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CONTRIBUTORSARCHITECTURE IN THE UNITEDSTATES OF AMERICA

Emmanuel Petit is a partner in Jean Petit Architectesand Associate Proessor o Architecture at Yale

Universit. His orthcoming bookIrony, or, The

Self-Critical Opacity of Postmodern Architecturewill be published in Ma 2013. Here he reports on

the Parrish Art Museum b Herzog & de Meuron

Raymund Ryan is an architect and Curator at the

Heinz Architectural Center at the Carnegie

Museum o Art, Pittsburgh, PA. He is a regular

contributor to architectural publications and in this

issue he visits the Museum o Contemporar Art in

Cleveland, Ohio b Farshid Moussavi Architecture

Michael Webb is a long-standing contributor to the

AR. An architectural writer and critic, he lives in a

Los Angeles apartment originall designed b

Richard Neutra. In this issue he reports on the new

Clord Still Museum in Denver b Allied Works

Architecture

Sharon Zukin is proessor o sociolog at Brookln

College and Graduate Center, Cit Universit o

New York, and author oNaked City: The Death and

Life of Authentic Urban Places (Oxord Universit

Press). Here she assesses Jane Jacobss legac

EDITORIALEditorCatherine [email protected] EditorWill [email protected] DirectorSimon EstersonArt EditorAlexander EcobEditorial AssistantPhineas [email protected]+44 (0)20 3033 2740

Production EditorsJulia DawsonTom WilkinsonEditorial InternsAkua DansoTalor DaveNick PocockUS Contributing EditorsMichael WebbMark LamsterAssociate EditorRob GregorEditorial DirectorPaul Finch

PUBLISHINGInternational Account ManagerTom Rashid+44 (0)20 3033 [email protected] Account ManagerKeshena Grieve+44 (0)203 033 [email protected] Advertising ManagerAmanda Prde+44 (0)20 3033 [email protected] Development ManagerNick Roberts

+44 (0)20 3033 [email protected] Development ManagerCeri Evans+44 (0)20 3033 [email protected] DirectorJames MacLeod+44 (0)20 3033 [email protected]

Group Head of MarketingJames MerringtonSenior Marketing ExecutiveAnthea Antoniou+44 (0)20 3033 2865

[email protected] ExecutiveAlex Themistos+44 (0)20 3033 [email protected] Advertising Sales MilanCarlo Fiorucci+39 0362 23 22 [email protected] Advertising Sales New YorkKate Buckle+1 845 266 [email protected] RentalJonathan Burston

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2 AR | SAMPLE ISSUE

This special sample issue o The ArchitecturalReview ocuses on work emerging rom the United

States o America. As one o the onl trul global

architecture magazines, The AR seeks to publish a

diverse selection o projects rom all backgrounds,

and the US is no exception.

With a wide range o eatures and articles, such as

building studies, essas, viewpoints, and reviews,

The AR provides readers with a wholistic look at

the current architectural proession. This sample

issue includes a short selection o pieces rom ARs

recent past. With three cultural building studies,

an Emerging Architecture competition entr, a

Folio eature on Lebbeus Woods, and a

Reputations review on the great urban critic Jane

Jacobs, this issue is both a compilation o

architecture and design rom the US, and an

introduction to the critical thinking o The AR.


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4 AR | SAMPLE ISSUE

Perot Museumo Natureand Science,Dallas, Texas,USA,

Morphosis


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Rising above the distracting blare of its

surroundings, the new Perot Museum is aneloquent paean to the cosmic and geologicalforces that shape our planet and buildings

CANYON

TO COSMOS


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Morphosis1. (Previous page)bordered by reeways andparking lots, the museumconronts the distractingurban blare o Dallas2. Jurassic car park within this disconnectedmilieu, the building hasthe presence and solidityo a modern castle keep3. A glazed bar containingan escalator is clampedto the side o the building,oering views o itsdystopian environs4. The green podiumripples above pedestrians

CRITICISM

NICHOLAS OLSBERGIt is now 40 years since Morphosis rst began

its critical and unsentimental interventions

into the urban abric. Thom Mayne has never

lost sight o the original agenda o the rms

collective sensibility, continuing to cast his

work into disjunctive conversation, critical

dialogue or combinatory discussion with

the urban context, but never deerring

or merging into it. For the most part that

visual commentary on the setting has been

so determinedly and ruggedly urbanist that

it has been hard to make connections to the

sensory, to the dynamics o the body and

its comprehension o space and light, or

to nature and the larger landscape in which

all buildings sit.

Now, in a most unlikely setting, with a

Dallas museum o science and nature that

rises into a sky punctuated by a hundred

lonely glass and concrete boxes, on a orlorn

site beneath a downtown yover, abutting a

wilderness o parking lots on three sides and

a sentimental neo-Victorian apartment

complex on the other, he seems to have ound

a voice or the poetics o the city. Dense,

opaque and monochromatic, conceived at the

wonderully satisying scale o a castle keep

and cast in a gorgeous concrete skin whose

narrow extrusions evoke the strata and

striations o the natural world, the Perot

Museum tower comments on the arbitrary,

mis-scaled imsy lucent high-rises around it

with an almost visceral solidity, while the

olds o the shallow concrete skirt that alls

rom it to the street and ow around the

visitor in its plaza are positively melodious.

The whole scheme, not only in its didacticprogramme but in such actors as its studied

attention to conserving resources, and to

bringing light into a closed container, talks

to the planet and its crisis. Some steps in this

direction are less successul than others.

The sloping podium rom which the concrete

container o the museum rises wraps around

it an arc o the geological and living

environments o Texas. Were this

undulating sequence becomes a roo, a layer

o shale agstones and grasses is laid down,

the orientation allowing it to shed and

capture water. This didactic and rather

ghastly demonstration o natural living

environments along the roo o the plinth

becomes visible rom many points, including

the adjacent reeway. As a result there has

been much discussion o the concrete orms

and other abricated elements o the building

that were very oddly scattered among the

rocks at a late stage o design. To some

including the architects a positive symbolic

message seems plain enough: that buildings

grow rom the shaping o materials drawn

rom nature. But the idea is growing that they

represent shards that ell rom the great slash

in the side o the building during some recent

ctive catastrophe, and that, as memories

o rupture, they are thereore predictive o

cataclysms to come.

