The more successful buildings by Rafael Viñoly, FAIA, display distinct athletic gestures—from the smoothly arcing roof of the 1994 Lehman College Physical Education Facility in New York to the exuberant, glass-barrel-vaulted roof of the Kimmel Center for Performing Arts in Philadelphia.
Credit: a sticky wicket Credits can be a source of contention, and it is more than wise to clarify them from the beginning. But even then there are problems. When Margaret Helfand, FAIA , a New York–based architect with her own office took on the role as the design architect for the Unified Science Center at Swarthmore College in Swarthmore, Pennsylvania, Einhorn Yaffee Prescott (EYP), a Boston-based a/e firm, had already been contracted to do the programming, and because of its expertise in lab design, had embarked on some early planning for the center. The college, for which Helfand had
Embedding architects Electronic mail may help in overseas working relationships, but it isn’t everything: design architects and their collaborating architects often place their respective staffs in each other’s offices during the phases of schematic design, design development, construction documentation, and construction supervision. Gruzen Samton, which associated with Bernard Tschumi, AIA (then dean of Columbia University’s Graduate School of Architecture, Preservation and Planning), for Columbia’s Lerner Hall [record, November 1999, page 94], sent architects to Tschumi’s office at the beginning of the schematic-design phase. “We were all looking at various alternatives, with lots of sketches,” says Samton. “Bernard had a lot
Unless you have been living in the Truk Islands, you have noticed (or even been a part of) the varied range of collaborations occurring among architectural offices in recent years. We’re not talking about collaborations between architects and landscape architects, engineers, or artists—that’s another story. Just looking at collaborations between different architectural practices reveals not only certain trends but some particular problems that warrant attention, in order to help create better relationships––and architecture. Up until 15 or so years ago, it was common for many large architectural offices to promote themselves as “full-service” firms handling all phases of the project
If you go by newspapers and monthly consumer magazines, you might think there is only one female architect designing significant buildings today—Zaha Hadid. To be sure, the London-based, Iraqi-born architect deserves acclaim for her inventive assortment of zoomy structures completed in the last few years. But what about the rest? Aren’t there other talented women architects out there, who, like Hadid, run their own design practices?