"I call this type of design parabuilding : it is the
modern tick on the
postmodern host. New York examples include the
Palace Hotel, a modern
shaft that towers above the historic Vuillard Houses
on Madison Avenue
and 51st Street. Typically, as at the Palace, the
designed as a discreet background to the existing
host. Not at Soldier
Field. Here modernity erupts with the jubilance of a
New York Times, September, 30 2003 by Herbert Muschamp
"Lord Foster's design is a parabuilding: a new addition that transforms the character of an existing structure. The host building in this case is Hearst's present home at 959 Eighth Avenue, between 56th and 57th Streets. The parabuilding is a faceted tower of steel and glass that rises 42 stories above the host. Herein lies a historical curiosity. The existing building, completed in 1928, was originally designed as the base of a taller structure."
New York Times, October 30, 2001 by Herbert Muschamp
"The parabuilding a new addition to an older structure, continues to entrench itself as a vibrantly contemporary architectural type. The Brooklyn Museum of Art has unveiled the genre's most recent example: a monumental main entrance for the museum's Eastern Parkway facade."
New York Times, September, 20 2000 by Herbert Muschamp
"The host building for Gwathmey Siegel’s parabuilding design for the Mid-Manhattan Library is the former Arnold Constable building which is owned by The New York Public Library. The expansion will add an additional eight floors and 117,000 square feet for library service to the existing 139,000 square foot building. Gwathmey Siegel & Associates have also designed the new United States Mission to the United Nations; a concrete tower with a cylindrical core of shingled zinc. The windows are narrow slits that become more closely spaced and numerous as the tower rises from base to summit and..."
"Lord Foster, 65, has ample experience designing around historic buildings. His much-acclaimed addition to the Reichstag in Berlin, featuring a latticed glass dome, has become a symbol of the new unified Germany. For a newly unveiled renovation of the British Museum, he designed a glass-covered courtyard that architecture critic Paul Goldberger, writing in The New Yorker, called "stunningly beautiful."
"What I wrote in Part 3 about contrary things being taught today was fairly clear; but after hearing a news report about the renovation of Chicago’s Soldier Field, I saw how it draws a vivid picture of what I was saying. I had not known it; but there is a word for the contrary things being taught today. Those things which are near to what we have received, in the vicinity of and to the proximity with can be called — parabuildings. Parabuildings are additions that transform the character of existing structures. My research led me to the following article in the New York Times (June 16, 2003). You will, no doubt, notice the parallel of this parabuilding to the parabuildings being attached to Kingdom structures and ancient landmarks. The people’s acceptance and rejection are just about the same as well:
"Soldier Field Renovation Brings out Boo-Birds"
Architecture so bad it puts Toronto on Kunstler's radar. It's supposedly 'maximalist' but I think it qualifies as parabuilding.
I see a host building I think it qualifies. Nice monthly series there at kunstlers.
The thing (one thing) that's so egregious about the art building "addition" is that it appears to block the existing building's sunlight. Usually only neighbors have to suffer that indignity.
frankly I think the worst thing about this building is the "art is wacky and fun" theme. the school is already suffering enough from lack of rigour.
after much deliberation (tic, tic, tic) Ive decided I like it.
Which one, OCAD or Lord Foster's geodesic sock puppet?
The OCAD is kind of Memphis-y, now that I think about it.
both really. but i was thinking of the ocad piece as working (if its actually stable). & yeah, memphis did come to mind. i was always memphis si, michael graves, no.
As you know, I prefer Lord Foster's original design, without a 1920s building as a base.
Bill, I'm curious what you mean when you say it's working, in regards to the OCAD building. can you elaborate? (I'll post some pics when it's done - should be pretty soon).
Ive just finished making a sculpture in clay. I take a couple of steps back to give it the eyeball test. If (i think) it "works" it goes to the kiln for fireing. its a "keeper". otherwise the clay would go back onto the heap or is disgarded. This catchall term includes all the necessary elements of evaluation tangible and otherwise.