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The tower’s bay windows shift slightly as they prorgress skyward.
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that suspended a new complex over the La Brea Tar Pits. But now that proposal—and the museum’s development plans in general— continued on page 8 are a lot different.
THIS SUPPLEMENT INCLUDES THE LATEST INDOOR AND OUTDOOR PRODUCTS FOR FLEXIBLE ENVIRONMENTS. SEE PAGE 23
07 EAVESDROP 32 CALENDAR 36 MARKETPLACE
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STUDIO GANG TOWER IN SF BOLSTERS DOWNTOWN BOOM
Inside the Downtown Project’s Container Village.
DO THE TWIST
METRO APPROVES FIRST STAGE OF RAIL LINK TO LAX
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An looks At the tensions between AFFordAble housing development And historic preservAtion: see pAge 30 And how trAnsit hubs Are driving development nAtionwide see pAge 34
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deAr mAssimo 16
mAd creAtivity 18 product>glAss 23 ArtFul Ando 07 eAvesdrop 39 cAlendAr 44 mArketplAce
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hunters point south, Queens
In the Zone(ing)
Big Apple. Chen’s firm, ODA Architecture, THE DELICATE ART OF LIGHTING has become the darling of New York’s MUSEUMS. SEE PAGE 12 development community with its ability to When large-scale work tapered off during work within these constraints, maximizing the recession, architect Eran Chen continued salable square footage while sweetening to pour over New York City’s zoning codes the pot with distinct and sometimes and regulations, which can have a lot of surprising massing schemes. sway over the shape of architecture in the Before the recession, continued on page 9
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ROBERT POLIDORI
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At long last, it appears Los Angeles is WWW.ARCHPAPER.COM IF IT to MATTERS, WE YOU $3.95 getting a train the airport. InTELL late June 35 Section showing new galleries under the It has been known for some time that the the board of LA County’s transit agency, museum’s east terrace. firm of Chicago architect and MacArthur METRO, agreed to proceed with a $200 A series of three reservoirs TULSA IS BUILDING AN URBAN PARK DESIGNED BY MVVA could transform Dallas. Genius Grant recipient Jeanne Gang has million light rail station, part of the new been planning a residential towerMUSEUM for San OF ART Crenshaw Line, connecting to a proposed GET LOST IN A GLASS LABYRINTH AT THE NELSON-ATKINS 05 EAVESDROP Francisco’s Transbay District, south of people mover that will usher passengers 34 CALENDAR Market Street. Now Gang and developer to their terminals. The new station would 37 MARKETPLACE Tishman Speyer have revealed renderings be located about a mile and a half east of a 400-foot-tall, 40-story building clad in of LAX’s central terminal area, OHIO and about LIBESKIND’S HOLOCAUST masonry at 160 Folsom Street. a half mile north of the Crenshaw On May 22, the Nelson-Atkins Museum of tiles renowned artist and Kansas City native MEMORIAL OPENSLine’s IN COLUMBUS The shows units follows with large bay of similar Aviation/Century Stop, at 96th Street and Art in Kansas City, Missouri, unveiled thedesign Robert Morris a series Aviation Boulevard. windows, staple in the made Bay Area, newest addition to its 22-acre Donald J. Hall a installations overbut the past decade FIRST PHASE OF TRINITY LAKES continued onincluding page 6 steel, stone, As AN previously continued on page 11 the bays jut from out various Sculpture Park. Entitled Glass Labyrinth, materials PROJECT GETS UNDERWAY continued on page 5 the glass walled maze designed by worldand even “Libeskind tells stories with iron, steel, and glass,” said Ohio Governor John www.archpaper.com If It matters, we tell you Kasich as he introduced architect Daniel Nearly a half century after its initial DETROIT DESIGNERS TRANSFORM Libeskind at the unveiling ceremony conception, Dallas is determined to move AN AUTO SHOP INTO A STARTUP downtown Las Vegas—and in particular the of the Ohio Holocaust and Liberators David Benjamin TONY HSIEH’S DOWNTOWN PROJECT forward on plAn the almost mythical Trinity bond the Frick Announces expAnsion by dAvis brody Memorial on June 2. The designer of the mile-long stretch ofINCUBATOR Fremont Street east of Lakes project—a proposal to create three TRANSFORMING LAS VEGAS monument and the child of two Holocaust the Fremont Street Experience—through reservoirs for flood control and public survivors, Libeskind said, “I live in the investments in real estate ($200 million), amenity space along the Trinity River shadow of the Holocaust.” small businesses ($50 million), education 05 EAVESDROP Tulsa’s waterfront is getting a $300 million a 66.5-acre park that stretches along corridor. Earlier this month, the Dallas Similar to Libeskind’s Jewish Museum Big things are happening in Sin City cour($50 million), and tech startups ($50 million). makeover, courtesy of New York City–based the Arkansas River, began with a PLANNERS 2011 CityTHE Council approved 17 CALENDAR MULL REVIVAL OFa $737,000 design in Berlin, a theme of “tears through buildtesy of Zappos founder Tony Hsieh, who, Though the built environment is only part landscape architecture firm Michael Van competition sponsored by the George Kaiser contract forDISTRICT two smaller versions