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16
ARCHITECTURAL RECORD
OCTOBER 2011
COMMUNITY FEEDBACK , CONTRIBUTIONS, AND COMMENTARY FROM OUR READERS ARCHITEC TURAlRECORD.COM
( READER PHOTOS ]
[COMMENTSANDLETTERS ] While a student at Columbia, 1 worked on the original presentation model for Battery Park City at the old Cooper Eckstut office at Rockefeller Center over winter bæak. It was a great ìntroduction to New York , and it's great to see the project fully built. By the way, the other model we were working on at t he same t Îme was for the redevelopment of the Port Authority. Still waiting tor that one!
-Alex Lamis , partner, Robert A.M. Stern Architects The urban planning within the encJave may have been okay, but- not to put too fine a point on it-where was the architecture in a11 of this? The buildings in Battery Park City are universally bland. Cesar Pelli's winter garden is a cJumsy collision of unresolved geometries that looks like an afterthought. But worst of all, the West Side Highway e仔ectively separates this place 仕om the city. It is a ghetto, albeit a wealthy one. 一Anonymous
Funny t hing is, when I'm in Battery Park City, 1 always exp ect to hear muzak playing in the background, even on the sidewalks. lt's shoppingmall design retooled for bland habitation .
-Anonymous
[ CORRECTIONS ] In the article "High'Performance Concrete Gets a Makeover" [RECORD, May 2011 ], we reported that six years ago the Carpinteria. Californiabased manulacturer Forms+Surlaces determined that ultra-high-performance concrete (UHPC) was not at that time available lor commercial applications. The article should have noted that Ductal, a UHPC developed by Lalarge, has been commercially available since 2000 The article "Investments in Public Architecture Pay 011 for the City" [RECORD, September 20111 should have listed Lee H. Skolnick Architecture + Design Partnership, in addition to 1100 Architec t. as the designer 01 the Queens Central Li brary Children's Discovery Center. In our story "Making Waves in the Skyline" [RECORD, September 20111 , the photo on page 9B was shot by James Ewing.
For l11e Battery Park City has literally b ecome the fulfi11ment of a dream. 1 worked at Cooper Eckstut on the l11aster plan in 1980-81, and became so invested in imagining what this a ll might become that 1 would dreal11 ofit at nigh t. The reality is r emarkably similar to what 1 co勾ured， though on the whole 1 do wish t he architecture was better. Despite a11 ofthe protestations listed above , it is in my mind a fine , urbane en vironl11ent that 1 am sure over t ime will develop character and patina. Perhaps the relative tranquillity is offensive to some, but it can also be a welcome respite from and complement to the a司jacent bustle ofLower Manhattan. Alvar Aalto said t hat it takes 30 to 40 years for buildings to adapt and prove their worth to the point that they really become architecture_BPC , though far from perfect, is on its way; given t une , car飞 the right ar chitectural tweaks, linkages, and broader public usage , it will become an integra l and cherished part ofNew York. David N. Fixler
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Construction has begun,on the final piece of New York's Battery Park City, completing a 32-year-old master plan.