Were the approaches are less didactic

or sel-conscious and grounded in the

experiential, they have real clarity and

orce. Some sensory moments are positively

luxurious in their attention to the body and

its awareness o motion. The main entry is the

[The materials] representshards that fell from thegreat slash in the side ofthe building ... memoriesof rupture, they aretherefore predictiveof cataclysms to come

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5. (Previous page)gigantic concrete beamsstrewn across the podiumseem to presage someterrible cataclysm6. Or perhaps they recordthe titanic tectonic orcesthat might have shaped

this jutting cli

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section AA


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Perot Museumo Natureand Science,Dallas, Texas,USA,Morphosis

pedestrian equivalent o an on-ramp.

A sweepingly curved walkway, under a

luminous canopy, skirting a orest glade,

and broken by a stream o the museums

circulating water system, guides your eet

to the entrance. The initial entry comes wherethese uid lines converge on the base o a

great glazed shat cut up through the dense

container. Such splittings are now a signature

Morphosis gesture. They have a combinatory

intent, connecting the lie inside the building

to that o the city outside by unveiling each

to the other, drawing in orms and materials

rom the exterior language and exposing to

the world at large elements and activities

on the inside. Here the open shat is also used

to display as i it were a kind o sciencein itsel all the varying heights, scales,

materials, shapes, systems and lines with

which the building operates. Thus we are

welcomed to the museum by an anatomical

section o the structure and its armatures

rather as i it were the skeleton o a dinosaur.

In another nod to the morphology o

buildings and towns, a busy and brightly lit

entertainment district the museums store,

ca and theatre spills o rom this, settling

under the gently rising landscaped roo that

serves as a watershed.It is all a little too compressed and

complicated, but both the compression and

the complexity have their points, especially in

nudging visitors like the bridge at Breuers

Witney or the great steps o a 19th-century

gallery into the change o speed and gaze

that has to mark the transition rom street

to sanctum. In this case Morphosis leads us

rom an automobile city in which the privilege

o motion is almost entirely granted to the

machine to an alternate world in which thebody and mind pace movement and can

recognise the moments o wonder that can

come with that slowing o motion. One o

those moments comes very soon in a vast,

shockingly dim basement lobby. It is a sudden

explosion o space, undulating suraces and

visible structural members, covered by a

high web o starlights beyond which it is

impossible to exactly discern the nite

ceiling. Morphosis says only that the lobbys

patterns reect the dynamism o the exteriorlandscape, blurring the distinction between

inside and outside and connecting the natural

with the manmade. But, decorated with a

single giant dinosaur, this evocation o the

great hall seems to say much more. It could

Morphosis leads us ... toa world in which the bodyand mind pace movementand recognise the momentsof wonder that come withthe slowing of motion

section CC

section DD


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7. Interior spacesjuxtapose organicand angular orms toScharounian eect8 & 9. The epic sweepo the concrete acadeis broken up by irregularstriations that recall

the geological stratao a cli-ace

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Morphosis

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be seen as a lovely and mysterious reminder,

as the museums tale o the planet begins,

not simply o how ones journey began

in the great halls o the traditional natural

science museum but o the smallness

o the human place in our universe and o

the vastness o the human capacity to

comprehend it. This is one o a numbero points at which Maynes work transcends

the determinedly virile and unlyrical

manner in which his team describes it.

The second moment o intended

amazement is less successul. Taking its

cue rom rights Guggenheim, the Perot

addresses the problem o the vertical

museum both aesthetically, by celebrating

the vertical circulation, and pragmatically,

by carrying you rst to the top and allowing

or a gradual descent. Models show anextraordinary amount o attention to the

huge glass escalator shat that breaks out

rom the most visible acade o the museum.

It ollows the same lines and serves much

the same purpose as a giant telescope, taking

visitors to the roo o the building and

with vistas o the city along the route

leaving them at the end o its trajectory

among a discussion o the stars in the

museums gallery o the universe. Yet so much

has been done by the time one takes this ride

to introduce this experience the most

conspicuous eature o the building and

its most touted that there is very little

surprise or excitement in the short journey;

positive disappointment in the dismal vista

o parking lots and banal ofce towers it

aords along the way; and no excitement at

all in the nal meagre and vertiginous little

observation deck it takes you to (with anurban view o next to nothing). The best views

by ar are actually those looking down and

around, to the very elegantly crated and

beautiully lit white stairwells, the simplest

and clearest passages in the entire building

and the least cluttered with ideas.

The memory o those stairs becomes an

essential counterpoint to the overwhelming

visual noise o so many o the galleries,

in which the spiral scheme, the architecture

and especially the unortunate specimensthemselves, all become lost in a garish orest

o labels, billboards and ickering backdrops.

The ew points o ocus and repose in this

busy scene the quietly glowing hall o

minerals is one serve only to point out

where the museum best and most

surprisingly succeeds in arousing a desire to

keep this earth intact, which is not in its

displays, nor in the rather erce and didactic

xerigraphy o its landscape scheme but in

the many moments o almost loving, sensuous

spatial poetry with which its supposedly

cool, proudly prosaic, rugged, critical and

urbanistic architect has endowed it.

The museums conversations between straight

line and curve, sotly dense wall and decisive

cut, completed box and open cylinder are

too abrupt at times. But there is in that

abruptness something true to how nature

shows itsel in an urban setting; so that one

walks away rather moved by the memory

o this ercely lovely silo settling onto its

wandering plinth like a morsel o gravel

onto an oily raindrop, catching the light

and casting reection in a thousand ways.

