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Martha Stewart is perhaps not the first person one would associate with architect Gordon Bunshaft, the principal of Skidmore, Owings & Merrill. Responsible for such masterworks as the the Lever House (1952) and the Beinecke Rare Book and Manuscript Library at Yale University (1960), Bunshaft may seem at odds with the Colonial revival coziness popularized by Stewart's magazines and television programs.
Yet when the architect's own home, Travertine House, was up for sale in 1994, Stewart was evidently smitten. "I'd never seen the house," she told Brendan Gill of The New Yorker upon buying the structure in 1995, adding that the minute she had heard of it, "I wanted it—just like that!"
This unlikely love-at-first-sight scenario ended last summer with the sale and demolition of the house, a rare domestic project of the architect that had been described as one of the country's most beautiful International-style structures.
Built in 1962 as Bunshaft's home, Travertine House was a symmetrical, single-story structure 26 feet wide by 100 feet long that balanced stone-walled pavilions on either side of a central glass-walled core. Incorporating double-T pre-stressed concrete roof panels also employed in Bunshaft's Hirshhorn Museum in Washington D.C. (1974), the house was designed to display his significant collection of modern art, which included works by Giacometti, Dubuffet, and Miro, situated throughout the house's interior and 2.4-acre grounds.
Travertine was "an important Modernist house, unique in Bunshaft's career," says architecture critic Paul Goldberger, who points out that it was a notable design even by the standards of the architecturally distinguished Georgica Pond area of the Hamptons, on Long Island.
Willed to the Museum of Modern Art along with the architect's art collection after Bunshaft's death in 1990, the house was sold to Stewart for $3.2 million in 1995 without any protective covenants beyond what a MoMA spokeswoman, quoted by the East Hampton Star in 2002 referred to as an offer "to maintain the integrity" of the building.
Despite these seemingly exemplary intentions, Stewart hired London architect John Pawson to redo the two-bedroom house. Interior partitions and detailing were removed and windows boarded up; a portion of the house's signature travertine floor was reportedly removed and installed in the kitchen of Stewart's new Bedford, N.Y., home—a perhaps more typically "Martha" complex of New England saltbox-inspired architecture.
The renovation was halted, however, when Stewart began feuding with neighbor Harry Macklowe, a real-estate developer who contested Stewart's plans to build several outbuildings, claiming they would block his view of the pond. The property was soon entangled in lawsuits and rumors. Meanwhile, piles of dirt and rubble from excavations on the site were left on the lawn of Travertine House for so long that, according to visitors, they sprouted weeds.
The two-year-long dispute was finally settled in 2003. Macklowe's appeals were dismissed, and Stewart was granted permission to renovate the studio and add three outbuildings to the property. However, these projects were never restarted, and the house, which Stewart had reportedly never spent a night in, fell into further decay. (Stewart's publicist did not return requests for information; MoMA confirmed the dates of the sale but declined to comment.)
Soon after the ImClone insider-trading scandal broke, Stewart transferred the property to her daughter, Alexis, who then put the deteriorated house on the market for $10.5 million. Last spring, Donald Maharam, a textiles magnate noted for reissues of classic mid-century designs, purchased the waterfront house for approximately $9.5 million.
Despite his interest in modernism, Maharam announced that he was going to demolish the house. In a statement released in June, Maharam described the structure as "decrepit and largely beyond repair," claiming that Stewart's attempts at renovation had ended with "substantial demolition of all but the existing roof." Travertine House was demolished on the last weekend of July.
In a neighborhood where new houses are normally up to five times the size of Travertine House, Maharam's plans for a new house are restrained by zoning ordinances that prevent new construction from exceeding the Bunshaft building's original footprint unless they are set back an additional 150 feet from nearby protected wetlands—an impossibility given the shape of the property. Maharam has decided to construct a modern building "in the spirit of the former house."
Local preservationists, who had been optimistic about the house given Stewart's apparent commitment, are still asking how such a significant structure could have been allowed to deteriorate. Krinsky says that the house was more important as an ensemble work when considered with the art collection and landscape: "There wasn't much left to preserve."
But Michael Gotkin, director of the Modern Architecture Working Group, doubts Maharam's assessment of the building as unsalvageable. "Donald Maharam has made a small fortune by reviving mid-century modern designers like Alexander Girard and Irving Harper … it's too bad that he did not have the same regard for Gordon Bunshaft."
Tom Killian, who worked with Bunshaft, criticizes MoMA for not attempting to protect the house as part of its sale to Stewart, pointing out that the house was left to MoMA. "Whatever the Maharams and Ms. Stewart may have done, I feel that the museum is the real culprit."
Whoever is to blame, it's clear that the house's loss is "another blow against Modernism's sense of modesty and direction and focus," Goldberger says. "I hope the new design will not be another situation where this tradition is sacrificed."
Scaffolding is expected to start going up late this week at 2 Columbus Circle, opening the way for a controversial transformation of Edward Durell Stone's building into a new home for the Museum of Arts and Design.stones building has its faults and cloepfil's new re-design is great. i still think its the wrong thing to do though.
