating stage, and boat revamp its waterfront slips. More study is needed to deter- mine if this wide, circular boardwalk will Following the June 8 approval by the San Diego float on pontoons or be designed to double as a Unified Port District commissioners, a prominent breakwater, and how boats will traverse the arc. 25-acre section of downtown San Diego’s Owen Lang, of Sasaki’s San Francisco waterfront will be redeveloped with a circular office, had previously led public waterfront plan- boardwalk, new parkland, and commercial ning workshops for the port; he was able to development to reunite a part of the city now contribute extensive knowledge to help attract blocked from San Diego Bay. The plan was residents and tourists to a zone now dominated developed by Sasaki Associates/Rob Wellington by high-rise hotels and a mile-long convention Quigley, FAIA, which also had the unanimous center. vote of a four-person competition jury and over- “Owen and I agreed to approach the com- whelming public support. petition as an academic enterprise, regardless The commissioners’ decision to endorse of the rules, regardless of the restraints, which the proposal marked a change in the port’s made it really fun,” says Quigley, who is based development strategy, which has been mostly in San Diego. Though the proposal will be piecemeal and revenue-driven. It also may have refined, the cost is estimated at $213 million. quelled contentiousness that developed among The port will soon issue a request for proposals residents, businesses, historic preservationists, from potential developers. Ann Jarmusch Planning under way for new Toronto waterfront door hardware It is a running joke in Toronto that the city has been trying to improve its waterfront as long as it has accessories • hinges had one. But the completion in May of urban design and land-use plans for two new downtown neigh- cabinet hardware borhoods has opened the door for construction to begin as early as 2005. The “precinct planning,” as it has been termed by the Toronto Waterfront Revitalization bath hardware Corporation, began last year with the selection of Boston-based Koetter Kim and Associates as design window & patio door I M A G E : C O U R T E SY S A S A K I A S S O C I AT E S lead for the 80-acre East Bayfront neighborhood, and Pittsburgh-based Urban Design Associates as classic series lead for the 90-acre West Donlands areas. Both areas are currently underutilized industrial locations designer series barely a mile from the heart of the city’s downtown and adjacent to Lake Ontario. Koetter Kim’s East Bayfront plan envisions the neighborhood as a significant public destination detail from the Fleur de Lis Collection year-round, with an aquarium or winter garden, and housing anchored by a commercial boulevard. The part of the designer series scheme includes varied parcel sizes meant to encourage the involvement of smaller developers. Meanwhile, Urban Design Associates’ plan for the West Donlands creates a neighborhood of 6- to 7,000 apartments and town houses organized around a 15-acre, elliptical park. The plan uses a system of laneways and includes innovations such as consolidated underground parking to allow for more StoneRiverBronze.com efficient infrastructure. High-rise towers will surround the park. Andrew Blum CIRCLE 23 ON READER SERVICE CARDOR GO TO WWW.LEADNET.COM/PUBS/MHAR.HTML