
By Jason Abbey
Having worked in our Javits office, I returned to the main office and realized I dearly missed our dry-erase magnetic white boards. I began wondering: Why do architects pin drawings to walls? Pins poke holes, eventually trashing the corners of drawings. Pins require thumbs of steel to drive them into the wall. Pin-up walls require frequent repainting to prevent the dirty appearance from pinhole shadows. Once up, a drawing requires re-pinning to align it with other drawings, thereby doubling, or tripling, the effort of the pin-up and increasing the number of holes in the wall. The pins (especially those red ones) stand out against any drawing, even more if completely mismatched in a hodgepodge of color, size, and protrusion depth. And, don’t forget the inevitable fingertip punctures from reaching too quickly into the pushpin bucket.

A pin-hole riddled wall, photo by Coe Will
The magnet board easily resolves these issues with one simple system. Magnets are faster, easier, ultimately cheaper, and they don’t leave holes! Reuse drawings multiple times without the corners becoming tattered. Magnets don’t pierce the wall; magnetic attraction gently holds the drawing between the magnet and the board. Magnets sit uniformly against the board with a consistent shadow line without any weird angles. White magnets blend with the corners of most architectural drawings. Typically round, magnets pose no real threat to fingers. Additionally, magnet boards provide an erasable drawing surface useful for collaborative design sketches. Perhaps most important, they easily adjust once on the wall. Sliding drawings into place and adjusting them is easy.

Magnetic systems, however, do have flaws. Over time, as they snap to each other, magnets leave a dusty residue on drawing corners, which can be avoided by not playing with the magnets and only snapping them to the board. Cheap magnet wallpapers are no substitute for magnet boards: they are not easily cleaned; magnets have poor attraction; and, the wall appears bumpy and uneven. Finally, small magnets have less holding power than large magnets. As problematic as these issues are, they can be overcome.
At the end of the day the most important argument is cost. Pinning costs the price of pins and periodic repainting of the pin-up surface (and occasional band-aids). Magnetic systems require magnets and boards mounted in the pinup area. While the initial cost for the magnetic system is significant, it is a pittance relative to the time lost by teams using a pin system. Even if magnetic whiteboard systems have a higher upfront cost, they would pay for themselves within a few years. Maybe I’m nuts, but it seems like a no-brainer.
Something new and exciting has happened on the west side in Manhattan!

View of Corinne Ulmann's mural on Griffin Court Condominium at 54th St. and 10th Ave. photo by Coe Will
Last year, Alchemy Properties organized a mural design competition for two facades of their latest mixed-use residential development, the FXFOWLE-designed Griffin Court Condominium. The project, which includes 95 residential units surrounding a two-level landscaped courtyard, has facades on multiple streets. Its prime 54th Street & 10th Avenue corner lot is simple enough, but it also has frontage on 53rd street without occupying that corner, thanks to an interesting twist of land acquisition. Thus, an uncommon opportunity was created: public art space!
Buildings are viewed from every angle—there is no “back” of a building in a city that builds against, above, and sometimes over its neighbors. If there is any part that isn’t seen, it’s usually at the side property lines, but even there light wells could exist that should be respected. In this case, the corner of 53rd and 10th is a squat (how odd!) car repair shop that won’t be building upwards anytime soon. This potentially leaves two sides of the project blank and definitely exposed since traffic runs north on 10th Avenue.
Alchemy put out the call asking artists to submit mural proposals for a 6500-square-foot area on two non-continuous walls (roughly 59’x83’ and 31’x66’) facing two directions, south and west. Submissions from around the world offered all sorts of styles and approaches: abstract collages and realistic figures, random objects and graphic symbols, landscapes and seascapes. If there was a dominate theme it was definitely clouds. The committee certainly had a lot to think about!!
In the end, Corinne Ulmann, a young Brooklynite architectural designer, was given the honor. Her design—brightly colored leaves and branches collaged with shadowy windows—mimics the building’s façade and perks up any cloudy day. And, although I have yet to witness it, casual encounters with people in the neighborhood have informed me that it looks great at night as well!
Ms. Ulmann’s piece, included in today’s New York Times “Home & Garden” section, makes a statement without screaming and is well-suited for the development given that it speaks to the private interior landscaped courtyard. However, the painted walls give back to the city by offering something a little out of the ordinary on an average urban intersection.
By James Way
Tattfoo Tan, a social activist/artist practicing in Staten Island, works with the sustainability movement but combines an ironic approach to art history while embracing performance. One of several works on display is Black Gold, a parody of a 1961 work by Piero Manzoni (I’ll leave it to you to follow the link and find it), presents the efforts of composting taken to an artistic and economic extreme. Tan bottled his “secret recipe” compost and is selling it at the going rate for gold, although his website offers recession pricing. But don’t let this fool you; the artist is not full of sh*t when it comes to his mission: greening urban lifestyles.