of the 21 MARKETPLACE A HISTORIC MILLWORK ing material” this monument. with other investors, is backing the $350 of the larger Downtown Project picture, it is continued on page 6 continued on page 10 Valkenburgh Associates (MVVA). The project, pervades Foundation. The lakes (as large as ON THE MISSISSIPPI Beginning at one end of the memorial, million Downtown Project. Announced crucial to its success. a fractured granite path leads to the continued on page 9 in late 2011, the venture aims to transform “Tony’s vision is to signature bronze symbol, which stands Brutalist theater is one LUBBOCK HOMELESS ASSISTANCE FACILITY UNVEILS MASTER PLAN 18 feet tall. “The bronze sculpture invokes of the finest of its era. For much of its modern history, Dubuque, the image of a book. However, this Iowa, has been a city that could not sculptural book has a split down the catch a break. The millwork industry that middle to reveal the six-point star,” said built it moved elsewhere in the early 20th Michael Ashley, a Senior Associate with century, and later the Interstate Highway Studio Daniel Libeskind. Autodesk Acquires the living, System passed it by, too, building I-90 to Located on the south lawn of the Ohio lAunches Architecture studio Detroit-watchers near and far may be familiar prairieland, with acres of vacant lots and continued on page 4 continued on page 8 the north through Statehouse, two THE NEW TECH CAMPUS. with Corktown, a happening neighborhood few residences in between. North Corktown The Frick Collection sits in a rarefied tier plans to alter its Beaux Arts masterpiece. SEEand PAGE home to converted lofts, trendy eateries is 21 a strangely quiet, sparsely populated among the nation’s art museums. Its Though it hosts changing exhibitions, innovative redevelopment of empty lots and neighborhood of Detroit that has drawn DESIGN/BUILD EXPERTISE administration counts the Morgan Library With the acquisition of architecture and the Frick is an institution that expresses a continued on page 10 other spaces. A few miles north is an almost interest due to its SEE PAGE 14 design firm The Living, led by principal & Museum, Boston’s Isabella Stewart Gard- remarkable sense of continuity. Many visitors David Benjamin, the software company ner Museum, and Philadelphia’s Barnes might be surprised to learn that the institution Autodesk is launching a new studio that Foundation as peers; all these institutions has actually evolved and expanded three explores the future of computer-aided trace their collections and original buildings times since it was built as a private house design. The studio, which will be called to Gilded Age fortunes and the hands of in 1914. The original house was designed The Living, will create new types of buildtheir founders. And with recently announced by Carrère and Hastings, and was conceived At thepeer end of March, faith-based non-profi t gin in Lubbock, Texas. by San ings,Designed public installations, prototypes, and plans the Frick will seek to join these as a “country house in the city,” according Link Ministries theIan downAntonio architecture studios HiWorks architectural environments. institutions in expanding and adapting to toand theUrban Frick’sTech, director Wardropper: low town studio oflying the College of Architecture at and Urbanist Design and Dallas landscape David Benjamin told AN he is “incredibly reflect the needs of a growing audience with a large sunny garden, designed Texas announced for faces architecture Studio Outside, the excited about deliberately engaging and and ambitious programming. But first Tech theyUniversity, by Frederick Olmstedplans Jr., that central practice High Cotton homeless plan provides a frameworkwith for new models of the STUDIO RED RENOVATES HOUSTON’S ULRICH FRANZENwill LANDMARK experimenting have to convince their neighbors and Genesis, park. In a 1920, Henry assistance Clay Frick’s master daughter, continued on itself.” page 9 The studio will facility on of the Helen, 5-acre site of a former cotton phased development continued on page 8 architecture studio the Landmarks Preservation Commission founded a explore the intersection of new technologies and design in projects that span industries from architecture to industrial design to odA Architecture delves into regulAtions For Floor AreA, The Ulrich Franzen–designed 1968 Alley Vivian Beaumont Theatre at Lincoln art to music to aerospace. design cues,Center And new business Theatre in Houston is among the great in New York City, Harry Weese’s Arena The Living has collaborated with performance spaces of its era, standing Stage in Washington D.C., and Welton Autodesk on multiple projects over the continued on page 5 beside such fine company as Eero Saarinen’s Becket’s Mark Taper past several years. Selected by the Museum of Modern Art and MoMA PS1 as the winner of the 2014 Young Architects Program in New York, The Living used MW_06_01_14.indd 1 6/10/14 1:11 PM Autodesk software to design its winning project “Hy-Fi,” now on view in the courtyard of MoMA PS1. continued on page 6
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LACMA director Michael Govan has taught us to never get comfortable with his plans. For a moment it looked like the museum had settled on a design by Peter Zumthor
PALI DISCUSSES THE SOUTHWEST AMPAS
CONTENTS
Zumthor’s latest plan for LACMA would bridge Wilshire Boulevard.
