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17 NEWS 31 At Arcosanti, Wright-Founded Architecture School Thrives By Nora Burba Trulsson 34 Help Comes for Ukrainian Designers and Students By Will Jennings DEPARTMENTS 24 EDITOR’S LETTER: The Climate Crisis Meets Social Justice 29 CURRENTS: Simone Leigh’s Sentinel in the U.S. Pavilion at Italy’s Venice Biennale 40 COMMENTARY: The Imperative of Ending Coerced Student Labor By Russell Fortmeyer 44 EXHIBITION: The Drawings of Claude Parent By Joseph Giovannini 48 HOUSE OF THE MONTH: Amagansett Dune House, New York RYALL SHERIDAN ARCHITECTS By Wendy Moonan 55 LANDSCAPE: Taylor Yard Bicycle and Pedestrian Bridge, Los Angeles SPF:ARCHITECTS AND HOOD DESIGN STUDIO By Ilana Herzig 61 GUESS THE ARCHITECT 75 PRODUCTS: Hospitality By Sheila Kim BOOKS 64 Review of Blank: Speculations on CLT, by Jennifer Bonner and Hanif Kara Reviewed by Eric Höweler, FAIA 69 Review of Between Memory and Invention: My Journey in Architecture, by Robert A.M. Stern with Leopoldo Villardi Reviewed by Thomas Fisher THIS PAGE: HOTEL MARCEL, NEW HAVEN, CONNECTICUT. BY BECKER + BECKER. PHOTO © SEAMUS PAYNE. Expanded coverage at architecturalrecord.com. COVER: THE DISAPPEARING ISLE DE JEAN CHARLES, LOUISIANA, 2010. PHOTO © STACY KRANITZ. BUILDING TYPE STUDY 1,042 HOSPITALITY 207 Dates & Events 216 SNAPSHOT: Vanished House, Wuhan, China, HU QUANCHUN By Pansy Schulman JUNE 2022 81 Introduction 82 Crisis of Inequity By Katharine Logan 86 Shelter from the Storm By Katharine Logan 90 Housing Case Studies By Joann Gonchar, FAIA, and Pansy Schulman 92 Equity Meets Resiliency By James S. Russell, FAIA 95 Fight or Flight? By Jake Bittle 98 The Human Cost By Matthew Marani 100 Making It Right By Joann Gonchar, FAIA 102 The Renewables Gambit By Edward Mazria, FAIA 107 Introduction 108 Hotel Marcel, New Haven BECKER + BECKER By Izzy Kornblatt 114 XOMA, Mexico City, BELZBERG ARCHITECTS By James Gauer 120 Shangri-La Shougang Park, Beijing LISSONI CASAL RIBEIRO By Jacob Dreyer 126 Quality Hotel Hasle Linie, Oslo GHILARDI+HELLSTEN ARKITEKTER By Andrew Ayers CLIMATE JUSTICE DESIGN VANGUARD 2022 137 Introduction 138 Erbar Mattes By Chris Foges 140 Only If By Laura Raskin 142 Ja Architecture Studio By Alex Bozikovic 144 CO Adaptive By James Russell, FAIA 146 Line+ By Jacob Dreyer 148 Group AU By Pilar Viladas 150 Freehaus By Tim Abrahams 152 Kwong Von Glinow By Izzy Kornblatt 154 Worrell Yeung By Clifford A. Pearson 156 Leckie Studio By Randy Gragg LIGHTING 161 Introduction: Below the Surface 162 Rotes Rathaus Subway Station, Berlin COLLIGNON ARCHITEKTUR UND DESIGN AND LICHT KUNST LICHT By Mairi Beautyman 164 AHMM Studio at White Collar Factory, London ALLFORD HALL MONAGHAN MORRIS By Chris Foges 166 FENIX Scenario, Milan GIO TIROTTO DESIGN STUDIO By Linda C. Lentz 167 Products By Sheila Kim
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20 ARCHITECTURAL RECORD JUNE 2022 CONTINUING EDUCATION Ceiling and Wall Partitions for Healthy Sustainable Spaces: Addressing Occupant Concerns for Well-Being Post-COVID Sponsored by Armstrong Ceiling and Wall Solutions Pursuing a Circular Economy Sponsored by Armstrong Ceiling and Wall Solutions Embodied Carbon: Take Action to Reduce the Carbon Emissions of Building Materials Sponsored by Armstrong Ceiling and Wall Solutions Glazing to Protect: Design Consideration and Performance Characteristics Sponsored by National Glass Association Beyond Energy: How Glass in Architecture Contributes to Occupant Well-Being and Comfort Sponsored by National Glass Association Fit To be Clad Sponsored by Petersen Acoustic Ceilings for High-Performing Schools Sponsored by Rockfon Designing Smarter Places of Learning Sponsored by New Millennium Building Systems Traditional vs. Innovative WRB/AB Approach Sponsored by Georgia-Pacific Building Products The Collision of AGILE and MESSY Sponsored by VS America In Pursuit of Acoustical Equity Sponsored by LogiSon Acoustic Network Transaction Windows: How to Specify the Right Pass Through or Ticket Window for the Application Sponsored