Tag Archives: architecture

Livening up Modernist architecture with public art

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While recently taking an architecture tour in Chicago, I was intrigued by two scenes in the Loop: the Alexander Calder piece “Flamingo” in front of Mies van der Rohe’s Kluczynski Federal Building and the and Picasso’s sculpture in front of the Richard J. Daley Center. Here are the two sites:

ChicagoPicasso

CalderFlamingo

Both sites feature a similar set-up: modernist buildings on superblocks surrounded by large concrete plazas. On one hand, these could be dead zones as Americans tend not to like such spaces, particularly in cold weather or in the shade. But, introducing a little bit of color and disorder through the art compared to the repetition of the modernist buildings leads to a pleasing contrast. Both sculptures are tactile, particularly the Picasso one where kids were climbing on its lower levels. Americans tend not to not think modernist structures are worth of preservation or landmark status but it is hard to imagine these pieces of famous art working so well in front of different buildings.

Chicago does some interesting stuff with public art but I still wish more cities would engage in more projects like this in public spaces. What is there to lose?

Attempts to make cellphone towers look like trees may or may not work

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Cellphone towers are ubiquitous parts of the modern landscape. Trying to make them look like trees…can be interesting.

South African photographer Dillon Marsh‘s compact photo series (all 12 Invasive Species images featured here) is a meditation on the weird, and small, variations of design in tree cellphone towers.

“In certain cases the disguised towers might not be noticed,” says Marsh. “But then an undisguised tower might not have been noticed either.”

An important chapter in the history of tree-shaped cellphone towers was written in South Africa. In the mid-’90s, Ivo Branislav Lazic (who worked for a telecommunications service company called Brolaz Projects) and his colleague Aubrey Trevor Thomas were commissioned by Vodacom to solve the visual pollution problem cellphones presented.

Lazic and Thomas came up with the world’s first palm tree cellphone tower. The Palm Pole Tower, made from non-toxic plastics, was installed in Cape Town in 1996…

Meanwhile, in the American Southwest, fledgling company Larson Camouflage was responding to similar style-sensitive network companies. Larson makes scores of different “trees” but it kicked everything off in 1992 with a naturalistic pine that concealed a disagreeable cell tower in Denver, Colorado. To dress up a cell tower in plastic foliage can cost up to $150,000, four times the cost of a naked mast. Marsh is skeptical about the need for high-tech camouflage.

My first thoughts in seeing these South Africa pictures is that the camouflage doesn’t look too bad. However, the towers/trees are simply too tall and don’t blend into the landscape. This is not a matter of bad design; the tower is taller than everything else.

This gets at a bigger question: why does this infrastructure have to be covered in the first place? We want cell phones but we don’t want to see the technology that it requires? I’m reminded of this sometimes when traveling into neighborhoods in Chicago. In many of these places, there is a tangle of electrical lines, alleys, and poles (street lights, signs, police cameras, traffic lights, etc.). Compared to the Loop or suburban neighborhoods which are more spread out or places where electric lines are buried, this can look ugly. But, it is part of city life and would be quite expensive to eliminate.

This doesn’t mean we have to settle for ugly cell phone towers. But, the alternatives may not be so great either.

Arguing over Frank Gehry’s plans for the Eisenhower Memorial illustrates the social construction of memorials

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Architect Frank Gehry’s designs for the Eisenhower Memorial in Washington D.C. are drawing criticism. Curbed sums it up:

Anyone who still believes that “any press is good press” doesn’t know a thing about Frank Gehry’s plans for D.C.’s Eisenhower Memorial, which, ever since renderings were released for public fodder well over two years ago, has attracted a publicity buzz not unlike flies swarming a dying animal. Indeed, the memorial’s most hyperbolic and outspoken critic, the National Civic Art Society, has called Gehry’s plans for an architectural memorial park—which, with 80-foot columns and woven steel tapestries, is as nonlinear and flourished as the rest of his oeuvre—”sentimental kitsch,” “a temple to nothingness,” and a “behemoth [that] commemorates Gehry’s ego, not Eisenhower’s greatness and humility.” President Eisenhower’s grandchildren have spoken out against the design, as well, most recently calling it “regretfully, unworkable.” Oh, and don’t even get them started on those tapestries, which have been likened to the stuff of Communist regimes, derided as an “Iron Curtain to Ike,” and described by the NCAS as “a rat’s nest of tangled steel, a true maintenance nightmare.”