The museum succeeds in ...the many moments of almostloving, sensuous spatialpoetry with which itssupposedly cool, proudly

prosaic, rugged, criticaland urbanistic architecthas endowed it

10. (Opposite) layeredwalkways and bulbousconcrete piers imbue themechanics o circulationwith a powerul spatialand experiential drama11. The low, dark lobbyis the lair o a solitary

dinosaur: a reminder, alongwith the star-spangledceiling, that the cosmos ismore awe-inspiring thanour car-strangled cities

Perot Museumo Natureand Science,Dallas, Texas,USA,Morphosis

ArchitectMorphosis

Associate architectGood Fulton & Farrell

Task lighting/exteriorErcoAcoustic ceilingsHunter Douglas: Techstyle

Structural glazingNovum Structures

Locks and door closersDorma

PhotographsIwan Baan

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Snthesising allusions to thevernacular with contemporarabstraction, the new ParrishArt Museum encapsulates the

changing dnamic between art,landscape and architecture

HORIZONLINE

Eli and EdytheBroad Art

Museum,Lansing,Michigan, USA,Zaha HadidArchitects

Parrish ArtMuseum,Long Island,New York, USA,Herzog &de Meuron


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1. (Previous page) setin the bucolic coastallandscape o theHamptons, the newParrish Museum is a long,precise bar, its scale andabstraction apparently at

odds with its rural milieu2. Yet at ground level,the building evokes theamiliar qualities overnacular structuressuch as barns and houses

3. The Parrish is a riposteto the idea o the museumas art work, typied byJean Nouvels Musedu Quai Branly in Paris4-6. Herzog & de Meuronsrecent museological

antecedents: de YoungMuseum in San Francisco,Museum der Kulturenin Basel and LondonsTate Modern conceivedas a giant mineral landorm

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CRITICISM

EMMANUEL PETIT

Opened last November, the new Parrish Art

Museum displas works rom the museums

permanent collection o American art,

encompassing paintings, works on paper and

sculpture amassed over its 115-ear histor.

The building is sited next to the village

o Southampton, one o Long Islands most

auent communities and a weekend reuge

or man Manhattaners who periodicall

ee the island or the bucolic idll o the

Hamptons. A 90-minute drive takes ou

rom the trac-congested cit to the serene

dune-and-shrub landscape o Long Island.

Amid the disjointed, small-scale beachside

buildings, Herzog & de Meuron nest an

abstractl detailed, longitudinal bar with a

double-pitched roo set on a strict eastwest

orientation to catch north light or galleries

through rhthmicall-placed sklights.

In this project, H&dM revisit two o

the ke themes that have come to dene

their architecture. On one hand, the see

architecture as emerging rom the genius

loci, and on the other, the interpret it

as the tautological tectonics o the house.

Wile these two aspects reconrm their

own penchant or a phenomenological

architecture, perected over the ears and

shared with contemporaries such as Steven

Holl and Peter Zumthor, in respect o this

latest project, one consequential question

remains. Wat should one think about

the harmonious, attuned and seamless

coexistence o art and architecture at the

Parrish Museum and the insistence on genius

loci at a time when notions o local materials

or crats, and the unmediated and genuine

access to both nature and art seem to have

been displaced or good in our culture?

For all the tectonic perection o this

building and the elegance o its materialit

and detailing, the architecture o the Parrish

has an orthodox and sternness which seems

atyical o both contemporar museum

architecture and o H&dMs own work.

Frank Gehrs Guggenheim in Bilbao

(AR December 1997) challenged the

orthodox that a museum had to be a neutral

backdrop to suspend art in an autonomous,

conceptual, zero gravit space. In the ace o

contemporar art, which abandoned its more

traditional object status and now claimed

to be spatial in its own right, Gehrs riposte

involved making architecture even more

sculptural and object-like. Similarl, Jean

Parrish ArtMuseum,Long Island,New York, USA,Herzog &

de Meuron

section AA

Nouvels Muse du Quai Branl in Paris (AR

October 2006) explored the undamentall

mediated nature o exhibits (in this case

anthropological arteacts). Here, architecture

engages art in a spatio-geometric dialogue

b immersing it in a sensuall intense and

ormall complex experiential milieu that

exploits to great efect the superposition

o reections, transparencies, textures,

colour and light. On the buildings acade,

Nouvel devised a vertical garden (mur

vgtal), which transormed nature itsel

into an arteact and object o the manmade

environment. Arguabl, these two buildings

are emblematic o what came to be called

the era o postmodernit, where the belie

in the essential diferentiation between

medium and content, between container

and contained, and between architecture

and art object, has been suspended.

Not so in the Parrish Museum.

On Long Island, H&dMs earnest take

on the interaction o museum, art and nature

is surprising, especiall in light o their own

repertoire o museum projects. Take the

Museum der Kulturen, which plas with the

traditional iconograph o Basels medieval

rooscape and wittil invokes nature when

suggesting (at least rhetoricall) that part

o the building is supported b inverted

columns made o hanging plants. Ever

element is treated without an pathos about

the alleged genuineness o nature or tectonic

authenticit o architecture. Similarl, the

For all the tectonicperection and elegance o

its materialit and detailing,the Parrish has an orthodoxand sternness atyical o

both museums and H&deM


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1 audiorium2 errace3 enrance4 ca5 galleries6 adminisraion7 archive8 ar loading9 works on paper

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roo plan

ground foor plan

ongoing extension to Londons Tate Modern

likens architecture to a gigantic mineral

landorm, so severing the romantic

connection between natural environment

and architectural orm. And at the de Young

Museum in San Francisco (AR October 2005),

architecture and nature are integrated in

diagrammatic and abstract was that

largel den all sentimental apprehension

o the genius loci.

A satellite image reveals the Parrish Art

Museums autonomous scale and orientation

in the landscape and points up one o its most

important characteristics, the silver metal

roo, which makes the structure stand out

against the dark ground plane. Standing in

ront o the building, ou immediatel grasp

the phenomenological intention. The long

roo reects and merges with the bright and

luminous sk, the cast concrete sidewalls are

rooted and terrestrial. Architecture is seen

as a meeting point between sk and earth;

a sort o horizon in its own right, or at least

an expressive interpretation o this notion.

Its conceivable that thepassive and conventionalrole H&dMs architectureassumes in relation tothe art it houses comes

with the territor

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7. Conceived as a horizonin its own right, the long,silvery bar o the buildingis transormed into anevocative meeting pointbetween earth and sky8. Materials are treatedwith great nesse and

precision. Concrete wallsare rooted and terrestrial,while the metal roomerges with the sky9. The roo oversailsat each end to createsheltered spaces underits double-pitched canopy

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beaches. H&dMs own precedent to the themeo building-as-horizon is to be ound in the

Dominus iner in Yountville, Caliornia

(AR October 1998), where the made

horizontalit itsel into the ver theme

o their architecture.