by Ready Access Automated Parking Systems Demystified Sponsored by Westfalia Technologies, Inc. Health and Safety in Hospitality and Retail Sponsored by Bison Innovative Products, CornellCookson, Mitsubishi Electric, and Tamlyn What is in the Contract? Sponsored by Robotic Parking Systems, Inc. Speed is the New Green Sponsored by Hörmann High Performance Doors Architectural Excellence with Insulated Metal Panels Sponsored by Metal Construction Association's Metal Composite Material (MCM) Alliance Cladding Safety with Metal Composite Material (MCM) and the NFPA 285-19 Sponsored by Metal Construction Association's Metal Composite Material (MCM) Alliance IN THIS ISSUE ALSO ONLINE AT CE.ARCHITECTURALRECORD.COM LEARN & EARN Earn your continuing education credits free online at ce.architecturalrecord.com* To receive credit, you are required to read the entire article and pass the quiz. Visit ce.architecturalrecord.com for complete text and to take the quiz for free. p174 p195 p196 p198 NEW ONLINE AT CE.ARCHITECTURAL RECORD.COM *All Architectural Record articles and presentations count toward the annual AIA continuing education requirement. All sponsored exams are available at no charge and are instantly processed, unless otherwise noted. This course is part of the Custom Homes Academy. This course is part of the Sustainability Academy. This course is part of the Glass and Glazing Design Academy. Appealing and LongLasting Hospitality and Retail Design Sponsored by ASI Group, Bison Innovative Products, Bradley Corporation, Cascade Architectural, CornellCookson, CRL, Geberit, Inpro, and Louis Poulsen CREDIT: 1.25 AIA LU/HSW The Advantages of Drywall Grid Sponsored by Armstrong Ceiling and Wall Solutions CREDIT: 1 AIA LU/HSW The Science of Light and Its Impact on Paint Color, Specifi cation, and IEQ Sponsored by Benjamin Moore CREDIT: 1 AIA LU/HSW Architectural Linear Drains for Indoor and Outdoor Use Sponsored by Infinity Drain CREDIT: 1 AIA LU/HSW Photo courtesy of CRL Photo courtesy of Armstrong Photo courtesy of Benjamin Moore & Co. Photo courtesy of Infinity Drain Photo courtesy of Alchemy Architects Photo courtesy of Marvin Designing for Costal Living: Achieving Durability, Safety, and Beauty Sponsored by Marvin CREDIT: 1.25 AIA LU/HSW Scuff-Resistant Paint (High-Traffi c) Sponsored by Benjamin Moore & Co. CREDIT: 1 AIA LU/HSW Digitally Crafting a Box of Trees: Squam Lake House Case Study Sponsored by Vectorworks, Inc. CREDIT: 1 AIA LU/HSW The Impact of Color on Building Interiors Sponsored by Inpro CREDIT: 1 AIA LU/HSW Concrete Impacts Sponsored by Holcim (US) Inc. CREDIT: 1 AIA LU/ELECTIVE; 1 GBCI CE HOUR; 1 PDH Gas Fireplace Construction & Safety Requirements in Commercial & Residential Design Sponsored by Ortal USA CREDIT: 1 AIA LU/HSW Photo courtesy of Holcim Photo courtesy of Benjamin Moore & Co. p200 p202 p203 Specifying the Right Surface Material Sponsored by Wilsonart CREDIT: 1 AIA LU/HSW Terrazzo’s Comeback–It’s Not Just for Floors Sponsored by National Terrazzo & Mosaic Association CREDIT: 1 AIA LU/HSW Protecting Buildings and People with Coiled Wire Fabric Sponsored by Cascade Architectural CREDIT: 1 AIA LU/HSW; 1 IDCEC CEU/HSW Photo courtesy of Upper Left Photography Photo courtesy of David Laudadio Photo courtesy of @Fred Golden Photo courtesy of Ortal USA Beyond Energy: How Glass in Glazing to Protect: Design Consideration
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24 ARCHITECTURAL RECORD JUNE 2022 From the EDITOR ON THE front lawn of a church in Cambridge, Massachusetts, a series of small signs quote Hop Hopkins, director of organizational transformation for the Sierra Club: You can’t have climate change without sacrifice zones… You can’t have sacrifice zones without disposable people… You can’t have disposable people without racism. The last sign reads: Climate justice requires racial justice. Climate justice as a movement is gaining force, built on the fact that environmental degradation has frequently occurred in “sacrifice zones”—areas that disproportionately affect poor