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I'M WRITING this letter on an iMac. 1just got off a call on my iPhone 4 1 stíll have a beloved old MacBook, but I'm cheating on it wíth an íPad 2. This is not a paid testimonia1. Like a lot of people connected to the design world , l'm merelya devoted member ofthe cult of Apple. The sad news at summer's end that Steve ]obs was resigning as the company's CEO felt like a watershed moment for our culture. It got me thinking, too, about]obs's complicated l-elationship to architecture Not long ago, 1 visited an architect's studio, a pr istine white 10ft with long rows ofwork tables topped by a battalion of gorgeous iMacs. What other b 1'a nd of compute1' could such an office possibly e l1lploy? The fï1'l1l is known fo1' se1'e ne, c1'isply detailed l1linimalist buildings; natu1'ally, the p 1'i ncipal a1'chitect is a devotee of Apple. He's sOl1leone who would deeply appreciate products so beautifully designed that they express exactly what they do, nothing D1ore. The idea behind Apple isn't that f01'11l follows function , but that each object is the ultil1late integration ofboth. Or as Yeats might well have put it. had he beheld an iPod, "How can we know the dance1' f1'o m the dance?" Yet t he 1'e is, as you know, a flaw in that seeming perfection, at least fo1' the field of architecture. For yea1's , Macs had to be adapted to run some ofthe top software architects use_ As much as practitioners might like the beauty and artful operation of Apple's computers, many have opted to equip thei1' offices with PCs. (The iPad, on the other hand, is turning up more and mo1'e at cJient l1leetings and building sites.) We can't forget that]obs has been a notable architectural patron. He cOl1l missioned Peter Bohlin, the 2010 AIA Gold Medalist, to create Apple's retail stores, including the stunning iconic glass cube for the New York flagship on Fifth Avenue. ]obs has been fascinated by design at least since his days as a college dropout. In a COHll1lenCement add1'ess at Stanford in 2005, Jobs, wh o grew up as a working-class k id , talked about the influence of a callig1'a phy class he'd audited at Reed College. He learned about typeface and later would carefully consider the fonts for the first Mac. He dreamed of encasing Apple 1 in blonde koa wood. W hen he sta1't ed the company NeXT, he got the celeb1'a ted gl-aph ic designe1' Paul Rand to create the logo. At Apple, he has regulariy haunted the studio of his chief designe1', Jonathan Ive. But some of]obs's decisions about a 1'chitecture have been controversia l. He h ired Bohlin to design a 6 ,OOO-square-foot house for his family-but wanted to build it on the site of his 14-bedroom onetime bach elo1' pad, a 1926 mansion in Woodside , Califo1'nia, by a 1'c hitect GEO耶 Washi吨ton Smith, the godfather ofSpan灿 Colonial R凹阳1 P1'ese1'vatíonísts we1'e out1'aged that he was eager to tea1' ít down. AfteI a long legal tug-of-war, during which Jobs let the house badly deteriorate , he was a llowed to demolísh it last Feb1'ua1'Y[RECORD, Apri12011J.
And h ís latest ar chítectural adventure， 仕le desígn of a gígantic new doughnut-shaped headquarters for Apple , is a lready drawing D1ixed 1'evíews. At the Cupertíno, Calífornía , city councíl meetíng wihe1'e he unveiled the scheme last]une, the ferociously secretive ]obs di曲't even mention the name of the arch出ct-though the Foster + Partners logo was on the drawings. In the Los Angeles Times , c1'itic Ch1'istopher Hawthorne called the 2.8 l1lillion-square-foot building fo1' 12 ,000 Apple employees "dogged ly old-fashíoned," akin to the 20th-centuly corporate office parks t hat tu1'ned away 企om u rban vitality 1 can imagine the conversations between ]obs and Norman Foster, the Lord ofthe Ring. Steve would love hea1'ing about Foste1" s ea1'l y mentor, the genius innovator Buckminster Fuller, who was a hero , too , ofStewart Brand, the guru behind the 1960s 讥斤tOle Eanh Catalog. In that same Stanford speech , ]obs cited B1'a nd's "bible." It was, he said, "sort oflike Google in paperback form , 35 years before Google came along It was idealístíc, and ove1'f1owing with neat tools and great notion s." Neat tools , g1'e at notíons-those símple words could be ]obs's legacy While Apple fanatics everywhere fret about the company's future without hím, a1'chitects especially can appreciate the Jobs ethos: How a design looks is inseparable from how it works.