STUDIO GANG/TISHMAN SPEYER
ntain walking trails at rooftops.
contents
LACMA CHANGES DEVELOPMENT PLANS, NEIGHBORHOOD BRACES FOR IMPACT
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Nothing about Atlantic Yards has been quick. The controversial, 22-acre development in Downtown Brooklyn got off to a slow start as it was plagued for years by strong community opposition and a sputtering economy. During these tumultuous years, Frank Gehry’s master plan for the site was ditched and SHoP Architects stepped in to move things forward. After the lawsuits, the design changes, and the delays, work finally got underway. In 2012, the SHoP-designed Barclays Center—the focal point of the project— opened to much fanfare. But since Jay-Z’s inaugural concert in the arena, not much has happened at the rest of the Atlantic Yards site. The prefabricated residential towers that were supposed to rise quickly continued on page 11 and offer much-
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BINDING METHOD Saddle-stitched
PRINTING / PAPER STOCK The Architect’s Newspaper is printed web. Paper stock is 45# white-coated stock.
SAFETY MARGINS Allowance should be made for 1/4” trim at head, bottom and gutter for all bleed ads. Live matter should be kept 1/4” free from all trimmed edges.
PREFERRED FILE FORMAT PDF/X-1a; No application will be accepted.
files
COPY REQUIREMENTS Format as a high resolution PDF (300 dpi). Files should be CMYK. RGB images, ICC Profiles or PANTONE colors will not be accepted. Be aware of effects that can be caused by transparency and flattener settings. All transparency must be flattened in the final page file that is submitted for processing.
Select all text and “Convert to paths” in FreeHand or “Create Outlines” in Illustrator. A laser or digital SWOPcompatible proof must accompany all files.
COPY DEADLINES 15 days before publication date. Any ad materials received in other formats will incur an additional fee as will author’s alterations to ad materials (typesetting, stripping, etc.).
COLOR PROOF REQUIREMENTS To assist our printer in obtaining a good press match, it is important to follow general industry guidelines when preparing files and proofs. Advertisements supplied to The Architect’s Newspaper without an acceptable color proof will be printed to SWOP standards. The printer and Publisher cannot be held liable for color complaints when files are submitted without acceptable color proof. Black and white ads can be submitted with continuous tone (contone) proof.
The correct size proof must be generated directly from the disk/file you submit. All proofs must indicate publication name, issue date and contents supplied by advertiser. Fractional ads, up to 5 mgs if compressed, can be sent by email; larger files can be sent to our FTP site. Please call the advertising department at 212-966-0630 for address information before sending. A copy must 212-966-0633.
be
faxed
to
Advertiser name, file name and directory, application used and issue date should be clearly stated on both email and fax.
AUTHOR’S ALTERATIONS
or enlargements, trapping, etc., will be billed mechanical charges at the Publisher’s prevailing rates. Black or color type knocking out of a tone background often cannot be deleted; in such cases, new film or digital film must be provided and film output charges will apply. All production charges will be billed on the invoice for the issue in which the ad runs. All advertising materials must be received by closing date.
SHIPPING ADDRESS The Architect’s Newspaper Advertising Department 21 Murray Street, 5th Floor New York, NY 10007
Changes made after approval of a final proof, or after output of film and proof, require new film and proofs to be output, and thus will be subject to additional charges for the second set of film and proofs. Advertisements requiring alterations such as editing, image manipulation, reductions
Terms & Conditions General Rate Policy
Rates are effective as of January 1, 2015. All business under contracts will be protected for the duration of the contract.
Agency Commission
Terms are net 30 days. 15% gross billing allowed to recognize agencies on space, color and position, provided account is paid within 30 days. Payment for any advertising shall be due and payable at Publisher’s office: The Architect’s Newspaper, LLC 21 Murray Street, 5th Floor New York, NY 10007
Short Rates and Rebates
Advertisers will be shortrated if, within a 12-month period from the date of the first insertion, they do not use the amount of insertions upon which their billings have been based. Advertisers using more insertions than contracted for will receive appropriate rebates.