and minority communities. As the climate crisis escalates, environmental justice activists seek to ensure that the resources to begin restoring the planet and heading off further catastrophes will be distributed equitably, both locally and globally. Yet interweaving the complexities of “climate” and “justice” is not easy, even if it is essential. “Climate has been in the realm of the scientists and policy makers,” notes architect and teacher Justin Garrett Moore in record’s special report on Climate Justice (beginning page 81). “The social and environmental justice movements have been coming from other spaces.” Grassroots activists, living near industry, agribusiness, and petrochemical plants, for example, have long fought against pollution poisoning their communities, while many in wealthier neighborhoods have worked to ban plastics or reduce carbon emissions (vitally important but with less immediate impact on their own lives). One of global warming’s biggest killers is heat. In most of urban America, the highest surface-heatisland intensities are in communities of color, which have more hardscape, less green space, and few tree canopies. At least local solutions are underway to address such inequities. In Boston, where days over 90 degrees Fahrenheit are expected to grow from an average of 10 days a year to 50 days by 2070, a new Heat Plan was unveiled by the mayor’s office in April (page 98). Focusing on five of the city’s hottest and minoritymajority neighborhoods (which are, on average, 7.5 degrees warmer during the day than more affluent areas), the plan, devised by Sasaki, includes both short-term solutions and long-term urban design enhancements. The smaller city of Ithaca, New York has committed to an ambitious scheme to retrofit all 6,000 public, private, residential, and commercial structures for clean electricity by 2030; officials will replace windows and improve insulation as well, in a building stock that was largely constructed before 1940 (page 100). On the national level, the Biden administration is implementing a policy called Justice40 to begin to rectify inequity in alotting climate-related resources. Under the program, 40 percent of federal funds spent on climate; clean energy; sustainable, affordable housing; clean water and other areas must be allocated to underserved communities. But of course, the vast problems of social justice and the climate crisis are worldwide. The poorer countries, particularly in the Global South, must ultimately contend with the profligacy of the industrialized U.S. and E.U. countries, which have been responsible for nearly 50 per cent of all carbon emissions since the start of the Industrial Revolution. The disastrous floods, droughts, famine, and yes, heat domes, will lead to mass migrations and deaths on a scale that is hard for us to imagine. It comes down, as always, to power and money. At COP 26, the UN Climate Change Conference, held last fall in Glasgow, Scotland, the smaller non-industrialized nations raised their voices but did not get the commitments they sought from the big countries in the G20. “The storm of climate catastrophe is gathering destructive power with every failed promise and missed targets,” said Bruce Bilimon, minister of Health & Human Services of the sinking Marshall Islands. “We will never accept that climate change, which we did not cause, should be the basis for a loss of…our sovereign rights and our maritime boundaries.” But not everyone is entirely despairing, as the world heads toward the next international meeting, COP 27, to be held in November in Egypt. As Edward Mazria, FAIA, the founder and CEO of Architecture 2030 and the AIA Gold Medalist in 2021, writes in record (page 102), the war in Ukraine reminds us of the catastrophic perils of fossil fuel dependency. With the exponential growth of inexpensive solar and wind alternatives, Mazria believes, we can now break our bad fuel habits and accelerate our transition to a zerocarbon built environment. That way, we not only keep “1.5 alive”—the slogan for capping temperature rise to 1.5 Centigrade to prevent the worst outcomes of climate change—but keep hope alive, too. Two complicated movements intertwine, locally and globally, with shared goals essential to saving the earth. The Climate Crisis Meets Social Justice Cathleen McGuigan, Editor in Chief PHOTOGRAPHY: © JENNA-BETH LYDE