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1þ
ARCHITECTυRAl
RECORD
OCTOBER 2011
25
NEWS IN PERSPECTIVE BY JAN-CARlOS KUCHAREK WES HIGH lI GHTS
[ GRAND OPENING ]
• Housing Solutions on View at Haiti Expo
Curtain Up on Viñoly's Controversial Arts Center
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IT HAS BEEN eîght years in the making, come in more than $15.8 million over budget, and been mired in litigation throughout its construction, but Rafael Viñoly's $44.3 million arts center in Colchester, England, finally opened its door s on September 25. The "Golden Banana," as it has been dubbed by the townspeople, is a 41 ,OOO-square.foot copper-and. aluminum-clad facility built fo1' the arts organization Firstsit巳 The Colchester council hopes the center will raise the profile of this provincial town with Roman 1'o ots , located jllst 60 miles outside ofLondOl1. Stemming from a 2003 invited competition organized by the Royal Institute ofBritish Architects, the project brief called for a multîstory building on a tight site adjacent to a bus station. In a controversîal move, Vîñoly submitted four schemes, two of whîch were not on the competîtion site. His Golden Banana proposal , housing all ofFirstsite's gallerîes and outreach f l1 nctions in a single cr escent-shaped volllme on open parkland to the east of the original site, caught the judges' imagination and won. Instea.d of designing a multilevel building that wOl1ld have required deep foundations-plus a f l111-scale archaeological dig to protect possible Roman remainsVîñoly developed a sîngle-story approach. "There was simply 110 money in the budget for [archaeological] works, so the project would have stalled at the outset," explaîned the architect. "Our one-story proposal was a 'light touch' . . . The building sits on curved concrete rîng beams over site fill, with any Roman remains preserved beneath, untouched."
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Viewa slide show 0" our website.
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LEFT: Dubbed the Golden Banana. the 41,OOO-square-foot bulldlnq Is clad In copper and aluminum. BELOW: A wide corridor cuts throuqh the curved , slnqlestory arts center. After construction started, in 2006, problems beset the pr句ect. The fiendishly complex geometry ofthe curved steel structure and huge cantilevered entrance canopy proved too much for contractOI Banner Holdings. Beams had to be reengineered on.site because of unacceptable deflections , and parts of the standing seam roof and guttering details failed. Instead of opening in 2007, the buîldîng was a leaking derelict shell by 2008. A year later, the contractor was kicked offthe project, embroiled in legal claims and counterι:laîms for budgetary overruns; these are ongoîng. The clîent managed to secllre additîonal fundîng and completed the building with a different contrac tor, four years late and with a budget that had risen considerably from the original $28.5 million. There is no den抖 ng， though , that the building is dramaticits horn-shaped golden curve contrasts with the Roman town's orthogonal urban grain, and its stepped section, reminiscent of Wrîght's Taliesin West, allows daylight deep înto the gallerîes. Unfortunately, Viñoly's grand gesture-the building's sweeping, single volllme-has been divided up awkwardly into lecture hall, gallery spaces, education rooms , and "destination" restaurant, all
"ashamed ofît," He also took linked bya wide corridor. It is interesting to note that the single exception to Viñoly's 6 percent fee claîm, even on the cost ovenun largest wall, on the south side, leans out at an angle of about 15 (Russell says the archîtect's fee degrees, which makes it less than amounted to about $1.58 million.) conducive to easily hanging artVîñoly, meanwhîle, has stayed work. As a result, the building's busy in Brîtain. His 25-strong London offîce îs working on a $316 bold, glintîng exterior might be considered more su ccessful than million, 37.story "Walkie Talkie" tower în London's historic core. its internal spaces Borough councillor Paul Smit h , And on the banks of the Thames who has supported the scheme River, work is proceeding on h îs $8.7 billion master plan for the throughout its long gestation, says the town has "come round" to 1930s Battersea Power Station. the new arts facility, adding that it The pr.句 ect is a beast-a 10 is "projected to b 1'ing in 1'evenlles million.square-foot mixed-use of over $3.2 million a year to the development with 2 mîllîon city." Colcheste1' member of square feet of office space, near甘 3,500 new apartments, and Parliament Bob Russell, however , called it "the ‘ golden blunder: commercial and leisure facilities. which disfigures and disgraces my The first phase is due to be com. hometown ," and declared himself pleted in 2016. •
26
ARCHITECTURAL RECORD
OCTOBER 2011
NEWS IN PERSPECTIVE BY DAVID HILL
[ EVENTS ]
Chicago Opens Its Doors
。 Viewa slide show 0" our websile.