The Parrish is essentiall an extruded bar,

cut of to reveal a double-pitched roo which

runs with the grain o the building and thus

evokes the imager o a double house or barn

on both end elevations. This architectural

two-sidedness is reminiscent o John Hejduks

IBA projects in Berlin, where Hejduk gave

his buildings one gural acade with a sort

o inverted roo obliquel reerencing the

iconograph o the traditional house. He then

extruded this architectural sign into deep

space to create abstract and modern side

acades. Hejduk designed a whole series

o conceptual double houses, and also

hal-houses, suggesting that architecture

had a double grounding in the smbolic and

allegorical realm o the human imagination

and, at the same time, in the material and

pragmatic logic o the real world. These

ideas resulted in a two-and-a-hal dimensional

architecture that suggested the domestic

scale o the individual dwelling and the

scale o the urban apartment house could

paradoxicall coexist in the same building.

At the Parrish Museum, H&dM deplo

the smbolism o the house in man diferent

was. The entrance to the building is marked

b a missing section o the long bar, which

takes on the shape o the absent barn.At this point, the visitors set oot in the

architectural thematic o the shed even

beore the proceed to enter the actual

building. The entrance door is made o a ver

sophisticated black textured wood, which

is more reminiscent o the small doors o

a jeweller chest than o a building. Inside,

the caeteria and galleries are dened b

the contours o the house, lined with white

walls but opening the space to the whole

height o the pitched roo. The exposed,

untreated wood construction o the

timberwork emphasises the reading and

reinterpretation o a vernacular structure.

H&dM have previousl turned to the

smbolism o the traditional house. Projects

such as the recent VitraHaus in eil am

Rhein (AR March 2010) make clear how the

iconograph o the gable roo and Urhuthave

determined their architecture. ith both

the VitraHaus and the Parrish Art Museum,

the are less mthical about the moti o the

house than Hejduk, but it similarl helps

them to reconcile the institutional scale o a

museum with the domestic realit o the local

architecture. The tectonic meeting point o

Architecture rames thelandscape so that it becomes,or the frst time, visiblewith all its inherent qualities

The tyological choice o a long linear

structure, which exceeds the possibilit o

being apprehended as a nite object, conrms

this intent. Unlike the small houses that seem

whimsicall scattered around the landscape,

this building wants to be a matrix o the

landscape itsel: it makes visible what is

otherwise onl conceptuall accessible.In one o his more amous essas on the

onto-phenomenological role o architecture,

Heidegger likens architecture to a

longitudinal structure a bridge: The bridge

does not just connect banks that are alread

there. The banks emerge as banks onl as

the bridge crosses the stream ... The bridge

gathers the earth as landscape around the

stream ... a location comes into existence onl

b virtue o the bridge. In other words, nature

does not simpl predate the insertion o the

architecture/bridge, but architecture rames

the landscape so that it becomes, or the rst

time, visible with all its inherent qualities.

Architecture is a bridge that connects the

human to his/her environment it is an

Auslegung, interpretation, or la-out, which

makes things accessible to consciousness

and thus renders them intelligible.

The Parrish Museum can certainl be

conceptualised this wa: its horizontalit

makes visible the smooth topograph o

the dunes; its hard geometr explicates b

contrast the sot orms o the vegetation;

its ramed views o the landscape reveal the

long-drawn-out spaces o the elds and the

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1 corrugaed meal roofng2 waerproo membrane3 roo deck assembly4 imber purlin5 spray oam insulaion6 ba insulaion7 meal ascia8 seel welding plae and

seel angle in wall caviy

9 rigid insulaion10 cas concree wall11 plywood lining12 exernal ligh13 imber rater14 cold join15 cas concree bench16 expansion join17 composie concree slab

on meal deck18 polyurehane oam19 oundaion wall20 precas concree slab

10. Benches are castinto the external walls,a device also employedat the VitraHaus

detailed wall section

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the double roo is also spatiall interesting

especiall on the inside. Were the two roos

connect and their beams structurall and

expressivel cross over, their interior surace

reads as an inverted roo, which compresses

the space inside the building. At the same

time, the ridge o this upturned ceiling

becomes the spatial guide or circulationthroughout the museum, granting access

to galleries o variable size on either side.

On the whole, its hard to miss the careul

and subtle details that are so masterull

deploed, such as the wa the building

sits on a thin concrete surace which appears

to oat above the natural ground b just

an inch or so. The shadow joint between

this surace and the ground is minute,

et it elevates the building into a realm

determined b precision and meticulousnessthat is largel unknown to the American

construction industr and is, at the same

time, a trademark o Swiss architectural

culture. Similarl, the exposed ceilings

throughout the museum exhibit a sense

o careul carelessness when electric cables

are nailed to the timber beams or sprinkler

pipes run along rim lines. H&dMs Parrish

Art Museum is an extremel skilled

and artul essa on the tectonics o timber-

and-concrete construction and on the

genius loci and its conceivable that

the passive and conventional role their

architecture assumes in relation to the

art it houses comes with the territor.

11. Gallery spaces aredeined by the contourso the two houses andthe double roo structure

12. The meeting point othe twin roos itsel readsas inverted roo whichcompresses space andorms the buildingslong circulation spine

ArchitectHerzog & de MeuronAssociate architectDouglas Moyer ArchiecPhotographsAll phoographs by

Iwan Baan apar rom:Aeliers Jean Nouvel,

Philippe Ruaul, 3Paolo Rosselli / RIBA

Library PhoographsCollecion, 4Herzog & de MeuronBasel, 5, 6

12


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Museum o 2


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Seductively refecting the city andthe seasons, the crystalline paviliono Clevelands new contemporary artmuseum is a radical exploration o

geometry and materiality

BLUESTEEL

Museum oConemporaryAr, Cleveland,Ohio, USA,Farshid MoussaviArchiecure

CRITICISM3


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CRITICISM

RAYMUND RYANThe Bilbao Eect has come and gone, at least

or the moment. The Bilbao Eect, that is, as

demonstrated b architects less gited than

Frank Gehr attempting statement buildings,

with wishul cultural programmes, onmarginal or peripheral sites. Yet that doesnt

mean that the post-industrial cit has given

up on culture and on investigative design. I

the signature meta-project is associated with

recent excess, emerging cultural phenomena

are requentl accommodated b architecture

that takes a reciprocal attitude to existing

abric and is comparativel open in terms o

solution. Modest size and modest budgets ma

et allow or new orms o experimentation.

Cleveland is one o several Rust Belt citieswitnessing signs o rebirth or stabilisation.