Tafftoo Tan demonstrates compost materials and methods.
Last week the artist, included in Irrelevant: Local Emerging Asian Artists Who Don’t Make Work About Being Asian, at the Arario Gallery in Chelsea, held a composting workshop on how to produce some of the finest, most fertile compost around. One of the missing components in many compost bins are worms: red worms, commonly known as red wrigglers, scientifically known as eisenia fetida. “Don’t forget the worms,” he warned. “They eat, have sex, reproduce, and poop all day. They’re great!” Worms can provide compost so fertile that some of your composting material may actually begin growing. He also warned against drowning or suffocating the worms. The artist’s website, under the Black Gold link, provides a basic overview on how to begin.
Thursday July 22 at 8pm at the Arario Gallery he will provide an urban gardening workshop and round table discussion.
By James Way
It was an exciting year for the Architectural League Prize for Young Architects and Designers (formerly known as the Young Architects Forum). This year’s theme, ReSource, asked entrants to assess their approach materials, methods, theories, technologies, techniques, and practices in their work. The results were as varied as you could imagine.
Jason Austin and Alexander Mergold of Austin+Mergold led the presentations by juxtaposing their respective specialties: landscape and architecture. This confrontation formulated the witty Sural™—a combination of suburban and rural, with a nod to surrealism—and pervades the firm’s work from theory to practice. Marc Frohn of FAR frohn&rojas focused on material interests—aerated aluminum, ballistic cushions, and bomb screens. This led to a surprisingly welcoming and stylish competition entry for an embassy in Belgrade that incorporated attack degradation as part of its design—seriously integrated security. Their suitcase-sized installation for the exhibit reveals their working process—repurposed off–the-shelf products combined with custom detailing. Humorously closing the first evening’s presentations, Bittertang’s Michael Loverich and Antonio Torres showed beautiful renderings, simple diagrams, and piñatas all bound together with a hilarious narrative. Their designs begin as Rococo baby-informed mutant bodies and culminate with the landscapes they would inhabit, or repopulate. However, I overheard one attendee at the reception, “Is the joke on us or on them?” Perhaps a little premature for the prize, but it was refreshing to see attention to detail, texture, and humor in design work.

L to R: Austin+Mergold, FAR frohn&rojas, Bittertang
The second evening kicked off with Emily Abruzzo and Gerald Bodziak of ABRUZZO BODZIAK ARCHITECTS who mine the conventions of various typologies and skew their materials and form, such as a modular dwelling inspired by yurts. For the Arts Union Beacon they built the cupola’s negative space as an inversion of the historical. Bodziak confessed, “I had Eisenmann for a lecture, and he said something about the presence of absence, the absence of presence, the presence of presence, or the absence of absence…it goes on and on.” ESKYIU, Eric Schuldenfrei and Marisa Yiu, highlighted their interest in sustainable materials and urban greening, which led to interactive installations and events and pinnacled with BYOB, Bring Your Own Biennale for the Bi-City Biennale between Hong Kong and Shenzhen. They were one of the few to acknowledge, if not exploit, the fact that architecture ultimately is social: in use, networking, and getting things built. The final presenter, Keith VanDerSys of PEG landscape + architecture fuses the rift between ecology and aesthetics in landscape by combining form, structure, pattern, and vegetation. Their Mies Van der Rohe Plaza best exemplifies this approach with planter of undulating surfaces that direct run-off to the plants.