has never been open to the public. Similarly. Frank Lloyd Wright￥ 1915 Prairie-style Emil Bach House. in Rogers Park. is ra rely open to visitors. Some sites, says Bouma. have more cultural than arιhitectural significance. For instance, the family-owned Fish Keg restaurant in Rogers Park is a simple brickand-formstone storefront with all imposing neon s ign , but it's been servmg 仕ied fish. shrimp , and c hicken to loyal customers for 60
years. Hungry Open House Chicago participants will be able to sample t he restaurant's homemade potato salad "Our model is a liu:le different from some of the other Open House events," says Bouma. "Even though architecture is a big part of it. we're not givi ng it top billing. We want to highlig ht some of Chic吨。's neighborhoods , notjust downtown. And we want people to see how build ings contribute to the commu nities." _
Cities around the world have Ia unched open house events ω a way to engage the public In architecture and design. S10ven阳's Chamber ofA何'hltec饵， an advocacy organizatlon. has taken the idea a step further, hosting an ol'en hoω'e featuring more than 100 sites throughout thecountη.
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Launched: 2007 Next: November 4-5. 2011 :!J '.品~
Launched: 1992 Next: September 2012 ABOVE: Desiqned by Frank Ll oyd Wriqht. the Emil Bach House (1915) is one of more than 100 sites that will be open to the publlc durinq the Inauqural Open House Chicaqo. LEFT: The neo-Gothic Flsher Bullding (1896), desiqned by Charles Atwood and D.H. Burnham & Company, is listed on the National Reqister 。f Historic Places.
Launched:2002 Next: May 17-19. 2012 Launched: 2008 Next: July 28-29. 2012 Launched:2011 Next: Nol yel scheduled
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Launched: 2010 Next: Oclober 8-9. 2011 Launched: 2007 Next: May 2012 ~~~ 飞鸟
Launched: 2000 Next: May 26-27. 2012
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FOR LOVERS ofthe history of architectur吧. there's no better U.S. city than C]licago. with its stunning collection oflandmark buildings by Louis SuLl ivan. Oaniel Burn ham. Frank Lloyd Wright. Ludwig Mies van der Rohe. and others. For years. t he Chicago Architect Ul'e Foundation (CAF) has offered guided tours-on foot and by boat-ofthe city's architectural gems. But. surprisingly. there's never been an annual Open House weekend in the Windy City. That's about to change. Following in the footsteps of a growing number of cities around the world-including London , Melbourne. Barcelona. Oublin. Toronto. New York. and OenverChicago willlaunch its own Open House weekend October 15 and 16. Sponsored by the CAF. Open House Chicago offers architecture b uffs the chance to see. 仕eeof charge. more than 100 sites. including m any t hat are normally ofNimit s to the public. "One of ollr goals." says managing director Bastiaan Bouma. "is to reino'oduce the city to its own residents." Although some buildings and sites are well known-the Newberry Library (Henry lves Cobb. 1893). Tribune Tower (Howe lls & H∞d， 1925). the Inla nd Steel building (Skidmore. Owings & Merrill. 1958)-otbers may be unfamiliar even to longtime Ch icagoans. For example. the original. 14-story "Sears Tower" (Nimmons & Fellows), in the North Lawndale neighborhood. dates to 1906 and was once part ofthe catalog store's sprawling headquarters. The 1925 Park Castle apartment, in West Ridge. designed by]ens E. ]ensen. featllres a Moorish-style base ment swim m ing pool. A private. elevated 2.5-acre park designed by landscape architect Al仕ed Caldwell. part of the 70-stolγ Lake Point Tower residential building.
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Project BAM/PFA Location Berkeley Architect Diller Scofidio + Renfro (DS+R) Two years after a $200 million Toyo Ito proposal was sCl'apped, DS+R has unveiled its design ofa facility for the UC Berkeley Art Museum and the Pacific Film Archive (BAM/PFA). The pared-down , $90 million pr吗ect calls for construction of a new, zinc-clad s仕ucture and the repurposing ofa 1939 printing plant. Completion is slated for late 2015.
