Boston is full of co-working centers, incubators, and labs, but most are housed within one of the city's 50 institutions of higher education, cloaked with exclusivity or even anonymity simply by association. Others are part of a particular company, perhaps relegated to the corner of a lobby or makeshift space. District Hall, the result of a public-private partnership, belongs to everyone, and it's a smash hit, not just an idealistic showpiece for the city. The bright, airy 12,000-square-foot building on the South Boston waterfront, across from Diller, Scofidio + Renfro's Institute of Contemporary Art, is an innovation center unaffiliated with
Kindred spirits” is how the four partners at Studio Ma describe themselves, and their affinities can be broadly divided into two camps: their respect for and love of the American Southwest, where they are based, and the drive to produce good design on tight budgets.
A beloved '60s dormitory—once the tallest building in Arizona—was adapted to the needs of today's plugged-in students Manzanita Hall makes a striking statement on the northern edge of the Arizona State University, Tempe, campus, across from the Sun Devil Stadium and blocks from the downtown.
Perkins Eastman restored Albert Ledner’s 1964 National Maritime Union headquarters in Manhattan’s West Village, and inserted a stand-alone emergency department inside. When New York’s St. Vincent’s Hospital closed in 2010 after years of financial strife, Greenwich Village lost a beloved 150-year-old institution that had served the poor and working class and was “ground zero” when the AIDS epidemic erupted in the 1980s. While most of the St. Vincent’s campus was demolished, a quirky precast-concrete building on Seventh Avenue between West 12th and 13th streets, designed by Albert Ledner and completed in 1964, remained. St. Vincent’s purchased it in 1973, but
Sarah Oppenheimer studied painting at Yale, where she received her M.F.A. in 1999, but, over the last decade, architecture has been her canvas and medium. Oppenheimer manipulates existing architectural spaces, distorting our perception of an interior’s geometry and programmatic logic.
Rob Fischer, whose background is in sculpture, has been building domestic structures since college and often moves them from one remote rural landscape to another, exploring the seemingly opposing ideas of protection and adventure.
Katrín Sigurdardóttir was born in Reykjavik and moved to the United States in 1988 to attend the San Francisco Art Institute. The artist now splits her time between studios in Long Island City, New York, and Iceland. As it is in her life, a kind of diasporic mobility is a key theme in Sigurdardóttir’s work.