The new pavilion designed b Farshid

Moussavi Architecture to house Clevelands

Museum o Contemporar Art (MOCA) is

certainl a sign, a propelling urban element

that is dramatic et subtle. Set on an axial

boulevard the appropriatel named Euclid

Avenue a ew blocks rom Gehrs School

o Management or Case Western Reserve

Universit, MOCAs immediate neighbours

include a massive healthcare acilit and amixed-use development designed b Stanle

Saitowitz as urbane extrusions to either side

o Euclid. To make its presence elt, and to

help consolidate the neighbourhood, MOCA

exploits its site, budget and programme

with econom and skill.

To date, Moussavi is best known or the

Yokohama Ferr Terminal (AR Januar 2003)

realised in partnership with Alejandro

Zaera-Polo between 1994 and 2002 as Foreign

Oce Architects. Her architectural projectsand her teaching at Harvard are concerned

with mathematical exploration, with new

orms o landscape, and as evinced b

Moussavis presentation at this ears Venice

Biennale with tectonic ornament and aect.

Her building or MOCA Cleveland results

rom a geometric construct. A hexagon at

ground level, it splas and mutates into a

square our stores above. Draped in

elongated panels o black stainless steel,

MOCA emerges in its context o much largerbuildings as a beguiling pavilion, both

meteorite and tent, a kind o tailored Dark

Star with an internal logic that nevertheless

results rom local conditions.

The immediate site is at the intersection o

Euclid and a side street that cuts through the

urban grid on a diagonal. MOCAs orm

A beguiling pavilion, both

meteorite and tent, a kind otailored Dark Star with aninternal logic that resultsrom local conditions

Museum o 1. Sairway o heaven: heili g i Cl l d


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ConemporaryAr, Cleveland,Ohio, USA,Farshid MoussaviArchiecure

ceilings in ClevelandsMuseum o ConemporaryAr are pained a richlymysical Yves Klein blue2. The exerior, wrappedlike candy in a pure blueneon glow (as Debbie

Harry once sang),shimmers wih ligh3-5. The exerior has beendesigned o coninuallychange is appearanceby reecing he shitingconex o he ciy and healering ligh condiionso he day and seasons

sie plan

4

5

6


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Museum oConemporaryAr, Cleveland,Ohio, USA,Farshid Moussavi

Archiecure

emerges rom a negotiation between these

axes. In that sense, Moussavis building is

analtical and rational. MOCA, however,

is also unorthodox and enigmatic. A centur

ago, such sites were allocated to libraries

and banks. B the 1960s, gas stations and

other drive-through acilities had tyicallusurped the old neighbourhood plan. MOCA

seems less interested in the drive-b legibilit

advocated b Robert Venturi (indeed it

avoids representation entirel) than

some o the smbolic presence associated

with previous architectural eras. Moussavi

achieves this b using contemporar

ormalism and lean engineering.

The rotation rom hexagon to square

results in a crstalline, prism-like orm

with eight acades: two rhomboids and sixtriangles. Four o the triangles rise rom

the pavement to a sharp apex against the

sk; the other two triangles are equilaterals

descending rom the parapet to a point at

street level. Seven acades are skinned in

precisel aligned, stainless-steel panels set in

parallel runs that change direction rom one

acade to the next. The eighth, acing north

6. Appropriaelyinangible, a yellow glowinvies visiors ino aspace dedicaed osound ar insallaions7. The buildings inerior isclohed in blue and whiesripes, like a Breon shir

7

This combination ogeometry and materialityresults in a building witha vivid personality

1 entrance lobby/atrium2 ca

7 clean workshop8 wood workshop


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3 multipurpose room4 shipping/receiving5 store6 gallery

5m

second oor planground oor plan

frs oor plan

A

A

B

B

hird oor plan

9 back o house10 services11 ofces12 education workshop

1

2

3

4

5

10

11

12

6

67

89

10

5. Tincillab ium volorereribus recaq uassimin

8


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comnis naissi o conrendi digen, sen, ue ee volessi quos opassi,con everoribus.Ro omnimax iminur, opacus andam, si eosdolorioria di ommolupaseur moloriem que nonsedea id eumquidipsam denonsequi quauria doles e

9

Us eume numrero magnis

and containing the principal entrance, is

entirel o glass. Some o these acades tiltMuseum oConemporary


33/48


rero magnisadisrume eexpersp ererum

with the panel grid at an angle to the vertical

axis. The black metal suraces are not

uniorml fat so that light and refections

all irregularl to urther animate the skin.

Modular glazing components are inserted

into the grid to unction as skinn diagonalwindows, fush and almost invisible in the

building carapace.

This combination o geometr and

materialit results in a building with a vivid

personalit. It stands there at the intersection

on Euclid constantl changing due to the

ambient eects o both natural and electric

light. Indeed the stainless steel seems to

magni dierent colours at dierent times

o da. The structure evokes contemporaneit

both in the sense o new design thinking andengaging with feeting moments o time.

The surrounding plaza, stretching north-east

towards one o Saitowitzs buildings, is

planted and paved in geometric patterns

b New York-based landscape architects,

Field Operations. There is a service entr

rom the south, rom the side street;

otherwise the ground surace extends

contiguousl about the museum.

Museum is in act somewhat misleading.

MOCA exhibits cutting-edge art but does notcollect, thereore the architect did not have to

deal with the vexing issues o storage aced b

collecting institutions. There is no basement.

One o Moussavis generating ideas is to mix

back-o-house acilities (loading dock,

workshop, oces) with publicl accessible

galleries, classrooms and oer spaces on each

o the buildings our levels. Visitors enter

rom Euclid through the sole glass acade

into a narrow chasm o space between these

stacked interior volumes and the origami-likeouter wall. A complex open staircase with

white plate balustrade leads upward, turning

back on itsel in order to reach the relevant

upper rooms and oer unexpected prospects

through the entire institution.

MOCAs industrial aesthetic results rom

considerations o econom, the demands o

changing installations and Moussavis design

philosoph. At street level, the polished

concrete foor fows, in one direction, into a

lounge and then a double-height space thatcan be used or exhibitions or perormance

and, in the other, into a store whose modular

cabinetr can be pushed into a fush inner

wall. MOCA charges or admission; however,

non-paing visitors can access ar into the

building, climb the enticing sculptural

staircase, and catch glimpses o exhibitions

and interior workings o the museum.

On the morning o MOCAs inauguration,

Moussavi denied her design had voeuristic

intent, stating that her aim is or engagementbetween institution and public.