Project Aspen Art Museum Location Aspen Architect Shigeru Ban Architects With $46 million in funding secllred, construction will begin in eady 2012 on the new Aspen Art Museum. Shigeru Ban's design featllres a "woven" exterior screen encompassin g a mllltilevel strllctllre with ample glazing. The 30,OOO-square-toot tacility will contain 12, 500 square feet of exhibition space - triple the a1110unt in the contemporalγart mllseum's cu町ent 32-year-old home. It also will featllre a classroom, shop, café, and rooftop garden.
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Project Parkland Hospital Location Dalias Architect HDR , Corgan Construction is under way on the 2.1 million-sqllare fOot Parkland Hospital, designed by HDR and Corgan Associates. Featuring a series of glass-clad r ectilinear strllcrures in a parklike setting, the massive camplls includes 862 private patient beds and 27 operating rooms. It is located near stops for the city's light r ail and C0111111uter raillines. The facilitywill replace t he existing Parkland Hospital, where President John F Kennedy was taken after his fatal shooting in 1963.
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A Quiet Addition to Ronchamp Chapel
Calatrava Pulls Out of Denver Airport Expansion project
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Designed by Renzo Piano, the conU'oversial new visitor s' center and convent at Le Corbusi町's Notre Dame du Haut, ill Ronchamp, France, opened in September. Piano inserted t he restrained glass.alld-concrete sU'uctures illtO the side of a grassy slope leading up to 出e chapel, so as not to detract from 由e 1954 masterpiece-a concern among project opponents. Piano is sympat hetic to his critics. "Le Corbusier made one of the most beautiful places ofmeditation in the world," he says. "Ifa different architect had been hired. 1would probably be worried. so 1can understand."
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Sant iago Calatrava has stepped down 企omthe Denver International Airport expansion project. In a letter obtained by the Denver Post, Calatrava's wife and business manager , Robertina, cited "financial constraillts , unnecessary time delays, and deep divisions" among the a rchitect 's design team , the client, and Parsolls 1)'ansporation Group. Calatrava's ambitious $650 million scheme for the site was unveiled last summer.
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ARC I-I ITECTURAL RECORD Announces the Winners and the Runners-up of the
L NAP IN
20 门 COC I(TAI I( S I( ~TC~ CONT~ST
Because of the enthusiastic response to the cocktail napkin sketch contest initiated a year ago, RE;: CORD decided to do it again-not so much to encourage downing martinis as to honor the impulse t。 draw in a digital age. This year the jury of editors evaluated more than 1,200 napkins from nearly 400 entrants. With so many submissions, RE;: CORD decided to seled winners according two categoriesprofessional architeds and nonprofessionals (architedural students , designers , and others). WINNER , PRO I=ESSIONAL
WINNER , NONPRO I= ESSIONAL
ZELJKO TONCIC. ARCHITECT. RIZVI ARCH ITECTS吁 BOSTON CASA MILA. BARCELONA
AMANDA D. PROSSUI . M.ARCH . 2010 ; TOPEKA NOTRE DAME DU HAUT. RO NCHA MP. FRANCE
The prize f.or t he best-in-show cocktail napkin sketch by a professional goes to Ze ljko Toncic for his d rawing of Antonio Gaud j's Casa Milà , in Barce lona. The jury found it to be q uirkily evocative of the 1 91。 landmark. Toncic, who has practiced for 33 years , says he has sket ched t he b uilding before but this was the first time he de alt with the difficult medium of the cocktail napkin. "The paper is so soft and absorbs ink readily t hat maintaining control is tricky," he notes. "1 was t rying t。 capture the e ssence of t he structure wit hout going into extreme de tail."
