An Ultimate Destination for Naturalists

 

Theodore Roosevelt Presidential Library Competition

 

Aerial view ©Snøhetta

 

Until now, the establishment of presidential libraries at the conclusion of their terms has followed the founding of the Franklin Delano Roosevelt Library after World War II. The first exception to this was the Herbert Hoover Presidential Library, established in 1962.* Now a

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The Eisenhower Memorial: Sending Mixed Messages?

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The Eisenhower Memorial: Sending Mixed Messages? by Stanley Collyer

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Preface

Since this article was written, several events have occurred which have changed our perception of the final design process. Frank Gehry went back to the drawing board and has modified his memorial design, eliminating some of the columns which we objected to at the edge of the site (January 2011, see above). One may only hope that the tapastry design element, which the Arts Commission still has some reservations about, can be resolved successfully.

More recently, a group called the National Civic Art Society in Washington has issued a call for another Eisenhower Memorial competition for the same site. Apparently stuck on the idea that everything in Washington near the Mall should be in the Beaux Arts traditional style, they take offense that the Gehry design does not meet their standards of what a memorial to Ike should look like. Although probably well-meaning, this group evidently would like to turn back the clock on progress in this field. They would like to erase from memory all the advancements in new materials and ideas which have surfaced and been implemented over the past century. Is it then surprising that not one architect on their board is a national name (Most of their members are laypersons). Although their competition will undoubtedly draw some entries, it should hardly be taken seriously, much less receive any attention from the press. What they are doing is adding nothing to a positive dialogue about architecture in this country—only attempting to set it back by decades. -Ed

Frank Gehry’s preferred idea for the Eisenhower Memorial was one of three proposals which the firm presented in March 2010 to the Eisenhower Memorial Commission after prevailing in the earlier selection process. Although not touted as a pure competition by the Memorial Commission, the original selection process in 2009 was typical of the General Services Administration’s Excellence in Architecture program, often used to adjudicate the design process for government projects such as federal courthouses.

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A Tribute to Eisenhower

Night view of the memorial tapestry from Independence Avenue, with Gehry’s sketch of the Normandy cliffs.

 

Explaining the contributions of a World War II hero and later President of the United States on a very modest site on Independence Avenue just off the Washington Mall is tantamount to asking an author to describe

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Houston Endowment Competition

 

View to winning entry ©KDA

 

Foundation non-profits are no strangers to good architecture. Ford Foundation’s forward-looking headquarters in New York City by Roche Dinkeloo was an early example of a non-profit using architecture as a vehicle for serving to brand it as a progressive institution. In 2001 the California Endowment went one

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A New State Archive in Kitzingen, Germany

 

1st Place – gmp Architekten Photo: ©Hans-Joachim Wuthenow, Berlin

 

As part of a policy to relocate archives of local interest outside of major Bavarian cities, a competition was staged for the design of a new archive in Kitzingen, 12 miles from the provincial capital city of Würzburg, Germany. The competition was

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Transforming Buffalo’s DL & W Rail Corridor

 

 

 

Reconstituting an Abandoned Rail Line

 

 

Aerial view: courtesy WNYC

 

The Rails to Trails program, which gained momentum after the1984 Federal Land Banking Law—supported by the Rails-to-Trails Conservancy—has seen over 24,000 miles of trails established where rail lines once existed. Some sites were strictly urban, while others, sometimes

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Spreebogen Takes a Final Lap

Plans for the Final Expansion of Schultes’ Federal Chancellery Building

Aerial view with new addition at bottom of site (Image © Schultes Frank Architekten)

 

The reunification of Germany in 1989 not only had a great impact on the lives of many Germans, especially those living in the former DDR, but together with

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Paying Homage to a Storied Parliament Building

The Reichstag Visitors Center in Berlin/Tiergarten

Winning entry by Markus Schietsch (Image ©Markus Schietsch Architekten)

 

If ever there was a pressing need for a facility acting as arrival feature and processing point for a world-renowned landmark structure, a Visitors Center for the Reichstag had to be at the top of the list.

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Taichung Tower 2 Competition

 

A Final Building Block for the Taichung Cultural Center

 

Night view of tower ©Elizabeth de Portzamparc

 

Everyone is well aware of the measures one encounters when entering almost any tower, residential or office, in this era of high security. We are not just talking about protecting the occupants of a residential

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Interview: Axel Schultes (Spring 1997)

 

with Stanley Collyer

 

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Bundeskanzleramt Berlin Competition (1996); Completion (2000) Photo: courtesy Schultes Frank Architekten

 

COMPETITIONS: In our last conversation, we talked about the whole issue of Berlin’s identity and what approach one should use in reconstructing the urban fabric between East and West—where the wall used to be.

 

Axel Schultes: Maybe I learned something during a recent lecture I gave in Palermo (Italy). Afterwards, some German specialists in philosophy and German thinking—brilliant people, I must say—came up to me and said, ‘What you said about Berlin and what you are doing there with the Federal Chancellery (Bundeskanzleiamt), for us is what Ernst Bloch and Walter Benjamin talked about, especially when they looked at Italy and the cities in Italy. We noticed immediately in your work that (same) issue of porosity.’ Both used this term: Benjamin wrote a small article on Naples, and Bloch wrote about Italy as a whole.

 

We always had a tendency to avoid the term, ‘transparency.’ Transparency is usually the use of glass to make buildings less alienating to someone outside. But for us, glass is no material to create spaces; so transparency as we see it is depths of spaces or layering. Porosity is something much more precise—what we strive for. We wanted the same effect in Friedrichstrasse (Interior Mall): it should not be this close-up thing of the Galeries Lafayette (Jean Nouvel) or Ungers, where you only have some holes in it. Porosity for us is like a sponge—to enable a building to fill up with life, to turn a private space into a public one by penetrating it with a public space. The old buildings in Berlin are examples of this, with two, three, sometimes even four interior public spaces.

 

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Berlin Baumschulenweg Crematory (1993)

 

 

COMPETITIONS: You are referring to the interior courtyards (Hinterhöfe)?

AS: Yes. Nothing of this sort exists anymore in Berlin. Most buildings (at the street) are flat, sometimes elegant, sometime ugly. The Galeries Lafayette, with all its glass, is as closed (to the outside) as one of Unger’s sandstone buildings. It’s the same issue in the construction of every building. Take, for instance, the Berlin Schloss (the palace in the center of Berlin), which was completely demolished after WWII, and which some people think should be resurrected. This has been on our mind constantly.*

 

It would be such a contrast to urbanism—needing to punch holes in it to get inside—open to all the people and all walks of life. I can give many examples of this, for me very northern, very restrained, very alien to everything which infuses a culture with life. All the people here like Kohlhof, Ungers, Kleihues, etc.; all have that tendency of closing. Even Libeskind—and maybe he doesn’t think about it or want to have it appear in such a manner—does it with the Jewish Museum where there is no penetration. There is always this hiding, this animosity to the urban fabric. They are not interested in breaking it up.

 

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Bonn Art Museum – Competition (1985) Completion (1992)

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