This week, Congress joined the clamor: Rep. Rob Bishop, a Republican from Utah, has just introduced legislation that would officially halt all of Gehry’s efforts and start the whole process afresh. Rep. Tom McClintock (R-Calif.) chimed in: “I want to know how we came up with this monstrosity.” This, of course, has ruffled a whole other set of feathers, namely those of the American Institute of Architects, which has said in a statement that the bill “is nothing more than an effort to intimidate the innovative thinking for which our profession is recognized at home and around the globe.”

This highlights the socially constructed nature of memorials. What are they supposed to look like? To know, we often look at genres. We have memorials that celebrate war victories and they look a certain way: perhaps a big arch, perhaps a leader on a horse. We have memorials to celebrate the loss of life and the ambiguous outcomes of war. See the Vietnam War Memorial or the Memorial to the Murdered Jews in Europe in Berlin. These public discussions can help ensure the public or leaders get what they want out of the memorial but might also stifle innovation.

In addition to this issue of genre, I see a few other issues in this criticism:

1. Why build a memorial for Eisenhower in the first place? Is it for his actions as president in being in charge during a time of prosperity or is it for his leadership in World War II (though we tend not to honor generals in these large ways anymore)? Here is the reasoning courtesy of the official website: eisenhowermemorial.gov.

Why honor President Eisenhower with a Memorial?

Congress approved the Dwight D. Eisenhower National Memorial in 1999 with the passage of Public Law 106-79, signed into law by President Clinton. The Eisenhower Memorial Commission is entrusted with the task of building an enduring memorial honoring Dwight D. Eisenhower as the Supreme Commander of the Allied Forces in Europe during World War II and the 34th President of the United States. Eisenhower understood war as only a soldier could and believed the possibility of a nuclear or thermonuclear, World War III, would be unwinnable for mankind.  He set in place a strategy for winning the Cold War, that was followed and implemented by future Presidents until the collapse of the Soviet Union.  Eisenhower’s prescience and his strategic understanding of science and technology in establishing the United States as a pre-eminent world power was essential to securing freedom for generations of Americans to come. Eisenhower was influential in bringing World War II to an end and his efforts throughout the War, especially with the planning and execution of D-Day, stopped the Nazi war machine. He also ended the Korean War and maintained active communications with the Soviet Union during the Cold War.This Memorial will not only tell the story of Eisenhower, the young man from Kansas who became a great soldier, a U.S. President, and a world leader, but will also reflect the story of America – humble, isolated beginnings, and a rapid ascension on the world stage.  His example is an inspiration that, through leadership, cooperation, and public service, we too can achieve the American dream and make a difference in the world.  Eisenhower, like America, rose to the occasion with courage and integrity.With the 60th Anniversary of his election to President and the 70th anniversary of victory in World War II, it is fitting to celebrate Eisenhower´s numerous accomplishments as a General, President, and world citizen. Dwight D. Eisenhower´s dedicated service to his country spanned 50 years. It is appropriate that the first national presidential memorial of the 21st century will honor President Eisenhower.  If there was ever a moment in our nation’s history to recognize a leader committed to both security and peace for the good of his nation and the world, now is that time.

How many presidents will receive memorials like this? How many should and who gets to decide?

2. I wonder how much of this is tied to Frank Gehry as architect. Gehry has a particular approach to structures. What if it was a lesser-known architect or even an unknown? Back to the official website:

How was Frank Gehry selected to design the Eisenhower Memorial?

Mr. Gehry was one of four finalists in a competitive process  managed by GSA under the guidelines of the General Services Administration Design Excellence Program.  The process consisted of three stages.  A notice was published in FedBizOpps announcing the opportunity for any designer with an existing portfolio to compete for the project.  Submissions were received from forty-four qualified design firms in 2008. Evaluation factors included previous work, ability to work within the constraints of an urban site, interviews, and responses to the memorial´s pre-design program. That program addressed Eisenhower´s accomplishments as well as the physical parameters of the memorial site. Mr. Gehry´s creativity, ingenuity and inventiveness demonstrated his understanding of Eisenhower as a General, President, and world citizen. An independent panel of reviewers, including Commissioner David Eisenhower, reviewed the presentations by the final four designers and recommended Frank Gehry.  The Eisenhower Commission unanimously accepted their recommendation.

3. How much should the family of the memorialized person be involved? Curbed cites the family’s dislike for the structure. But, isn’t the memorial more for the people of the United States? This is a matter of competing interests.