The winni ng cocktail napkin ske tch by a nonprofessional was d rawn by Amanda Prosser, who received her M.Arch. from Kansas State University. W ith jo bs in architecture so scarce , she curre ntly works for a life insurance firm. The jury found Prosser's sketch of No t re Dame du I-Iaut, Le Corbusier's famous chape l at Roncha mp , I=rance (1954), to exhibit a st artli ng economy and e legance of line. (A number 。f contestants submitted sketche s of Ronchamp, which can be seen 。n the web.) When Prosser visite d Ronchamp as a student , she d rew the building in a sketchbook with her eyes closed. "Back in To pe ka , 1 decided to see if 1could do it on a cocktail napkin with an extra-fine black ballpoint pel1," she says. "1did it again without ope ning my eyes."
RUNN I::RS-UP, PROFESSIONAL
RUNNERS-UP, NONPROFESSIONAL
:习罐罐如 TONV COSTlõLLO. ARCI..IITIõCT. COSTlõLLO. ASSOCIATlõS; 问 U NC I Iõ. IN DIANA AN ENGLl S," MEDIEVAL LANDSCAPE
I-I ORSDECONCOUR
KVLE REIS. PLANNlõR. COOPER CARRV; ATLANTA NOLLI MAP WIT ," SUBURBAN SPRAWL
SCOTT GROVIõ. CREATIVIõ DIRlõCTOR, SMIT,". ASSOCIATES ARC ,"ITECTS ROC，"ESTE日， N EWYORK
A COUNTRV C,"URC,"
,"IROTAKA ," AVAKAWA. ARC," ITlõCT,
COOPlõR. ROBlõRTSON & PARTNlõRS; NlõW VORK CITV TRINITY C ," URC ,". NlõW VORK CITY
BRODIE STEP'"lõNS, GENlõRAL COUNSEL. PERKINS. WILL SAN i=RANCISCO LEi= TY O'DOUL BRIDGE. SAN i=RANCISCO
Contestants were asked to submit sketches on a s-inch..square cocktail napkin , a stipulation that many blithely ignored. But RECORO'Sjury stuck by the rules-with one exception: a tiny, delicate model of a church by Scott Grove (an adist) in which the cocktail napkin was made to act like balsa wood. RECORO created an "hors de concour" (out of the running) award. We couldn't resist i t. By sponsoring a contest for an arguably anachronistic art form in a digital age, RlõCORO supports the conviction that architects still draw to think -and to remembe r works of architecture and urbanism they have visited. Yes , it's true that manysubmis剖。ns were not the fast , direct, effortless gestures we associate with a cocktail napkin sketch per se. As the two winners a nd six runne r s-up demonstrate ,
these sketches took some time and eff。时， especially when executed on a small square of flimsy white paper. While keeping the true nature of the napkin sketch in mind, we allowed fastidiously worked -over entries to be considered. After all, it is for the sake of drawing, which seems alive and well
GREGORV L. KLOSOWSK I. ARC ," ITlõCT. I;:LLlPSIS A.D; ALAMEDA. CALli= ORNIA OAKLAND CAT," WRAL.OAKLAND
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COMMENTARY ALEXANDRA LANGE OCTOBER 2011 ARCHITECTURAL RECORD
The World of Online Interiors
A critical comparison of up-and-coming online design and decoratin g magazines.
34
ARCHITECTURAL RECORD
OCTOBER 2011
HOUSE OF THE MONTH INGRID SPENCER ARCH ITECT ROBERT GURNEY DESIGNS A SIMPLE Ll GHT-FILLED CU B IFORM HOUSE IN BETHESDA, MARYLAND.
1. The north elevation of the cubic
house brinqs to mind Adolf Loos's Villa Müller In Praque (1930) in its simplicity and austerity of detail. A charcoal'qray qround'faced block clads the structure, while the front door is mahoqany. 2. A double-heiqht window wall on the south elevation allows livinq spaces inside to become part of a landscaped 。pen"air "roon、
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3. In order to qive privacy to the interlor, Gumey desiqned narrow rectillnear wlndows on the slde walls, such as the L'shaped one on the west elevation of the qround floor.
