Every “Year In Review” assessment of anything is both myopic and timely. That being said, 2022 was a "Boom" time for architects (and the building industry in general). This snapshot will change in 2023 when this year’s manufactured interest rate jumps will crib death this short and intense boom.
But some things have more meaning than can be found in the moment. 2022 proved that the “Mad Men” model in the profession as a white male clubhouse is over. Gender and race inequalities remain in architecture, but they are acknowledged flaws in urgent need of correction. Beyond these evolutions and revolutions, a new generation of architects is changing the profession.
Denver-based architecture office Tres Birds announced that Denver’s tallest mass timber building is planned to break ground in July 2023. The 12-story building named “Return to Form” will be located in the River North Arts District in Denver, US. Its structural system uses mass timber, a new technology that utilizes small-diameter trees from sustainably managed forests. Through continuous planting and responsible harvesting, these forests are becoming a source of renewable and low-impact building materials. The mass timber structure is comprised of wood panels that are glued and laminated together. This provides not only strength and stability but also fire resistance.
Kalita Humphreys Theater Restored, view from Katy Trail . Image Courtesy of Diller Scofidio + Renfro
Diller Scofidio + Renfro, in collaboration with Dallas Theater Center, unveiled the design proposal for the Kalita Humphreys Theater master plan, centered around one of Frank Lloyd Wright’s lesser-known buildings. Over the years, neglect and additions have compromised the building’s integrity. The project aims to restore the mid-century theater to its original state by applying a multifaceted approach. According to the architects, this includes surgical extraction, selective reconstruction, preservation, and a faithful reinterpretation of Wright’s design intent. The master plan also aims to transform the surrounding public green space into an active and attractive park connected to Turtle Creek and Katy Trail, some of the most visited destinations in Dallas.
“Seneca Village was an important community. It was 40 acres, two-thirds African American, and had a church and school,” explained Sara Zewde, ASLA, founder of Studio Zewde and assistant professor at the Harvard Graduate School of Design, during a session at the ASLA 2022 Conference on Landscape Architecture in San Francisco.
The 225 residents of Seneca Village were displaced by the New York City government in the mid 1800s to make way for Central Park, which is considered one of the masterpieces of landscape architect Frederick Law Olmsted and architect Calvert Vaux.
Four teams have been declared the finalists in the competition to design the Portland Museum of Art campus expansion located in Portland, Maine. The finalist teams are led by Adjaye Associates, Lever Architecture, MVRDV and Toshiko Mori Architect + Johnston Marklee + Preston Scott Cohen. The project includes a 60,000 square feet expansion in the form of a six or seven-story structure planned to accommodate an increase in the number of visits and a growing collection of art. The museum is now asking for public feedback on the designs, as the projects are on view at PMA until December 11th.
550 Madison Avenue (née the AT&T Building, more recently Sony Plaza) is among the more recognizable figures on New York’s skyline. Designed by architect-provocateur Philip Johnson, the 37-story skyscraper stands out thanks to its curious headgear: a classical pediment broken by a circular notch, inviting frequent comparisons to the top of a Chippendale grandfather clock. A singular, if largely inoffensive presence on today’s icon-heavy streetscape, the design was positively shocking on its debut in 1979, when Johnson himself appeared on the cover of Time holding a model of the project, then still four years from completion. The image heralded the arrival of something new in American architecture: the fading of the flat-crowned Modernist towers of the midcentury and the onset of the Postmodernist wave.
Living Breakwaters, Staten Island, NYC. Image Courtesy of SCRAPE
“Superstorm Sandy in 2012 was a wake-up call for NYC and made the city realize it needed to better prepare for climate change,” said Adrian Smith, FASLA, vice president at ASLA and team leader of Staten Island capital projects with NYC Parks. Due to storm surges from Sandy, “several people in Staten Island perished, and millions in property damage were sustained.”
On the 10th anniversary of Sandy, Smith, along with Pippa Brashear, ASLA, principal at SCAPE, and Donna Walcavage, FASLA, principal at Stantec, explained how designing with nature can lead to more resilient shoreline communities. During Climate Week NYC, they walked an online crowd of hundreds through two interconnected projects on the southwestern end of the island: Living Breakwaters and its companion on land — the Tottenville Shoreline Protection Project.
fala - House with Three Gestures. Image Courtesy of fala
This week’s curated selection of Best Unbuilt Architecture highlights projects submitted by established firms. From a museum dedicated to Jewish history to a high-speed railway hub and a university student center, the following selection showcases a variety of concepts, design approaches, and programs developed by global architecture offices.
Featuring firms like KPF, Aedas, Fala Atelier, ADP Architecten, and Peter Pichler Architects, this week's selection of unbuilt projects explore architectural and urban interventions at different scales and at varying stages of their development. Whether conceptual works or ongoing, planned for execution, and even under construction, each project aims to offer an appropriate response to the spatial, functional, social, and environmental needs of its context.