4. I wonder if there are any critics of Eisenhower’s presidency who might object loudly to the design of the memorial. The Eisenhower administration wasn’t perfect…

In the end, this memorial partly reflects something about Eisenhower himself but also strongly reflects our understanding of Eisenhower from the years 1999 when the Memorial process started to 2016 when the project is supposed to be done.

Look for new wood skyscrapers in a big city near you

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According to one architect, skyscrapers are typically constructed of unsustainable materials and could instead be built out of wood.

Modern skyscrapers are typically made from concrete and steel, but as architect Michael Charters suggests, wood could be a viable construction material for tall buildings that would have a lower environmental impact. Charters recently designed ‘Big Wood,’ a prototype for a large-scale skyscraper made from wood for the 2013 eVolo Skyscraper Competition. The sprawling mixed-use complex would serve as a sustainable alternative to standard building materials, which are expensive and require a great deal of energy to produce.

The construction industry accounts for about 39 percent of all man-made carbon emissions—a figure that would be greatly reduced if more buildings, big and small, were made from timber. As we learned in high school science class, trees have the ability to capture and sequester carbon, and they continue to store carbon when used as a building material. Recent studies have demonstrated that it is possible to build 20- to 30-story structures from timber, writes Charters, and hybrid systems would enable builders to build even taller buildings.

Charters’ ‘Big Wood’ concept is a prototype for a large mixed-use university complex that would be located along the Chicago River in Chicago‘s South Loop. The mixed-use development would contain a mix of housing, retail, a library, and a community park. “Known as the birthplace of the skyscraper, Chicago is an optimal location for a prototype in mass timber construction,” writes Charters. “Similar to the rapid innovation in building technology that occurred in the early 1900s, ‘Big Wood’ is positioned to be a catalyst for a new renaissance in high-rise construction, changing forever the shape of our cities.”

I would have to know a lot more about this before I would allow 20+ story wood buildings in my city but the Chicago plans look cool.

Just how much wood do these buildings require?

How a developer of big homes differentiates his homes from McMansions

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Few builders are aiming to have their new big homes labeled McMansions. Here is how one developer describes how his new homes differ from McMansions:

According to brothers Taylor and Milton Chamberlin, the goal for the Georgian style homes is for them to be an alternative to “McMansions.”

“We really take our time to design the homes to fit in the neighborhood. We’re not builders that come in and put this huge McMansion in a small neighborhood where it doesn’t fit. That’s not what we do,” said Taylor. “All of this is really thought through and it’s really livable, usable space. It’s not those McMansions where you walk in and wonder, ‘What do you do in this room?’”

The base model runs around $1.4 million and features four bedrooms and 4.5 bathrooms, with the possibility of another bedroom and bathroom on an additional level. Costs will vary based on the different lot sizes and individual add-ons the purchasers want in their homes…

Another goal is to foster a 1950s sense of community among the owners of the nine properties, in which everybody knows and interacts with their neighbors. The homes will only be accessible via a private road and there will be a small fence around the subdivision…

The brothers noted The Barrett Companies’ effort toward green building and energy efficiency. From better insulation and caulking to installing appropriate outlets in the detached garages for plugging in an electric car, the Chamberlins believe small touches make their properties stand out.

These are big new homes that at first glance might fit several traits of McMansions. But, here is the argument the developer uses to say their homes are not McMansions:

1. The homes will fit the neighborhood. Critics argue McMansions, particularly teardowns, can disrupt the character of existing neighborhoods.

2. The home is not just about space; it is about well-designed and usable space. One argument about McMansions is that they provide lots of square footage but this is often contained in cavernous rooms or in poor layouts that are difficult to utilize in day-to-day life.

3. They are hoping to promote a community atmosphere in their small development. I wonder if this is primarily a function of size; the fenced-in neighborhood with a private road will only contain nine homes.

4. These homes will be greener than normal big homes. McMansions are often said to about excessive consumption and part of sprawl.

5. There will be a consistent design scheme with Georgian architecture and detached garages on the private road away from the streets surrounding the neighborhood. McMansions are criticized for mixing architectural styles.

In the end, I wonder if a majority of buyers and critics would think these reasons are enough to separate these homes from McMansions. These are still big homes in the midst of suburban neighborhoods. They may be more consistent and be less mass-produced but are they different enough?

