architecture

Sunday, March 31, 2013

Benchmark B

[Image: The Central Park bolt, photographed by The Bowery Boys].

One of many memorable images from Marguerite Holloway's recommended new book The Measure of Manhattan is the Central Park bolt, a 19th-century survey marker affixed in place by John Randel Jr., original surveyor of Manhattan's street grid.

The bolt is, in Holloway's words, "the relic of an invisible intersection, one city leaders had planned to build in 1811 but that had never been constructed." In fact, she adds, these "planned but never realized intersections" are rare but not, in fact, unique, low in number but peppered around the island like acupuncture points that somehow materialized before the body they were meant to intensify. The city lives alongside and strangely amidst other, historically unrealized versions of itself.

This particular "grid bolt," as Holloway goes on to describes it, is now "long-forgotten," but has recently become "part of the National Spatial Reference System database." This means, as she phrases it, that a "bolt on a rock in a park on an island is connected to the satellites that travel above us in great arcs," incorporated into the great digital systems of earth-measurement—or geodesy—used today.

[Image: A photo of Benchmark B taken by Tullio Aebischer, courtesy of Discovery News].

I thought of this when reading earlier this winter about a "Roman marker used to measure the Earth" that had been found "near the town of Frattocchie along one of the earliest Roman roads which links the Eternal City to the southern city of Brindisi."

To refer to it as "Roman," however, is a bit misleading, as it was actually laid in the mid-1800s by Father Angelo Secchi—not in the days of ancient Rome—as part of an attempt to establish a comprehensively measured geographic baseline; this baseline could be used to support much larger calculations that would ultimately verify (or not) the mathematically projected shape of the Earth. It thus acted as a verification point for abstract speculation.

A geographer named Tullio Aebischer explained how it worked to Discovery News back in January:
“We found it after a long archival research and a georadar survey. The discovery will allow us to precisely verify the ancient measurements with modern GPS technologies,” Aebischer said.

“The measurements along the Appian Way were part of surveys which began in the middle of the 18th century and spread all over Italy, in Europe, especially in France and Lapland, and in South America. The aim was to measure the shape of the Earth,” Aebischer said.
Today, the marker is referred to as Benchmark B—with Benchmark A located back in Rome proper, near the tomb of Cecilia Metellaan architectural feature familiar to any fans of Piranesi. More specifically, it is "hidden under a manhole in the middle of the road at the Cecilia Metella mausoleum"—as such, surely a worthy target for urban explorers intent on bringing to light the forgotten objects and spaces of geographic history.

Buried benchmarks, competing meridians, rejected state lines, shifting global poles, mistaken horizons: one can easily imagine a kind of amateur archaeology dedicated to exploring nothing but obsolete regimes of territorial management, whole planet-spanning systems of measurement whose function depends on these almost impossibly mundane, mud-covered artifacts.

If Borges, say, is their poet laureate, then we might say that these—lost bolts, grids, and baselines—are the sites and relics of other Earths that nearly were, derelict props from a Borgesian folklore now geodetically coextensive with the planet.

In any case, both of the examples referred to here are all but forgotten 19th-century objects—a plaque and a bolt—that nonetheless now participate in much larger-scale projects of measurement, one planetary, the other civic: two physical monuments to older ways of modeling, measuring, and definitively interpreting something as unassuming as the ground.

Today's archidose #662

Here are some photos of the Centro de Innovación Deportiva (Sports Innovation Center, 2008) in Guijo de Granadilla, Spain, by José Maria Sánchez García, photographed by Ximo Michavila.

José Maria Sánchez García. The ring #1

José Maria Sánchez García. The ring #3

José Maria Sánchez García. The ring #2

Update 04.02: A few more photos from Ximo Michavila:

José Maria Sánchez García. The ring #4

José Maria Sánchez García. The ring #5

José Maria Sánchez García. The ring #6

To contribute your Flickr images for consideration, just:
:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose

Saturday, March 30, 2013

Javits Plaza v3.0

I've written about Jacob Javits Plaza—the public space at the corner of Lafayette and Worth Streets in Lower Manhattan—many times. First was about Martha Schwartz's design on my weekly page; then in 2007 I did an analysis and history of the space for grad school; most recently I contributed an article to The Architect's Newspaper about Michael Van Valkenburgh's redesign. Before Schwartz's design the plaza was occupied by Richard Serra's Tilted Arc, which makes Van Valkenburgh's design the third installment since 1981, not counting the interim "design" between the demolition of Serra's sculpture in 1989 and the completion of Schwartz's plaza design in 1997. The plaza is not yet open to the public (a couple guys were applying some chemical of sorts to the stone paving when I walked by and snapped these photos yesterday), but it looks like any day now it will be complete and this corner of Lower Manhattan may finally be free of controversy.