Cancellations
Cancellations are not accepted after space reservation closing date.
Position Policy
right to reject or cancel any advertisement for any reason at any time. Advertisements that, in the Publisher’s opinion, give the illusion of editorial material will carry the word “Advertisement.”
Payment Terms
In consideration of The Architect’s Newspaper, LLC’s acceptance of such advertisements for publication, the agency and the advertiser will indemnify and save harmless The Architect’s Newspaper and its officers, employees and agents against all loss, liability, damage and expense of whatsoever nature arising out of copying, printing or publishing of its advertisement including, without limitation, reasonable attorney’s fees resulting from claims or suits for libel, violation of rights or privacy, plagiarism, and copyright and trademark infringement. Publisher shall have the right to settle any such claim and to control any litigation or arbitration to which it may be a party all at the cost of the agency and the advertiser who shall be deemed joint and several indemnitors, and agency warrants that it is authorized to bind, and does bind, advertiser to such indemnity jointly and severally
The Publisher guarantees no position request unless contracted for at premium rate and assumes no responsibility if position given differs from request. Invoices are dated as of the issue date and are due payable upon receipt in U.S. funds drawn on a U.S. bank. Publisher looks to the advertising agency/company placing the insertion order for payment; however, Publisher shall have the right to hold the advertising agency and the advertiser jointly and severally liable for the monies due and payable to Publisher, and the agency warrants that, by submitting the insertion order, it and the advertiser have accepted this responsibility. Publisher will not be bound by conditions, printed or otherwise, on contracts, order blanks or instructions when such conditions conflict with its policies.
General Regulations and Policies All The
copy subject to approval. Publisher reserves the
21 Murray St 5th Floor, New York, NY 10007
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F: 212.966.0633
with the agency. Publisher reserves the right in its sole discretion to discontinue publication at any time with or without notice, or to defer or cancel the printing, publication, or circulation of any issue or of the tendered advertising because of labor disputes involving the Publisher, the printer or others, transportation delays or embargoes, errors or omissions of employees, or circumstances beyond its control. Publisher’s sole obligation as to any failure or default on its part shall be limited to a refund of the charges which may have been paid to it or, at its option, to publish the tendered advertising in the next available issue. Rates are subject to change without notice.
Effective JANUARY 1, 2015
The following terms and conditions shall be deemed incorporated in every insertion order or space contract tendered to The Architect’s Newspaper unless modified by written agreement signed by an officer or “Publisher” and shall supersede any inconsistent statement in such order or contract.
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[STAFF AND ADVISORS]
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PAOLA ANTONELLI Design curator, MoMA
FRANCES ANDERTON Design writer
DIONNE DARLING
STEVE CASTELLANOS Architect
ANTHONY ALOFSIN Architect and University of Texas professor
AARON SEWARD EXECUTIVE EDITOR aseward@archpaper.com
ASSOCIATE PUBLISHER dionned@archpaper.com
M. CHRISTINE BOYER Professor of Architecture, Princeton University
AARON BETSKY Former Director, Cincinnati Art Museum ROBERT BRUEGMANN Architectural historian
MARLON BLACKWELL Architect and University of Arkansas professor
NICOLE ANDERSON
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SARAH DUNN Research Director, Archeworks
NATE EUDALY Executive Director, Dallas Architecture Forum
MANAGING EDITOR nanderson@archpaper.com
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ODILE DECQ Architect
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SARAH HERDA Executive Director, Graham Foundation CRAIG KONYK Architect REED KROLOFF Former Director, Cranbrook Academy of Art JAYNE MERKEL Architecture critic SIGNE NIELSON Landscape architect JOAN OCKMAN Historian and critic, Columbia University KYONG PARK Artist ANNE RIESELBACH Program Director, The Architectural League
TEDDY CRUZ Architect ERIN CULLERTON Assistant Director, AIA San Francisco MIKE DAVIS Author NEIL DENARI Architect BETTI SUE HERTZ Director, Yerba Buena Center for the Arts BROOKE HODGE Deputy Director, Cooper-Hewitt Design Museum CRAIG HODGETTS Architect WALTER HOOD Landscape Architect DAVID MECKEL Director, Research and Planning, CCA KIMBERLI MEYER Director, MAK Center for Art & Architecture JOHN PARMAN Design writer SIMON SADLER Architectural historian ROGER SHERMAN Architect
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