“Exporting the McMansion” to China

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A principal in an American architecture firm discusses the McMansions his company has designed in China:

Market researchers in China say that these buyers prefer styles (derived from) the old houses in France and England. The people feel that the styles of the English and French are more “wealthy looking” than Spanish or Mediterranean styles. Think of “Downton Abbey” or Fontainebleau. Those are perceived as the homes of royalty. Homes in Spain or Italy, they perceive those homes as more casual…

The villa houses we’re building are generally 3,500 square feet to 7,000 square feet, and that excludes the basement, which isn’t usually included in the salable square footage…Some of these homes are being purchased by investors and some of them will be second homes. Lagoon Manor, for example, is a 600-unit development we’re doing that’s in the northeast part of Beijing, though from the heart of the city it’s about an hour-and-a-half drive because of the traffic…

The homes are of concrete construction. Even the roof pitches are concrete panels — there’s almost no wood in the construction.

The interiors are built to a European construction model. You buy the shell and finish the interior yourself. The outsides of the homes are completely finished, but you open the front door and it’s a light bulb.

This discussion suggests there are some similarities between American and Chinese McMansions. They are purchased by people who want to show wealth and the architecture is intended to connect the style of the new home to established “high-class” styles. The homes are quite large and expensive. However, they are constructed differently: it is more of a concrete shell that the buyer can then customize in pieces (IKEA is mentioned). While the discussion doesn’t mention this, I assume these homes are less common in China than the United States and so are still more unusual.

Indeed, it would be interesting to see what remains the same and what changes and why when the American McMansion becomes another global export.

Zappos CEO says office space should be designed like cities

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Zappos CEO Tony Hsieh argues office space would work better if it were organized like cities:

Tony Hsieh talks about his Internet juggernaut Zappos in the same way that urban planners talk about cities. In fact, the language is uncanny. He believes the best ideas – and the best form of productivity – come from “collisions,” from employees caroming ideas off one another in the serendipity of constant casual contact.

This is only achievable through density, with desks pushed close together in the office, or – in the case of Hsieh’s ambitious plans to leverage the new Zappos headquarters to remake downtown Las Vegas – with company employees and community members colliding into each other on the street. For the kind of “collisionable” density he’s looking for in downtown Vegas around his company, he figures the neglected area (not to be confused with the Vegas Strip) needs at least 100 residents per acre…

The typical office has about 200 or 300 square feet of space per employee. When Zappos moves into its new headquarters in the former Las Vegas City Hall in about six months, Hsieh is aiming for something closer to 100 square feet per employee. He’s also planning to decommission a skywalk into the building to force people to enter through (and collide with) the street.

In the context of offices, this kind of density bucks conventional wisdom. Most companies think employees will perform best, or at least be happiest, if as many of them as possible can have their own spacious corner office (with closable door!). This thinking has even influenced the architecture of office towers.

“That’s analogous to people wanting to live in the suburbs and live in a big house,” Hsieh says. “And what they don’t realize is that they end up trading two hours of commute time for more time with friends or relaxing or whatever.”

Interesting comparisons: corner offices are like suburbs. While Hsieh cites research, how come other companies haven’t figured this out yet? I also wonder if this is more about corporate cultures established in more traditional firms versus newer startups or high-tech firms. This reminds of a video I show in my Introduction to Sociology class to illustrate the differences between more bureaucratic structures and more flat, disc-shaped structures. In the clip from Nightline, the design firm IDEO is shown working through designing a new shopping cart. The atmosphere is both less hierarchical in terms of authority and space; people seem to be closer together and common collaborative space is important.

This conversation also lines up with talk on college campuses about interdisciplinary research and collaborative activity. Just how much can redesigned offices and common spaces contribute to this? Are we missing something major by building office buildings more like suburbs than cities?

Architect Jeanne Gang opposed to sprawl

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An interview with Chicago architect Jeanne Gang, designer of Aqua in the Loop, reveals her dislike for sprawl, and, along the way, the designs of Frank Lloyd Wright:

“Urbanization is the huge issue of our time,” she says. “We can’t survive if we can’t solve the problems of population growth, loss of clean air and water and loss of biodiversity.”

Gang and her firm, Studio Gang Architects, are pioneers in ecological urbanism, a field of design that considers rising populations and dwindling resources. Cities are key laboratories, and Gang says they must become denser and more nature-friendly.

She hasn’t hesitated to take on global icon Frank Lloyd Wright with her anti-sprawl approach. Chicago’s — and America’s — most famous architect spent decades promoting single homes on suburban lots where residents would savor nature far from downtowns and connect with society in cars.