L to R: ABRUZZO BODZIAK ARCHITECTS, ESKYIU, PEG landscape + architecture
Regardless of styles and processes, the presentations were refreshing to see ideas explored rather than iterations of form dominate. View the exhibition through August 6 at Parsons The New School for Design gallery at 66 Fifth Avenue.
FXFOWLE completed a successful year participating in the esteemed Architecture, Construction and Engineering Mentoring Program (ACE). Since its conception in 1994, ACE has expanded to 200 cities across the United States and has connected over 60,000 students with industry professionals. FXFOWLE teamed with Thorton Tomasetti, Tishman Construction, WSP Flack & Kurtz, and 26 students from New York City public and private schools in this year’s program.
As one of the youngest participants in the FXFOWLE team, I gained a lot of knowledge and guidance from our more experienced team members. In turn, I shared with up and coming designers what I have learned in my career so far. I presented the intermediate steps in becoming an architect to illustrate the middle of this journey that they have just begun.

Experimenting with structures
Throughout our meetings each discipline took turns engaging the students with our respective professions. In the first meeting, students formed teams and built bridges solely of popsicle sticks, corks, pipe cleaners, and paper cups—no glue! They were surprised by how strong their designs were using only clever joints and connections.
Our team met semimonthly throughout the school year, October through May, at Tishman Construction Headquarters, where our meeting space overlooked the development of the World Trade Center Memorial and the Freedom Tower. Using the construction site as a point of reference, the students collectively decided to design in the Hudson Yards area a 50-story mixed-use tower that ties together residential units, food courts, retail space, and a museum including a planetarium to attract pedestrians.
They presented the final project at the American Institute of Architecture Center for Architecture to a distinguished jury that included AIA New York Executive Director Rick Bell and NYC Department of Design and Construction Commissioner David Burney.

Presentation at the Center for Architecture
The presentation showcased research about various sustainable systems including green materials, integrated shading devices and frit patterns, high performance glazing, gray water reuse systems, and rainwater harvesting. A key realization was that orientation, climate, and teamwork across all disciplines were the key components for successfully integrating these sustainable features into the design details. The students elaborated on the project’s evolution by discussing their studies of floor area ratio, zoning analysis, concrete and steel structural systems, and gravity loads through loading diagrams and shears walls. The intricate and thorough presentation also featured technical drawings of the electrical and mechanical systems and a report on the construction management’s role including cost analysis, estimates, equipment staging, and construction logistics; overall, a holistic understanding.

Sustainable strategies incorporated into the design
The project was so well received that the presentations were featured on the eOculus.
We enjoyed sharing our experiences and our firms’ works and design processes with the city’s youth and future designers. It was rewarding for me as it was a chance to expand my work outside the office into the community, especially showing that sustainability really can be a design process. And, we could always use more volunteers!

For more information about mentoring visit: www.acementor.org
My competitive spirit kicked in at the recent Nova Arts S.A.S Salon Exhibition. The S.A.S. (Secret Arts Society) showed off works by talented architects and designers who moonlight as fine artists. On display were a variety of sculpture, charcoal drawings, and paintings. I admired and got inspired while enjoying snacks and drinks—which softened me up for the evening’s sideline event: a silent bidding war!

The event benefited the Give Your Art Foundation, a non-profit branch of Novo Arts that distributes art to charitable institutions. The process began months ago as a call to the architecture and design community to gather at three ‘studio night’ dates where designers tested their skills at figure drawing, painting, papier-mâché, and other arts and crafts. Afterwards, curators (who work for Studios Architecture, Cannon Design, and S.O.M, among others) picked their top twenty pieces from each night. These pieces were then auctioned at the exhibition-event I attended.

My eyes focused on some charcoal figure drawings: one by Vincent Celano depicts a portrait that reminded me of a late 1920s French flapper, and the other by Dorcas Roehrs seemingly portrays the same figure but washed out and not as refined. My limited wallet opened in support, and I started battling it out with other admirers. While figure drawings seemed to dominate, there were also abstract paintings and drawings and a couple wire sculptures. However, some very impressive robots made of found materials by Gordon Bennett seemed too sophisticated to be created at the events.
Whether I won my bidding war is not really important (although my walls at home may disagree). The whole point is spreading the joy of art to the public as much as possible. I look forward to the next time Novo Arts organizes the design community masses so I can participate and eventually battle it out again for that greater good. It’s tough job, but somebody’s got to do it!
Santiago Calatrava, a structural engineer and artist, is one of my favorite architects because his unique structural articulation and the delicate nature of his projects. Well known in the field of architecture, he recently made a rare debut in the world of ballet. Calatrava recently paired up with New York City Ballet for a unique collaboration in which he designed different sets and scenes for a variety of performances at Lincoln Center’s The David H. Koch Theater (formerly the New York State Theater).

