When Bay Area architect Chris Downey lost his sight last year, he refused to consider a career change. Though surgery for a benign tumor near his optic nerve had left him blind, he returned to work just a month later. “I could hardly walk around,” says Downey, 46, who at the time was running a green modular-housing firm. But, he recalls thinking, “There’s something worthwhile if you can figure out how to do it.” Photo ' Curt Campbell 'You might pick a material that looks great, but so what? [That doesn't matter] if it doesn't feel good,' says Chris Downey
Ten emerging firms have dressed up the bare concrete courtyard outside New York’s P.S.1 Contemporary Art Center since the institution, housed in a former public school building in Queens, and its Manhattan affiliate, The Museum of Modern Art, began the Young Architects Program in 2000.
Nearly two decades ago, the Metropolitan Museum of Art completed the 1970 master plan by Kevin Roche, FAIA, of Kevin Roche John Dinkeloo and Associates (KRJDA), for its building in New York City’s Central Park. Since then, the museum may not expand up or out on its site. Yet it continues to reconfigure interior spaces to accommodate changing curatorial needs and increased attendance. The latest installment in this ongoing process, the second phase of a three-part renovation of the museum’s American Wing, was unveiled on May 18 in a ribbon-cutting ceremony presided over by First Lady Michelle Obama. Photo courtesy
LY: Another problem with the former design is that people had trouble finding the galleries upstairs. When did you first notice this? MH: In 1924, when they placed the earliest galleries and period rooms on the top floor. It was always a problem for people to get to the beginning of the sequence. The principal goal of our effort was to clarify patterns of access—pathways for visitors. And the 1980 design did not solve the linkage issue between the 1924 structure and the rest of the building. At that time, they tried to integrate the wing with the main building,
At the farmers’ market in Seattle’s Ballard neighborhood, people can’t help but ask John Morefield what he is selling. “We’re selling architecture!” he answers. “Have questions about your house? Kitchen too small? Bathroom not working? Drop a nickel into the cup.” Architectural advice is an unusual service to be hawking at a Sunday market known for its organic produce. Then again, these are unusual times, and Architecture 5¢ is just one man’s way of weathering the economic crisis. Inevitably, passersby see the 27-year-old Morefield behind his plywood booth—built to resemble Lucy’s psychiatry stand from the Peanuts comic strip. Intrigued, they
Image courtesy Peter Morris Proponents of green buildings have a long list of persuasive arguments they can use to convince clients and developers that green is the way to go: Build green, and your employees will be healthier, happier, and more productive! Build green, and you will use less water and energy, benefit your local environment, and promote global environmental responsibility! Build green, and you will save money over the long term! But with U.S. economy in shambles, the question looms: How will the recession affect the green-building market? RECORD put the question to Peter Morris, principal of the construction
Image courtesy of the New Museum Urban China editor, Jiang Jun Image courtesy of the New Museum New Museum curator, Benjamin Godsill Cities are four-dimensional universes. Places and spaces at once, they’re always too big to fully grasp, and they’re always changing. If the contemporary apex of this incomprehensibility is anywhere, it’s in China, where cities are blurs of government control and ground-level commotion. They’re huge and sprawling, overpopulated, misunderstood, and growing fast. And a new show at the New Museum in New York packs all that into one room. Jiang Jun edits the Shanghai-based magazine Urban China, and his