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29 Record CURRENTS We cannot dismantle what we do not understand, and we cannot understand the contemporary injustice we face unless we reckon honestly with our history. —Tomiko Brown-Nagin, chair, Committee on Harvard & the Legacy of Slavery, in report April 26, 2022 Simone Leigh’s 16-foot-high bronze Sentinel (2022) majestically commands the rotunda of the U.S. Pavilion, which she reimagined for the current Venice art biennale in Italy. She won a Golden Lion PHOTOGRAPHY: COURTESY SIMONE LEIGH AND MATTHEW MARKS GALLERY. PHOTO BY TIMOTHY SCHENCK. © SIMONE LEIGH award for one of her sculptures elsewhere in the exhibition.
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31 See daily updates at architecturalrecord.com Record NEWS At Arcosanti, Wright-Founded Architecture School Thrives BY NORA BURBA TRULSSON ON A FLAT piece of land near a dry riverbed, a student puts the finishing touches on framing a small pitched-roof structure, set to be coated with a mud-plaster finish. Up a hill, a group gather in a classroom to learn the nuances of universal design, diving deep into a schematic design for a three-structure family compound for a couple who both use wheelchairs. In another room, a young scholar makes an architectural presentation for a small audience. Two years after a public—and, by many accounts, contentious—split from the Frank Lloyd Wright Foundation, what was once known as the School of Architecture at Taliesin and, before that, the Frank Lloyd Wright School of Architecture, has made a soft landing on a windswept mesa in central Arizona and is thriving, despite the odds. Now known as The School of Architecture (TSOA), it is growing roots at Arcosanti, the work/live/learn community founded by the late Paolo Soleri on a vast Arizona cattle ranch in 1970, about 65 miles north of the original location outside Scottsdale. The school traces its roots to an apprenticeship program founded by Frank Lloyd Wright 90 years ago, which offered training both at Taliesin in Wisconsin and at Taliesin West, as the Scottsdale outpost was known. After the death of Wright’s widow in 1985, the program received accreditation and began offering a professional degree called a master’s in organic architecture. But, several years ago, friction arose between the school and the Frank Lloyd Wright Foundation, which owns both Taliesin properties. “It was like a couple who grew apart,” explains retired entrepreneur Dan Schweiker, the chair of TSOA’s board. “The foundation and the school had different interests.” Schweiker cites financial strains as a factor in what he calls “the troubles.” The foundation spun the school off as a separate entity in 2017, but problems persisted: there was a split, a reconciliation, and then a final split. In spring 2020, it seemed as though the school would cease to exist, says Schweiker. He credits architect Victor Sidy, the school’s dean from 2005 to 2015, as instrumental in the push to save it. The students “were committed and passionate about the school, even when shutting it down seemed inevitable,” says Sidy, now a member of its board. Moving the school to Arcosanti lock, stock, and laptop was a carefully planned choice. “This was not a shotgun wedding,” Sidy says. “The dating had been going on for quite some time.” Italian-born Soleri had been one of Wright’s apprentices in the 1940s, leaving after a philosophical rift with the master. He first established Cosanti, in the 1950s, as his home and studio, in suburban Phoenix, experimenting with cast-earth structures and a system of eco-friendly urban planning that he called arcology. At Arcosanti, Soleri envisioned an ambitious community, designed as a hands-on