MOCAs interior walls, and occasional

suspended ceilings, are white. The architect

has, however, scrambled established notions

8. Unlike many museumbuilders, Moussavi doesno allow geomericalexuberance o deracrom he uncional

display o ar9. The deep blue ceilingsand walls break open hewhie cube, providing aconrasing backdrop ohe works displayed wihin

ConemporaryAr, Cleveland,Ohio, USA,Farshid MoussaviArchiecure

Museum oConemporary

o the white cube galler b unexpectedl

painting the overarching roo and enveloping

t ll i d k bl Th

10


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Ar, Cleveland,Ohio, USA,Farshid MoussaviArchiecure

outer walls a uniorm dark blue. The

structure, angled like the exterior, is exposed

and painted to match the interstitial panels.

On inauguration da, Moussavi noted that

inside the white cube art foats, whereas with

the dark ceiling at MOCA art appears

grounded. Certainl these galleries are seldom

neutral; the visitor experiences a sequence o

spaces and volumes to provoke artist, curator

and visitor alike. Beneath the open staircase,

or instance, an enclosed exit stairwa is

painted a brilliant ellow and intended or

sound installations such as that currentl on

show b Korean artist Haegue Yang.

There is one urther, and entirel

unexpected, detail. The sloping slots o glass

unction as windows to admit light whendesired and to oer glimpses to the exterior,

to the lie o the street and to Gehrs

billowing metal structure across Euclid

Avenue. The glass is orward o the structure

so that foor slabs are mere shadows on the

exterior, aiding an enigmatic or scaleless

impression o the building. The reveals are

lined in mirror. The mirror refects curious

snippets o street and sk, and dematerialises

the thickness o the exterior envelope so that

MOCA reads even more as a kind o industrialtent. Through Moussavis resolution o orm

and detail, Cleveland now has a vanguard

acilit oering spatial and optical surprise.

10. Visiors climbing hegrand sair see ashes ohe exhibiion spaces,drawing hem upwardshrough he museum11. From above, hecascading sairs reveal acomplex iered geomery

11

ArchiecFarshid MoussaviArchitecturePhoographsDean Kauman, 1-9

Duane Prokop,Getty Images, 10Farshid MoussaviArchitecture, 11


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perspecive secion BB

perspecive secion AA


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1. (Opposite) the sober,elemental materiality othe museum exterior is

2


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continued into the internalspaces. Peroratedceilings diuse Denversclear mountain lightinto the galleries2. The rough texture o the

concrete walls evokesClyord Stills energetic,impassioned brushstrokes

NATURALFORCES

A major new art museum dedicated

to the lie and work o Clyford Stilldraws on the expressive energy andelementality o the painters oeuvre

Clyord StillMuseum,Denver, USAAllied Works

Clyord StillMuseum,Denver USA

1 Clyford Still Museum2 Denver Art Museum,

Hamilton Building(Daniel Libeskind)


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REPORTMICHAEL WEBB

Clyord Still belonged to that

heroic generation o American

artists who made Abstract

Expressionism the dominant

movement o the 1950s. But he

was also a loner, who withheld his

work rom galleries, moved rom

New York to a rural retreat, and

retained most o the paintingshe created over six decades. In his

will, he stipulated that his estate

be given to an American city

willing to establish a permanent

home or the study and exhibition

o his art. Some 31 years ater

his death, that wish has been

ullled in Denver. The Clyord

Still Museum is a tough usion

o art and architecture, rooted

in the earth and open to the sky.Brad Cloepl o Allied Works

Architecture worked closely with

director Dean Sobel to create an

ideal viewing environment or

huge canvases that explode with

energy, and smaller early works.

The austere concrete block,

holding storage, conservation

and service areas on the ground

foor and galleries above, is a

quiet riposte to the irrationalexuberance o Denvers cultural

district. The structure backs up

to Daniel Libeskinds homage

to The Cabinet of Dr Caligari

3. The new building takesits place in Denverscentral cultural district,in the ostentatious shadowo Daniel Libeskindsextension to the

Denver Art Museum4. (Opposite) galleriescantilever out over therecessed corner entrance.Light catches the n-liketexture o the concrete,animating the building'simpervious acades

Denver, USAAllied Works

with jagged metal shards on theoutside, tilted walls and acute

angles inside an ostentatious

and dysunctional extension

to the Denver Art Museum,

which already has to cope with

Gio Pontis eccentric castle.

Beyond is Michael Gravess

colourul conection or the

Denver Public Library, a PoMo

assemblage o Platonic orms.

Cloepl wisely ignores thesedistractions, drawing his

inspiration rom landscape and

light, as Still did, to serve the art.

Although the artist spent

most o his working lie in San

Francisco and on the eastern

seaboard, he grew up on the

Prairie and that experience

shaped his vision. Denver

is set on a mile-high plateau

surrounded by the snow-cappedRocky Mountains, a spectacular

setting that is mimicked in

the white Tefon peaks o the

Stapleton Airport terminal.

Cloepl preerred the elemental

to the picturesque, starting with

a concept model o rammed

earth, and planning to clad the

building with obsidian slabs.

That proved ineasible, since the

glassy ragments would not bondwith concrete, and budgetary

cutbacks narrowed the range

o possibilities. Allied Works

was determined to achieve a

rough texture that would have a

random, undesigned quality, and

the practice went through myriad

tests and mock-ups with the

contractor. The solution proved

simple: bevel the boards in theormwork to allow the concrete to

leak out and break o. The deep

ns capture the light, and enliven

the windowless acades, as do

the iridescent tiles that clad the

Museum o Arts and Design in

New York (AR February 2009).