“I want to turn Wright’s legacy upside down,” Gang says with no hint of doubt. “The way to be ecological is not by spreading out. It’s by clustering together. It’s by having a better relationship with nature in the city than you can have in a far-out suburb.”…

Taking on Wright is not an easy task. While he may have designed a number of single-family homes, he also designed a mile-high tower. Particularly in Chicago, Wright is someone revered for his ability to design in a Midwestern sort of way, drawing upon prairie influences and helping Chicago grow up. But, I’m sure Gang could find many people who agree that sprawl uses too many resources. Additionally, if new designs like that of Aqua can be more ecologically friendly, attract residents and business, and give cities iconic buildings, city leaders are likely to see this as a big win.

The “extreme architecture” of “a drone-proof city”

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With the recent talk about drone use, here is an interesting thought exercise: how to best build a city that limits the reach of drones?

Kohn’s envisioned drone-proof community, which he calls “Shura City,” is a thought experiment, a provocation (shura, Arabic for consultation, is a word associated with group decision-making in the Islamic world). It’s a self-contained environment with elaborate architectural devices designed to thwart robotic predators overhead. Minarets, along with the wind-catching cooling towers called badgirs, would obstruct the flight path of the drones. A latticed roof, extending over the entire community, would create shade patterns to make visual target identification difficult. A fully climate-controlled environment would confuse heat-seeking detection systems. He has not included any anti-aircraft weapons in this scenario…

Kohn writes in his proposal that he envisions Shura City as a brick-and-mortar response to a 21st-century conundrum, a world in which war is ill-defined and combatants on both sides live in an extrajudicial limbo…

Kohn says that he thinks it is a duty for his generation to challenge the newly mechanized means of warfare that have become routine over the last 10 years. “If people are going to create new and exciting ways to kill people, I think there’s no harm in pushing the envelope of peace technology,” he says. Imagining Shura City is part of Kohn’s personal response to that challenge, a way to hack the machines of modern war.

“There is a deliberate impudence to the City,” he wrote to me. “Drones rely on data mining of individuals and tracking of individuals, kind of like Facebook. The City hides the individual in the embrace of the community, using human traits drones cannot understand as protection. The City subverts the aggressor.”

Peace architecture vs. war architecture. Cities with the ability to hide people vs. the ability of drones to find people. There are some interesting contrasts here. Many urban sociologists like to promote public spaces where people of all backgrounds and circumstances can share physical settings (see the example of The Cosmopolitan Canopy by Elijah Anderson). But what happens if the public spaces that perhaps mark democratic society are places citizens are afraid of being spotted from above? Can cities more closed to above still be open in the sense that we think of them?

While this particular example may be far-fetched, it wouldn’t surprise me if some cities around the cities attempt to limit the effectiveness of drones.

Celebrating “a cathedral for commuters”

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Grand Central Terminal is 100 years old and NPR provides part of its story:

Seven is one of the 750,000 people who walk through Grand Central every day. To put it into perspective, that’s more people than the entire population of the state of Alaska — a handy fact you can learn from Daniel Brucker, an enthusiastic New Yorker who’s managed Grand Central Tours for the past 25 years…

Fortunately, the Vanderbilt family, who owned the New York Central Railroad, had the money. And what they built was a 49-acre rail complex with more tracks and platforms than any other in the world. The buildings on Park Avenue, to the north, are built over it. And it’s an almost unfathomably busy place — during the morning rush hour, a Metro-North commuter train arrives every 58 seconds.

“It’s like a cathedral that’s built for the people,” Brucker says. “We’re not going through somebody else’s mansion, through somebody else’s monument. It’s ours. It’s meant for the everyday commuter, and it’s a celebration of it.”…

“It is the largest interior … public space in New York,” Monasterio says. The windows on the east and the west side, those windows used to open, they used to draw air from the east side, through the terminal, over and out the west side.”

Having been there a few times myself, it is a remarkable building. Public spaces that are so crowded, functional, and well-designed are rare.

It would be interesting to hear more about how Grand Central fits into the fabric of New York City. On one hand, it seems like quintessential New York: classical exterior, busy space, busy yet functional. At the same time, it doesn’t exactly fit with Midtown Manhattan and the modern skyline. It is a relic of the past, a building that had to be saved through the first federal conservancy act from the 1960s.