"We are remaking a building," Brad Cloepfil, the project's architect, said yesterday. "Restructuring it, recladding it, letting the light in."
no-bid katrina reconstruction
reopening NO by zip code
Indeed, the most toxic debris in New Orleans isn't the sinister gray sludge that coats the streets of the historic Creole neighborhood of Treme or the Lower Ninth Ward but all the unanswered questions that have accumulated in the wake of so much official betrayal and hypocrisy. Where outsiders see simple "incompetence" or "failure of leadership," locals are more inclined to discern deliberate design and planned neglect--the murder, not the accidental death, of a great city.
What this storm hit was largely American auto-centric sprawl that was largely below sea-level, wrapped by extensive levees, exposed to huge volumes of water, and sinking in the peat of the backswamps. This development pattern, and the resource extraction industries that supported it, created the conditions for this disaster to occur. This was not an act of God, nor a natural disaster -- this was a public policy disaster. New Orleanians need to understand this in order to make well-informed decisions about what and how to rebuild. That means reflecting on public policies towards coastal erosion, the taming of the Mississippi River, sprawl, and sea-level rise due to global warming.
Disaster. Relief. Housing.
The words fairly echo with dismal images of people forced to live in squalor, desperation and sorrow -- crowds packed into stadiums, improvised shantytowns, rows of identical trailers, school cafeterias turned into shelters. Yet these words also evokes a different picture -- where shelter fulfills its highest, most utopian function. Where a simple structure can provide comfort and warmth and dignity when all else has failed. Where housing literally offers relief from disaster.
good bye public planning process. the taking of snohetta at ground zero 1, 2, 3
Las Vegas buildings seem forever either to be getting built or getting torn down, and few have ever been considered for any sort of architectural preservation. On the other hand, few are like La Concha motel, or at least the 1,000-square-foot lobby that remains. Designed by the architect Paul Revere Williams - whose work includes the four-legged terminal at Los Angeles International Airport - the 44-year-old lobby is considered one of the last and best-preserved examples of 1950's Googie architecture.going to miss all the american googie that dates from around the time of my birth. and holding with the notion that 2 cc is kind of googie too
The methods of determining the value of historic preservation vary widely, and several challenges persist in applying economic methods to the field. This discussion paper, which is followed with an extensive and annotated bibliography, reviews the current findings on the value of historic preservation and the methods used to assess that value, making the case for needed improvement if the economics of preservation is to more objectively and rigorously quantify the effects of historic preservation.from the brookings institution
Toward that end, the paper calls for a hybrid of the most promising analytical methods and more collaboration across research fields. By combining methods, the particular shortcomings or blind spots of different methods can perhaps offset one another. Without further refinement, the ability to make conclusive, generalized statements about the economics of preservation will remain elusive.
the swimmer ~~\o/~~ w/ link to full 1968 v canby nyt review
gonna need a bigger crane
In a letter to John C. Whitehead, the foundation's chairman, Ms. Gund lamented the erosion of the original master plan for the site, which was drafted to "permanently memorialize what happened on Sept. 11, while also bringing and weaving the site back into the fabric of the city."
Now, she wrote in her letter dated Thursday, "Governor Pataki (and it saddens me to say, Senator Clinton has joined him) has caved and virtually ensured that there will be no cultural component to the redevelopment."
"I hate to walk away from this situation and leave it to you and the others to sort out," continued Ms. Gund, who is a president emerita of the Museum of Modern Art. "But I am afraid that the governor and those few family members have succeeded in destroying what could not be destroyed on that awful Tuesday, which is our hope."
The site was first developed in 1919 as an airfield for Cecil B. DeMille. From 1935 until the early 1950s, a drive-in restaurant thrived there. In 1955 the Googie structure opened as Romeo's Times Square and was renamed Johnie's in 1966. Now owned by 99 Cents Only Stores, which has rented it out as a film location many times, the building has been closed since 2000.
"Hey Joe", a traditional song performed by many artists. Sometimes credited to Billy Roberts. Sometimes credited to Chet (or Chester) Powers a.k.a. Jesse Oris Farrow, née Dino Valente who became the lead singer of Quicksilver Messenger Service. In 1965 "Hey Joe" was recorded by The Leaves. In 1966 they recorded it again with a fuzztone guitar sound. Also the Surfaris, Byrds, Love, Shadows of Night, Warlocks and many other bands recorded the song in 1966. Tim Rose recorded "Hey Joe" in 1966, one month before the Leaves' version entered the charts. Rose played the song at less than half the tempo. He changed the key of the song to E instead of A. Rose also roared out the verses, and added his own variant on their structure. Jimi Hendrix picked up this version of "Hey Joe" and made a European hit out of it in 1967. Since then many other great guitar players have performed this song.i believe that we can get to the bottom of who wrote hey joe.
propello fan
this and the last six posts via v zars
The original spun metal designs (circa 1930-1940) of Russel Wright ® are being reissued by HK Designs under exclusive license with Russel Wright Studios. The decorative pieces are manufactured to the exact dimension, material, finish and process as the originals.
trick photography
another big nakashima selection at auction RAGO
world monuments fund
Roadside Architecture is one of my life-long passions. When I go off to agility trials on the weekends with my dogs, I try to squeeze in side-trips to check out unusual buildings, mini golfs, muffler men, etc. My traveling range is usually limited to the Northeast but you will find plenty of things included that are outside this area as well.
"KISS is more like Doritos or Pepsi, as far as a brand name is concerned," he said. "They're more characters than the individual person. I think they have a legitimate chance to carry the franchise."