A grove o plane trees will

partially conceal the museum

rom the street, casting shadow

patterns over the walls.Galleries are cantilevered over

a recessed corner entrance, and a

staircase draws visitors up rom

the long, low-ceilinged oyer,

( )3 Denver Art Museum,

North Building(Gio Ponti)

4 City Library(Michael Graves)

5 City and County Building

6 Civic Centre Park7 Parking Structure

3

1

2

34

5 6

7


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5. (Opposite) inside themuseum, a double-heightcorridor orientatesvisitors with displays

15 5

6


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o archive material,and biographical andcontextual timelines6. One o the moreintimate galleries or the

display o smaller works.Galleries respond to theevolving nature o Stillsart, changing scale andproportion, while varyingthe intensity o light

ground foor plan

rst foor plan

Clyord StillMuseum,Denver, USAAllied Works

1 entrance terrace2 reception3 conservation lab4 research lab5 service6 painting storage7 mechanical8 administration9 visitor services10 library11 orientation12 gallery13 terrace14 education gallery15 conerence

141212

12 1212

12

1212

8 7 5

62

1

4

9

3

11

13

10

10m0

Clyord StillMuseum,Denver, USA


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ascending into the light. There

they move through a grid o

nine rooms dened by poured

concrete slabs and drywall

which open into each other and

oer oblique views across the

foor. A central well and the main

staircase provide visual links to

the ground level. The eeling is

intimate and fuid, and there are

two outdoor terraces screened

with wooden battens.Wall openings rame canvases,

allowing you to approach them

rom aar and then to immerse

yoursel in the explosive colours

and orms. Two galleries have

3.8m diagonally boarded ceilings

or smaller works, while the

others rise 5.5m to a perorated

concrete ceiling. The concrete

ns are carried inside, but

walls supporting the art have arough-textured surace, oering

a tactility complementing the

impassioned brushstrokes. The

perorated ceiling is set 1.3m

above the walls holding the art,

and the same distance below the

ltered skylights, diusing the

clear mountain light through oval

openings. The perorations are

set at the same angle to the walls

as the boarded ceilings, playingo the vertically marked walls

and white oak foorboards.

It was very important that

the museum be monolithic, says

Cloepl. In the US, buildings are

assembled rom parts. It took awhile or the contractor to realise

we wanted him to make things.

There were repeated tests and

one wall was torn down, but the

eort paid o, or the 12m pours

are as impeccable as the detailing.

In mass and natural lighting, the

building is a worthy heir to Louis

Kahns Kimbell Art Museum

Cloepls model o what an art

museum should be. Cutbackswere turned to advantage. As an

economy, the block was set back

rom the street and a third foor

was eliminated, but the display

area was only slightly reduced.

The resulting delay gave everyone

time to perect the execution.

About 70 paintings and sketches,

hung chronologically with brie

text panels, comprise the

inaugural exhibition. Stills artis so powerul and little-seen

that even a small sampling o

the 2,400 works in the collection

is an unorgettable experience,

and this is enhanced by the

architectural rame. Cloepl

drew on his long experience

o designing museums and his

amiliarity with the key works, to

calibrate the proportions o each

room. As he observes, elemental

language can create spaces that

are resonant and eel innite.

It is rewarding to compare

the rigour and subtlety o this

building with David AdjayesDenver Museum o Contemporary

Art to the north (AR April 2008).

Both architects have an innate

respect or artists, and an

intuitive understanding o how

to enhance the experience o

viewing their works. Adjaye

provides a multi-layered complex

o versatile display spaces or

temporary exhibitions within a

translucent envelope; a cabineto curiosities that eels airborne.

In contrast, Cloepl has created a

massive, impermeable block that

appears to hide in plain view

and will soon be embowered by

mature trees. The archives and

storage areas beyond the oyer

are equally shadowy. Above, the

art is washed with natural light

and appears to foat ree o the

walls that act as rames. Thereis an alternation o rough and

rened, radiant and crepuscular,

contained and ree-fowing; above

all, a pervasive serenity.

Allied Works

7. Early massing modelshowing the buildingsrelationship to site, as well

as a sense o the ribbedand riven external walls8. Detail o acade.Concrete was allowed toleach out o the ormworkto create the roughlybevelled texture

The Museum is atough usion o artand architecture,rooted in the earthand open to the sky

7

8

9. Concrete walls andwhite oak foors orma neutral backdrop tothe display o Stillsvibrant paintings

9


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vibrant paintings.A leading exponent oAbstract Expressionism,Still was among the rstto embrace the movement.

The new museumre-acquaints the publicwith his impressivebody o work

section AA

section BB

Architects

Allied Works ArchitectureStructural engineerKPFF ConsultingEngineersServices engineerArupLandscape consultantReed HilderbrandAssociatesPhotographsJeremy Bittermann

1


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Space rame pioneer Robert Le Ricolais

once said: The art o structure is where to

put the holes. So perhaps he would approve

o this experimental project to make a

structure composed o nearly all holes by

Karl Daubmann and PLY Architecture. Over

100 laser-cut aluminum cones o varying sizes

orm the building blocks or a reestandingpavilion set in the University o Michigans

Botanical Gardens. The organisational

scheme or the cones explores the botanical

concept o phyllotaxis: the dynamic process

by which plants sel-organise to create

specifc orms. Beyond testing the limits o

sheet aluminium, the cones also unnel light

and sound to the interior, so that visitors can

absorb the atmosphere o the surrounding

gardens. Framing views out while taking

the shape o an object in its own microlandscape, the Shadow Pavilion elegantly

emphasises the immutable relationship

between digital design processes and the

growth patterns o living organisms.

EMERGING ARCHITECTURE

site plan

SHADOWPAVILION

PLYARCHITECTURE

ANN ARBOR, MICHIGAN, USA

2 3


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cross section

1. Vistas o the changing

seasons are ramed

and ltered through

the circular opening

in the pavilion

2. Fabricated rom

aluminium cones o

diferent sizes, the orm o

the pavilion is inspired by

organic processes o

sel-organisation3. The cones also unnel

sound into the interior

Architect

Ply Architecture

Photographs

Courtesy of the architects

long section

REPUTATIONS


46/48

46 AR | NOVEMBER 2011

In the hal centur ollowing the

publication oThe Death and

Life of Great American Cities,

Jane Jacobs has become the most

revered, or at least the most widel

reerenced urban writer in the world.

Prizes and medals are awarded in

Jacobss name and her ideas shape

historic preservation laws as well as

new mixed-use designs. She is taken

as the patron saint o grassroots

movements against bureaucratic

ats that result in residential

displacement, building demolition

and the boring inanit or the great

blight o dullness, as she wrote, o

big, ugl new construction.

Jacobss plainspoken critique

o the architectural conormit

that dogged post-war Modernism

challenged the prevailing wisdom

about rebuilding cities or the

executive class. Her advocac o

the need to maintain the patterns

o the antebellum cit, with its

oten chaotic rhthms and nel

tuned local scale, contradicted the

grand strategies o rationalising

do-gooders who wanted to save

the cit b destroing it.