Studio One Eleven converted underutilized retail into their creative work space, for 135 employees; adjacent local and crafted retail can now better flourish. The project spurred the city of Long Beach to rejuvenate Harvey Milk Park, allow for multiple street decks for outdoor dining, and encouraged several high-quality public art installations by POW! WOW!.. Image Courtesy of Los Angeles County Public Library
My first encounter with saving a building landed me in handcuffs and a trip to the Long Beach Police Department. A friend and I were frustrated that our hometown was demolishing good buildings—because they did not conform with the current style of architecture—only to replace them with parking lots! All in the name of “progress.” In 1988, when we learned that the Jergins Trust Building, a Beaux-Arts beauty, was slated to be torn down with no plans for the site, we jumped into action and chained ourselves to the building to stop the wrecking crew. Our efforts kept it up for another four hours. And then it was gone forever.
The Constant Future: A Century of the Regional Plan, an October exhibit at Vanderbilt Hall in Grand Central Terminal is a succinct yet gripping display of civic dreams selected from the imagination of the Regional Plan Association (RPA), an independent non-profit that conducts research on the environment, land use, and good governance with the intention of promoting ideas that improve economic health, environmental resiliency, and quality of life in the New York metropolitan area. The occasion is the organization’s centennial, and the show is a testament to its powerful role in developing the tri-state region. Not all of its ideas have been good, but the city owes a debt to the group’s long-term view.
Visualization of U.S. Army Corps of Engineers’ grey infrastructure proposal. Response to the U.S. Army Corps of Engineers’ Back Bay Coastal Storm Risk Management Study / Curtis + Rogers Design Studio. Image Courtesy of Miami Downtown Development Authority
A persuasive local advocacy and media campaign convinced the U.S. Army Corps of Engineers to conduct a new, expanded study for a $6 billion project to protect Miami from future hurricanes, coastal flooding, and climate impacts. Critics argued that the Army Corps’ initial draft plan for the project, which had proposed a series of sea walls and gates, would have negatively impacted the character of Miami, reduced property values, and cut-off access to important waterfront parks, exacerbating existing inequities in access to public space.
Architecture offices OMA, led by Partner Shohei Shigematsu, and Jacobs have unveiled the design for the new headquarters for the Discovery Partners Institute, part of the University of Illinois System. The building is planned to anchor an innovation district at “The 78”, along the Chicago River. The eight-story building, located on a one-acre site southwest of the Loop, will provide more than 200,000 square feet of office, classroom, lab, and event space for DPI and its university and industry partners.
In a time of global unrest, rising intolerance, and, some might argue, increasing secularization, is the campus chapel relevant anymore? Might it disappear altogether? As it turns out, campus sacred space appears to be transforming to play a more important role as many universities focus on educating their students to be more globally aware.
https://www.archdaily.com/989449/campus-sacred-spaces-are-changingMichael J. Crosbie
The newly transformed Arkansas Museum of Fine Arts in Little Rock, US, is ready to open to the public on April 22, 2023. Designed by architecture practice Studio Gang in collaboration with Polk Stanley Wilcox and landscape architecture and urban design practice SCAPE, The Museum’s new architectural identity aims to signify its role as a leading arts institution in the region. One of the Museum’s most recognizable features, the folded plate concrete roof, is now complete. The new roofline spans the length of the building, connecting the new construction and the renovated spaces to create a coherent architectural character for the cultural institution.
Grimshaw Architects has revealed the design for a 16-soundstage studio production campus for the independent company East End Studios. Located on a 15-acre former industrial site in the Arts District in Los Angeles, the campus will provide creative workplace buildings and production support spaces connected via a series of outdoor terraces and walkways. The project responds to its location and context by moving away from the traditional studio layout and instead opting to create a “vertical campus”. This composition creates a more open public relationship with the downtown neighborhood while ensuring that all campus facilities are well connected.
Michael Heizer’s immense sculpture the City, an ambitious artwork of an extraordinary size, will begin to accept visits from the public beginning September 2, 2022. The announcement was made by the Triple Aught Foundation, the not-for-profit organization responsible for managing the long-term oversight and maintenance of Michael Heizer’s immense sculpture. The artwork, a mile and a half long and nearly half a mile wide, is located in a remote stretch of the high Nevada desert. Work on the structure began in 1972 when the artist was 27 years old.
One Brickell City Centre by Arquitectonica. Image Courtesy of Swire Properties Inc and Related Companies
Arcquitectonica unveiled the design of One Brickell City Centre, an approximately 1,000-foot (approximately 300 meters) office tower planned to become the tallest commercial tower in Florida. Located in Miami’s financial district on Brickell Avenue, the office building represents the second phase of Brickell City Centre, a 4.9-million-square-foot (450,000 square meters) mixed‐use development that opened in 2016. One Brickell City Centre is developed by Swire Properties Inc. and Related Companies. Construction it set to begin in 2023.
We say that with confidence knowing the city’s demographics (nearly 80 percent African-American and with one of the highest poverty rates in the United States) present unique challenges to providing economic opportunity. And we say that with certainty knowing that a pernicious history of redlining, loan discrimination, and other inequities has denied Detroit’s Black majority the kind of power and say-so in design and economic development that would produce more favorable outcomes.