Javits Plaza

Javits Plaza

Javits Plaza

Javits Plaza

Javits Plaza

Javits Plaza

Friday, March 29, 2013

HEARD•NY

I stopped by Grand Central Terminal this morning to check out HEARD•NY, a project by artist Nick Cave, with Creative Time and students from the Alvin Ailey School. Here is a slideshow of some photos—the shots are handheld, but I cropped them in Photoshop so the clock face is always in the same place. As you can see by the movement of the minute-hand, the most intense parts of the dance happen about 10 minutes after the dancers come in and suit up; that's when the drumming starts and the "soundsuits" flail.

ICAA upcoming lecture


Join the Mid-Atlantic chapter of the ICAA (Institute of Classical Architecture & Art) on Thursday, April 18th, for a lecture given by Gary L Brewer, partner at Robert A. M. Stern Architects, on their latest book Evidence. I've already purchased my copy and can assure you it matches the quality of Stern's other books and is such a beautiful exhibit of their work. Copies of the book will be available for purchase at the lecture.
Also I'm pleased to announce that I'm now a board member of the Mid-Atlantic ICAA and I encourage you to join us for our lectures and tours located in the area; join the organization at the website. I'll be sure to share them all with you here on the blog for those unable to attend.
Information on the lecture is available here, hope to see you there!

Thursday, March 28, 2013

Today's archidose #661

Here are some photos of the ArtEZ Institute of the Arts in Arnhem, Netherlands, by BiermanHenket Architecten (2004), photographed by Chris Schroeer-Heiermann.

Faculty of Theatre and Dance

Faculty of Theatre and Dance

Faculty of Theatre and Dance

Faculty of Theatre and Dance

Faculty of Theatre and Dance

Faculty of Theatre and Dance

To contribute your Flickr images for consideration, just:
:: Join and add photos to the archidose pool, and/or
:: Tag your photos archidose

Wednesday, March 27, 2013

Wednesday, Wednesday

A Weekly Dose of Architecture Updates (note: the next update on my weekly page will be 2013.04.08):

This week's dose features the Museo Amparo in Puebla, Mexico, by Enrique Norten/TEN Arquitectos:
this week's dose

The featured past dose is Rajel Mikveh in Mexico City, Mexico by Pascal Arquitectos:
this       week's  dose

This week's book review is Encounters 1 & 2 - Architectural Essays by Juhani Pallasmaa, edited by Peter MacKieth (L):
this week's book review

: : : : : : : : : : : : : : : : : : : : : : :

American-Architects Building of the Week:

Riverstone Office Building in Coeur d'Alene, Idaho, by Patano+Hafermann Architects:
this week's Building of the Week

Oh ... Oh ... Seven!

We are pleased to announce that the Fourth Annual MA A+U Symposium DENSIFY features as event 007 in the programme of events marking 175 years since the foundation of the Manchester School of Art. The questions naturally follow 'Who is M?' and most importantly 'Who is Q?'. A full list of the events are available here

Tuesday, March 26, 2013

Henri Labrouste: Structure Brought to Light

MoMA-Labrouste1.jpg
[Henri Labrouste. Bibliothèque nationale, Paris. 1854–75. View of the reading room. © Georges Fessy]

About a week ago I visited the Museum of Modern Art (MoMA) to check out the exhibition Henri Labrouste: Structure Brought to Light, on display in the third floor's special exhibition's gallery until June 24, 2013. The exhibition has received a good deal of attention since it opened in early March, most notably by Michael Kimmelman at the New York Times. Below are some photos I took and some of my impressions on the show, though readers in need of a bit more depth on the exhibition should read Kimmelman's piece.

Henri Labrouste: Structure Brought to Light
[Photos by John Hill, unless noted otherwise]

MoMA bills the show as "the first solo exhibition of Labrouste’s work in the United States." It took long enough, considering that Labrouste died in 1875. It's not for lack of importance or influence, since the architect's two main projects (really, what he is only known for by most)—the Bibliothèque Ste.-Geneviève and the Bibliothèque Nationale, both in Paris—were seen as precursors of 20th-century modernism by the likes of Sigfried Giedion in MoMA's early days.