Photo by Pascale Saint-Louis
As an architect who believes that structures don’t merely sit on the ground but that they dance above it, I was excited to hear of his newest project, Architecture of Dance. In this new choreography and music festival Calatrava collaborated with choreographers Melissa Barak, Mauro Bigonzetti, Peter Martins, Benjamin Millepied and Christopher Wheeldon. Calatrava’s scenic designs varied for each performance and choreographer, therefore his medium ranged from watercolors to colored discs to movable structural elements that transformed throughout the show.
I attended the June 23rd showing which included three performances: The Prodigal Son, New Martins Ballet Mirage, and The Concert (or The Perils of Everybody). Calatrava’s collaboration was only for The Mirage. Esa-Pekka Salonen, understandably one of the world’s most acclaimed conductors, exquisitely scored the commissioned, a violin concerto for Canadian violinist Lelia Josefowicz. I must admit this was my first ballet; therefore, I attended the event with two ballet dancers to share their informed insights and expertise on the performances.

Photo by Pascale Saint-Louis
The Prodigal Son was dramatic and dynamic—enjoyable, clear, and easy to follow, even for a naif like me. The set integration was great and the dancing was moving. However, Mirage was awesome! Calatrava designed a light structural element that began on the stage and, transforming throughout the performance, elevated over the dancers. This element cast the most amazing shadows and did not take away from the dancers or the choreography. My dancer critics were amazed at the structure because they always knew architecture to be heavy and immobile; to see the range of motion and articulation really impressed them. We all agreed however that the dancers did not have enough of a dialogue with the element, which at a point was purely aesthetic.
The Concert was hilarious. I had no idea ballet could be so incredibly funny. It was inventive and visually beautiful. The dancing and choreography were diverse and the presence of the pianist as part of the stage performance was brilliant. We all enjoyed The Concert the most!
Although I went for Calatrava, the performance and the art of dancing blew me away. Even though the last performance of the Architecture of Dance festival was June 27th, I highly recommend exploring ballet if you’re not familiar. It was definitely a unique experience for me.
Inspiration has been a topic of discussion around the office as of late. Specifically, what inspires each of us? Is it an event? A place? An idea? Inspiration can come from anywhere and anything. My latest inspirational moment came to me as I experienced the photographic work of Jean-Francois Rauzier.

Exhibition at Goldman Projects Space
By the time you read this, Rauzier’s exhibition entitled Hyperphotos, which was at the Goldman Projects Space, will be long gone, but I’d like to give him a shout-out nevertheless. According to the bio in the beautiful catalog, which I will gladly display on my inspiration wall at home, Rauizer worked in advertising for many years and only recently (since 2000) started working as a full-time artist. His works consist of masterfully collaged photos (sometimes up to 3,500 individual images) that play with scale, repetition, and perspective. As such, they create Escher-like spaces that beg you to jump in and run around. And it doesn’t hurt that the prints are enormous, crystal clear, and shiny. I stared at a single image for five minutes and still found a new crinkle to the story, and then I was lost again in seeking the various ways that elements reappear in the image.

Vedute
As I’m inspired by art, Rauizer appears to be inspired by architecture. The exhibition’s promotional image, Vedute, is a collage of building facades. Basic in its idea, Rauizer layered individual portraits of the structures, all facing forward to create cityscape. It’s fun to move around the image picking up on the different styles of windows and balconies and seeing where the streets of water reappear —almost like it’s meant to be a quick reference or inspiration for someone studying Venetian architecture. In Citadelle 1, another HIGHLY repetitive image, Rauizer creates a view from within a valley made of living rooms—chandeliers and stairs leading seemingly to nowhere. He also manipulates landscapes, such as the deceptively simple Coquelicots, which appears to be a sprawling poppy field with a vast sky, but wait—do you see that TINY plane and birdcage in there?!
Rauizer uses a simple idea to question, manipulate, and carve out spaces that could never exist in the waking world limited by building codes and reality. His work inspires me because it’s beautiful and surreal as well as full of patience and discipline. These elements demand architects’ diligence on a daily basis. Rauizer reminds us that in the end there is a big payoff to a meticulous process.
For more see: Waterhouse & Dodd