Appearing in 96, Jacobss

book mobilised sociall conscious

intellectuals who had been skewered

b McCarthism and threatened

b the Cold ar. Together with

the works o the environmentalistwriter Rachel Carson and the

eminist author Bett Friedan,

The Death and Life laid the

groundwork or a new kind o

protest politics based on where ou

live, what ou eat and who ou are.

It is not insignicant that all three

authors were women.

Tributes rained down when

Jacobs died in 6. In her rst

adoptive cit, New York, wherethe Pennslvania-born author and

activist worked as a secretar and

then as a journalist, the block o

Hudson Street where she wrote

The Death and Life towards the

end o the 95s was renamed in

her honour as Jane Jacobs a.

Toronto, where Jacobs and her

amil moved in the 97s (so her

sons could avoid being called into

militar service in the Vietnam ar),

started a ree annual walking tour o

the cit, Janes alk, on the rst

weekend o Ma. As part o the

street-level celebration, volunteers

now lead over 5 tours in more

than 75 cities around the world.

Oering equall weight smbolic

kudos, the highest appointed

ocial in charge o land-use

decisions, New York Cit Planning

Commissioner Amanda Burden,

has declared hersel to be an ardent

champion o Jacobss ideas.

But in concrete terms, Jacobss

legac is less clear. Her preerence

or low-rise buildings at a variet o

rents is honoured more in the pages

o urban planning journals than in

cit council chambers where zoning

laws are decided. Her praise or

the social vitalit o districts with

attractions has morphed into the

universall recognised economic

value o Destination Culture and

the McGuggenisation o man cities.

As or the sel-guiding communities

that she espoused, well, the have

been submerged b elected ocials

who pa more attention to real

estate developers than to communit

planners and torpedoed b economic

recession on the one hand and

citizens tax revolts on the other.This is not entirel Jacobss

ault. She wrote during an age o

worldwide economic expansion

when governments invested heavil

in building new roads, subsidising

suburban development and

rationalising cit centres as locations

or corporate headquarters an

age, in short, that was tyical o

the United States and Europe ater

the Second orld ar and appearsa lot like China now. Some o the

evils that she attacked, including the

arrogance o state planners who

push people out o their homes,

the monolithic architectural projects

that swallow old districts whole

and the stunning rate o highwa

construction that moulds cities

around space or trucks and cars,

embod so much sel-interest that

not even a Marxist revolution could

thwart their orward fow.

And Jacobs was no Marx. Though

she opposed the edicts o long-time

New York public-sector building czar

Robert Moses, and together with her

neighbours won signicant victories

over his plans to tear down parks

and buildings and run highwas

through Lower Manhattan, she did

not attack the nexus o economic

and state power that supported

Mosess vision. Instead, she attacked

planners, a relativel powerless

group compared to developers who

build, and banks and insurance

companies who nance the building

that rips out a cits heart.

Neither did Jacobs, a

communitarian, believe that state

action could right the wrongs she

deplored. Jacobs did not call or

stronger zoning laws to encourage a

mix o housing, actories, stores and

schools. She did not support more

permanent rent controls to ensure

a mix o poorer and richer tenants,

o successul businesses and

start-ups. Jacobs neglected the

economic priorities that avoured a

shit o investments to suburbs over

cities and let the public housing

projects architecturall barren

and perenniall short o unds.orse, Jacobs wrote that i

nanciall solid amilies remain,

troubled communities will unslum

themselves. This seems unusuall

nave or such an astute activist.

The idea ails to come to grips

with entrenched racial bias or the

sstemic disinvestment that both

oreshadows and deepens the

ecological miser o unemploment.

For these views and her distaste orstate intervention, Jacobs won the

admiration o Neo-Conservatives

who could hardl have shared most

o her other political opinions.

Jacobs won theadmiration ofNeo-Cons whocould hardlyhave shared

most of her otherpolitical opinions

Jane Jacobs19162006EducationSchool of Graduate Studies,Columbia UniversityFirst breakJoining the magazineArchitectural Forum(1952)Key PublicationsThe Death and Life of Great

American Cities(1961)The Economy of

Cities(1969)Cities and the Wealth

of Nations(1984)Dark Age Ahead(2004)GarlandsAmerican SociologicalAssociation OutstandingLifetime ContributionAward (2002)Rockerfeller Foundationcreation of Jane JacobsMedal (2007)Quote'Cities have the capabilityof providing something foreverybody, only because,and only when, they arecreated by everybody'

Jane Jacobs

SHARON ZUKIN

JOEWILSON


47/48

AR | NOVEMBER 2011 47

Were Jacobss ideas work

well, the ocus on the social web

that undergirds microcosmic

urban lie. Her description o the

sidewalk ballet, the set-piece o

the second chapter in The Death

and Life, weaves a rhthmic

narrative o the butcher, the baker,

the bartender and other stalwarts

o High Street shops who keep

an ee on the street and subtl,

without direction rom external

authorities, exert social control

over the unpredictable fow o

strangers and riends. Jacobss

remarkable idea is that the street is

pre-eminentl a social space. I we

ignore the routine interdependencies

and everda diversit a cit street

enolds, we lose the qualities that

give it lie and guarantee its saet.

There is a wonderul photograph

o Jacobs in her prime, sitting at the

bar o the Wite Horse Tavern, just

down the block rom where she lived

in Greenwich Village. earing big,

dark-rimmed eeglasses and a

shapeless raincoat, smiling and

holding a cigarette in her right hand,

Jacobs would not be mistaken or

an o the legions o gentriers who

ollowed her call to nd the endless

ascinations o the cits historic

centre. But she underestimated the

strength o middle class tastes or

social homogeneit and aesthetic

coherence that drive gentrication.

Wat Jacobs valued small blocks,

cobblestone streets, mixed-uses,

local character have become thegentriers ideal. This is not the

struggling cit o working class and

ethnic groups, but an idealised image

that plas to middle-class tastes.

Jacobss challenge to maintain

the authenticit o urban lie still

conronts the ear o dierence and

the hubris o modernising ambition.

At a time in which local shopping

streets are the target o attacks

against a broader alienation,we urgentl need to connect her

concern with economic development

and urban design to our unsettled

social condition.

FOLIO


48/48


Detail o UTOPa-1 (2008) rom the UTOPX series by Lebbeus Woods, who died on 30 October 2012. Nicholas Olsberg and Anthony Vidler refect on his legacy in the December 2012 issue

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