Henri Labrouste: Structure Brought to Light

The exhibition is curated by MoMA's Barry Bergdoll, with Corinne Bélier of the Cité de l’Architecture et du Patrimoine and Marc Le Coeur of the Bibliothèque Nationale, where it was first displayed. Given its location in the third floor galleries, the first impression of the show is not a positive one—visitors must traverse a narrow, linear (and often crowded) gallery that leads to the larger spaces beyond. This first section (above) is being given extra weight by Bergdoll, through his assertion that Labrouste's early restoration studies of Paestum, Italy, "shook up academic dogma," as he says in the exhibition catalog. The many drawings (and Labrouste's drawing instruments, a nice treat) in the corridor are worth beholding, but they create an arterial clog of sorts in the exhibition that is not relieved until moving through the glass doors at the other end. (The photo of the corridor, above, was taken on my way out, in a slow moment.)

Henri Labrouste: Structure Brought to Light

While the beautiful photos of the two libraries (on top of this post and below my exhibition photos) are the primary means by which the exhibition is being shared in the media, the show is predominantly drawings and a few models. The drawings—many of them watercolors—are astounding, illustrating Labrouste's skill as a delineator but also his thorough working out of details, from stone decoration to structural ironwork to the insertion of modern services into the library. And one of the show's main statements is that Labrouste is an early Modern (with a capital M) architect, due to his use of modern materials (iron, concrete) and systems and the way in which his libraries defined the modern institution.

Henri Labrouste: Structure Brought to Light

The framing of Labrouste as an early modern architect doesn't necessarily come to the fore in the first of the larger exhibition spaces, pictured above. Drawings are displayed on retro, pseudo-drafting tables. The legs made of wood spheres are a bit goofy, but the surfaces make for comfortable viewing of drawings and even videos (visible in the foreground of the photo above). The post-modern nature of the tables comes across in the fact that many of the drawings do not rest on the rails at the bottom of each table; they are mounted above.

Henri Labrouste: Structure Brought to Light

Some more historical allusions come in the portal at the beginning of the exhibition and another in a wall separating two of the larger galleries; one side shows his libraries and the other side displays projects of successors influenced by Labrouste. The photo above is looking toward the latter, as if the stacks (the same sort of structural system used at the New York Public Library that Norman Foster and NYPL want to remove) are the most modern aspect of Labrouste's libraries.

Henri Labrouste: Structure Brought to Light
[Model of Bibliothèque Sainte-Geneviève]

To be honest, I always have a hard time keeping the Bibliothèque Ste.-Geneviève and the Bibliothèque Nationale straight. Their designs are quite different, even though they are both grand spaces structured in iron and light—one is a long vaulted space and one is made up of a series of skylit vaults. But remembering which is which has always been hard for me, though don't ask me why. The exhibition will help refresh my learning from undergrad, but of course the value of the show goes well beyond something like this.

Henri Labrouste: Structure Brought to Light
[Model of Bibliothèque Nationale]

When I visited MoMA to see the exhibition I ran into a couple professors from my alma mater, Kansas State University. They were part of a school trip that took third-year students from the Little Apple to the Big Apple; many of their students were taking in the Labrouste exhibition as we spoke. In hindsight the exhibition is perfect for students: It illustrates a sort of "everything is contemporary at some time" aspect to Labrouste's architecture, while also driving home the importance of hand drawing in conveying ideas and exploring design and construction. The latter may be an increasingly archaic notion, but divorcing hand drawing from architecture doesn't seem right to me.

Henri Labrouste: Structure Brought to Light
[Model of Bibliothèque Nationale]

The models are also valuable artifacts for students to see. Sure, they were made much later than Labrouste's drawings, but they do an excellent job of showing the various conditions (structure, services, systems) that are behind and below the surfaces that have rightfully attracted so much attention over the years.

For those really interested in Labrouste's libraries, MoMA is hosting (with Columbia GSAPP) a symposium on Thursday: Read: Revisiting Labrouste in the Digital Age. Participants include Barry Bergdoll, Alberto Kalach, Dominique Perrault, Anthony Vidler, and many others.

MoMA-Labrouste2.jpg
[Henri Labrouste. Bibliothèque nationale, Paris. 1854–75. View of the reading room. © Georges Fessy]

MoMA-Labrouste3.jpg
[Henri Labrouste. Bibliothèque nationale, Paris. 1854–75. View of the reading room. © Georges Fessy]


MoMA-Labrouste4.jpg
[Henri Labrouste. Bibliothèque Sainte-Geneviève, Paris, 1838-1850. View of the reading room. © Georges Fessy]

MoMA-Labrouste5.jpg
[Henri Labrouste. Bibliothèque Sainte-Geneviève, Paris, 1838-1850. View of the reading room. © Georges Fessy]