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house has a large basement and an 1,100-square-foot roof deck sur faced in ipé wood and edged by concrete-block parapet walls that a仔brd gli l11pses of Bethesda's grow. ing skyline. A steel staircase on the east elevation provides access to the deck f1'ol11 the second floor. Gumey's client, whose office is two blocks away, often holds bu siness meetings on the roof, or invites contacts from his fmancial services firm to dinner. Mostl予 though , the house is for the family "We're very informal," he says Inside the house, spaces are bright and open , with walnut
Viewdrawings and additional photos on our website
floors , white walls, and stainless steel countertops as the main fìnishes. Th e four children (with one on the way) spend most of their time outside or in t he basement, which contains one bedroom, a playroom, a media rool11, and a laundry. Other than a small office area, t he ground 1100r is devoted to public spaces, including an open kitchen. while bedrooms are on the second floor. "Not one part ofthis house goes unused ," says Gurney. His client agrees, and adds, "lt's a house of its time, and it's completely a ret1ec. tion ofme." .
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ARCHITECT ROBERT GURNEY and his client, a young entrepreneur with a large fam ily, shocked the residents ofthe ìEdgemoor section ofBethesda, Maryland, with the house they created . It was not because ofthe design's Modemist roots , alt hough the house is decidedly unlike the Colonial. and Craftsman.style ones nearby The surprise comes 企omits size. At just 2, 200 square feet , t he house is dwarfed by its stately, overscaled neighbors. "Most ofthe new houses in the neighborhood are being built to the maximum size allowed by t he zonin忌" says Gumey. "This was a different approach- wit h more outdoor space and a t hird less area for the house t han what had been there." The client desired a totally efficient design for his 60.by.lSO. foot property, which Gumey found in an understated cube. The elegance of the simple box startles in its lack of excess. Ch盯coal.gray ground.faced concrete block clads the wood仕ame house, with rect. angular and square windows of varγing sizes punched out to cap' ture views, control sunlight, and a仔ord privacy to interior spaces. Although small, the two.story
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OCTOBER 2011
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UNIVERSITY OF NAPLES METRO STATION Naples, Italy Karim Ras1hid IN AN EFFORT to update its meu'o system, the city of Naples, 1tal予 has created a dozen art stations ove r the last decade, guided by Italian art critic Ac hille Bonito Oliva. The stations are filled with a range of contempora ry works by loca1 artists and internationa1 icons 1ike Joseph Kosuth and Sol LeWitt. 1n 2004 , they inv ited New York City-based artist and industrial designer Karim Rashid to bring his psychede1ic sensibility t o the University of Naples stop
Working with the Mi1an firm Atelier Mendini, Rashid developed a scheme for the station integrating a textural mix of slick materials-from DuPont and 1ta lian manufacturers Progetto Ven-oand SITI Groupincluding: Corian, tile , marble , polished stain1ess steel , and glass or quartz printed with Rashid.designed patterns. Now riders discover a new world be1owground, where t hey are embraced by the so位 nature and sU'iking palette of the space, says Rashid. "1 wanted to use the concepulal descent that takes place when entering the subway as a physical and mental transition for visitors." Going from the open Neoclassical
p1aza into t he subterranean station, commuters move from grayscale to Oz.like color. Floors in kaleidoscopic patterns and brilliant hue s of blue , red, pink, and green intersect with highly reflective stainless steel ceilings and walls. But the color is not purely aestheric. "Accent co1ors along hallways guide peop1e to the p1atforms below," says Rashid. And platfonn color s indicate the direction of incoming u'ains. Iconic touches like tile murals of Dante Aligh ieri and Beatrice on staircases orient commuters toward exits, he exp1ains. "A person is in the station on average for three to four minutes. And in that time 1 want to communicate a p1ace that stimulates, inspires, and exudes energy," Rashid says.
