Schwarz
View current page
...more recent posts
The Architecture & Social Structure of the Haight
anti-scrape
"At the core of Morris' philosophy which was heavily influenced by his friend and mentor, John Ruskin, is the belief that old buildings should look old, and that historic fabrics should be respected and preserved, even where it survives in a weak or damaged state. For Ruskin and Morris, the essence of historic fabric lay in the wear and tear displayed by its antiquity and the spirit of the craftsman who created it, and not in its original perfection."
Developement of Standards and Guidlines
"When both the disjunctive and stylistic unity theories are addressed at the same time, ambiguity and uncertain direction are the result. This uncertain relationship is expressed in the 1978 Secretary of the Interior's Standards for Historic Preservation Projects:
Contemporary design for alterations and additions to existing properties shall not be discouraged when such alterations and additions do not destroy significant historic, architectural, or cultural material, and such design is compatible with the size, scale, color, material, and character of the property, neighborhood, or environment.
This standard closely resembles one of the resolutions of the ICOMOS symposium in 1972. The later portion of the standard attempts to achieve a stylistic unity between old and new through the manipulation of the new building's size, scale, color, material and character. In this way, old and new can be blended together to prevent any disruption of the historic context. At the same time, a separation must exist between new and old to avoid damage or alter the interpretation and understanding of the historic structure and its context. "All buildings, structures, and sites shall be recognized as products of their own time." Infringement on that distinct time can not be allowed. Following the lead set in the "Old & New: Design Relationship" symposium favoring the disjunctive theory, the Guidelines for Applying the Standards, first published in 1979, recommends "using contemporary designs which are compatible with the character and mood of the building or the neighborhood" but does not recommend "imitating an earlier style or period of architecture in new additions except in rare cases where a contemporary design would detract from the architectural unity of an ensemble or group."
this old house 2003/2004 season (steve's out kevin's in)
"Density" is the next frontier in responding to sprawl and in rebuilding livable urban neighborhoods, but we have an irrational fear of it," says David D. Dixon, principal of Goody, Clancy & Associates, Boston, and BSA president. "Fox & Fowle developed an innovative solution allowing them to leverage the design flexibility inherent with density."
design conspiracy
jones partners pro/con
fosters' gherkin
PREFAB Arieff & Burkhart
"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
parabuilding is
designed as a discreet background to the existing
host. Not at Soldier
Field. Here modernity erupts with the jubilance of a
prodigal."
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..."
-arcspace
"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."
(discussion)
-wirednewyork
the new new museum on the bowrey
livemodern
skyscraper page
the worlds tallest virtual building
700 year old mud dwellings
The Life of Chairs How Homo sapiens became Homo sedens -and at what cost
Edward Tenner
shirley muldowney
gd new urbanism
urbanlife
FLW gas station for sale
meier in rome
piano in houston
shoe box in tokyo
koolhaas in chicago