MoMA-Labrouste6.jpg
[Henri Labrouste (French, 1801-1875). Imaginary reconstruction of an ancient city. Perspective view. Date unknown. Graphite, pen, ink and watercolor on paper. Académie d’Architecture, Paris]

MoMA-Labrouste7.jpg
[Henri Labrouste (1801-1875). Bibliothèque Sainte-Geneviève, Paris, 1838-1850. Southwest corner: elevation and section. Late 1850. Pen, ink, graphite, wash and watercolor on paper. Bibliothèque Sainte-Geneviève, Paris]

Wang Shu Lecture

On April 2 Wang Shu, the 2012 Pritzker Prize winner and partner at Amateur Architecture Studio, is speaking at The Cooper Union, in a lecture co-sponsored by the Architectural League of New York. See below for more information.


[ Ningbo History Museum | Photo: Lv Hengzhong]
Current Work: Wang Shu / Amateur Architecture Studio

Wang Shu and his wife, Lu Wenyu, founded Amateur Architecture Studio in 1997 in Hangzhou, China. The name of the office refers to the approach of an amateur builder—one based on spontaneity, craft skills, and cultural traditions. In order to learn traditional skills, Wang Shu spent the early part of his career working on building sites. Rather than looking toward the West for inspiration, Wang’s work is rooted firmly in the context of Chinese history and culture. Today the studio incorporates Wang’s knowledge of everyday techniques to adapt and transform materials for contemporary projects. The “unique combination of traditional understanding, experimental building tactics, and intensive research” has become fundamental to the office’s architectural projects.

Some of his most important built works include the Library of Wenzheng College, Suzhou University; Ningbo Contemporary Art Museum; the Xiangshan Campus of the China Academy of Art; and the Ningbo History Museum.

Wang Shu is the 2012 Pritzker Prize laureate, the first Chinese citizen to receive that honor. He is Professor and Head of the Architecture School at China Academy of Art, Hangzhou. In 2011, he became the first Chinese Kenzo Tange Visiting Professor at the Harvard Graduate School of Design in Cambridge, Massachusetts.
Tickets can be obtained via the Architectural League. For those unable to make it to NYC for this lecture, Wang Shu is also speaking on April 3 at the Yale School of Architecture.

An artist at home, Pierre Bergian


As a blogger one receives masses of press releases, most of which prompt you to hit delete before even opening. Once in awhile though something intrigues me and pulls me in -this happened recently when someone from the Purdy Hicks Gallery contacted me about the artist Pierre Bergian who currently has an exhibit in their London space.
Pierre Bergian is known for his stark views of interiors -think "World of Interiors" magazine painted. It's no surprise his work is so intriguing to me as he studied art history and archaeology.
Pierre also took these photos of his own house so it's an intriguing look at how the artist perceives his own interiors in life as well as in his work. I love the book filled library above.
See the similarities between his own house and his work? The paintings are kept spare so that the eye focuses on composition and proportion.  The rooms are from memory; of abandoned grand country houses he visited as a child.
Pierre lives in Bruges, Belgium, with his family in a 19th century former soap factory (circa 1825) which has the proportions of a house from the 18th century. While he loves the diversity of the architecture in the small town he loves to travel to more cosmopolitan cities as often as he can. Notice the shelter magazines piled all over his house, (similar to my own!). There is more than one way to travel after all!
Pierre collects an assortment of items from all time periods. I love the eclectic assemblage in his rooms.
I also love the feel of casual European kitchens like his below; so much more cozy than our American counterparts which often feel like cold showrooms. Don't you love that light fixture above the stove too?
Pierre's favorite thing about his house is the amount of windows -light is always important to an artist. The living room has a beautiful skylight with stained glass laylight and overlooks the rear garden. New Replacement Windows, perhaps?  I wonder if the fireplaces work? 

Pierre's wife, Angele Boddaer, is also an art historian and works as a muralist and restorer of wall art. Don't you just want to be friends with this fascinating couple?

The spare use of strong color is found throughout the house. Why be afraid of color when you know how to use it? Restraint is key.
 Their bedroom is a serene baby blue but is kept from being too sweet by the spareness of the furnishings.
Pierre at work in his studio - the organized clutter is a keen insight into how his mind works.
 Each photograph is composed as a still life. I wonder what the stacks of drawings contain?
Inspiration is found throughout the many magazines and books he collects.
Pierre's work is available through the Purdy Hicks Gallery in London, how I wish I could visit! If you find yourself in London, stop in and tell them ArchitectDesign sent you!
The Purdy Hicks Gallery is located at 65 Hopton Street in Bankside. All images in post are courtesy of the artist.