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TSVETNOY CENTRAL MARKET Moscow Llfschutz Davldson Sandllands THERE I S A MISCONCEPTlON among many designers that the top tloor of a department store may as well be Siberia. Retailers tend to banish offices up there, fal 仇'om quick-selling items like cosmetics and handbags on lower f1oors. After more than a decade designing upper-level hospitality and retail spaces like the OXO Tower Restaurant for Harvey Nichols in Londo l1 and a dining/food hall emporium for Milan's La Rinascente [RECORD, February 2009, page 121J, architecture firm Lifschutz Davidson Sandilands (LDS) sees opportunity in the heights. "Most architects don't understand that the retailer constantly changes what happens on the t1oor," says Paul Sandilands, a director at t he London-based firm. "In most of the great buildings in the world, the ceilings are the most spect acular ." LDS put this experience to work for the Tsvetnoy Cenu'al Market, a lush food hall on
the top two floors of a new department store in Moscow (designed by Russian firm Project Meganom). The designers applied a shimmerin g expanse of2,600 mirrored and hammered stainless steel panels in a geometric pattenl Oll the fifth- and sixth-t1 oor ceilings. The textured surface creates a distorted ref1ection of sh oppers and rainbow-colored food displays that can be seen 仕om the ground t100r e丑trance， enticing visitors to travel up. To achieve the effect they wanted , t he LDS team specified a light-colored floor and configured cracks between the ceiling panels to express the building's structural grid, which adds c1arity to the organization of the space. "You can end up with ref1ections ofref1ections ofreflections," says Sandilands. Lights mounted on columns ftll the gaps between the panels with a warm glow. Ceiling cutouts also have pairs of metal-halide lamps, chosen for their crisp light. "We d id a lot of3-D computer modeling to make sure it all worked, but t her e is a degree of chance here , and as it turned out, it alllooks pretty spectacular," says Sandiland s.
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LOTTE MAGIC GARDEN Seoul Moss & Lam FUSING ART AND ARCHITECTURE, fine artists Edward Lam and Deborah Moss frequently collaborate with architects, interior designers, and other clients to make custom , r ichly detailed works of art - many of t hem for international restaurants, hotels, and established retailers such as Sofïtel and Louis Vuitton. When cornmissioned by the South Korean department store Lotte to fill a central atrium in its Seoul emporium, t he pa此ners and founders ofthe Toronto-based design studio created a dazzling seven-stOIγ 1l10bile made of reflective gold and silver butterflies, crystals, and g lass beads. The atrium, Lam explains, brings light and air down into spaces that are frequently dense with customers. "At the same time, you're losing a lot of [impo1't ant] ground for retail," he adds. This is pa1'ticularly t1'ue on the main floor , whe1'e the mo1'e showy labels-jewel1'Y, pe1'furne , and othe1' high-end iterns -a1'e located to attract shoppers. "So the client asked us to come up with ideas to put somethillg sculptural there," says Lam. They wanted a piece that would both complernent the expansive space and enhance a sense ofluxury in t hat area. The scheme
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ofthe project team fastened each 1110duleω the metal skeleton before they raised the glitte1'ing mobile to the full height of its new home. The work is Moss & Lam's second of its kind for Lotte. In 2009, the duo created "Pisces," a cascade of chrome fish , 190 feet high, that occupies the atrium of t he company's Busan store. The artists' website lists the 1110bile as the world's largest. "Whatwe've 叫oyed about this work is the fme line between craftsmanship and fabrication ," Lam says. "It is a hybrid and an a1't piece, which is 1'e ally what we'1'e a丘缸"
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born ofthis marriage ofart and commerce consists of2 ,600 100-foot-long wires ofbrass mesh and polycarbonate, suspended f1'o m a copper framework that hangs frOI11 t he ceiling. Installing the piece was no small feat. The artists and thei1' c1'e w shipped the l11any components to South Korea in discrete boxes 仕om their Toronto studio, wher e the duo's work is fabricated. "As we designed them," Lam says, "there were ve1'y quick 1'e assembly points." He cites a tight construction schedule- a mere two weeks- as a 仇lrther challenge. When the pieces a 1'r ived at the site, membe1's
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