learning and living environment in the vein of Wright’s apprenticeship program. For many years, Soleri and his Cosanti Foundation, which operates both sites, maintained a frosty connection with the Wright Foundation, says Sidy, but relations began to thaw in the mid-2000s. That the school could move smoothly from Taliesin to Arcosanti should come as no surprise, explains school president Chris Lasch, who joined in 2016, as dean of academic affairs, and runs the firm Aranda/ Lasch. “The school has always been nomadic,” he says. “For decades, everything was packed up and moved seasonally between Wisconsin and Arizona. In the summer of 2020, instead of going to Wisconsin, we packed up and moved to Arcosanti.” The curriculum, faculty, and accreditation also remained intact, Lasch says. Prior to the split from the foundation, Aaron Betsky, the school’s former president, opted to move on from the school. Lasch became president and reached out to Stephanie Lin to become dean. “I was drawn to the distinctiveness of the program and the culture here,” says Lin, who has a practice in New York and previously taught at Cooper Union. Currently, the school enrolls 11 students, all pursuing either a master’s in architecture or participating in a semester-long immersion program—a small number, Lin admits, but one explained in part by Covid-19’s suppression of in-person learning and effective restriction on the participation of foreign students. PHOTOGRAPHY: COURTESY COSANTI FOUNDATION, TOMIAKI TAMURA The optimum capacity is 40 students, and Lin The Arcosanti Apse was designed to shelter the experimental community’s casting of bronze bells.
32 ARCHITECTURAL RECORD JUNE 2022 Record NEWS and Lasch say they are confident that enrollment will soon grow. “It does take a special kind of student to be here,” says Lasch. In an arrangement similar to that at the Taliesin campuses, students live on-site in small apartments and houses scattered around the desert grounds, share cooking responsibilities, and maintain the studio and classroom spaces. They’ve undertaken renovations as well, rehabbing areas of Arcosanti’s cubical and apse-shaped concrete buildings. (Arco santi continues to offer its own workshops and other public programs.) Students are also helping to restore Cosanti, with the aim of making it a second campus in the future. Academic classes are taught by a group of core faculty, including—in what feels like some kind of cosmic through-line— Lloyd Natof, Frank Lloyd Wright’s greatgrandson. The shelter program, in which students design and build a small structure as a thesis project, is also alive and well, with a half-dozen already dotting the site. A new curriculum addition since the move? “We now have a class that explores arcology,” says Lin. And in April, Lin, with the help of students, curated an exhibition at Arcosanti in which artists explore Wright’s concept of organic design. In the meantime, the Wright Foundation is formulating its own educational initiative, the Taliesin Institute. Details remain scarce, but the institute will be led by Jennifer Gray, a former curator at Columbia University’s Avery Architectural and Fine Arts Library. At Arcosanti, The School of Architecture now seems to be on a healthy path. “We have a five-year lease here,” says Schweiker, “with an easy option to renew. Someday, we hope to have smaller international campuses around the world and a campus that we own, but we will always have a connection here.” “Between Covid and the split, the school has weathered a perfect storm,” says Sidy. “Those of us who had the Taliesin experience will always be sad that the school is no longer there, but there is a new energy here, a new experience. The school is on fertile ground and will continue to grow. It has proven that it can transcend its place.” n PHOTOGRAPHY: © NORA BURBA TRULSSON Student Richard Sanchez and faculty member Lloyd Natof, Frank Lloyd Wright’s greatgrandson, work on a shelter project. Snowbird Ski Resort, Utah PROUDLY MADE IN THE USA “Make Every Step a Safe One” Wooster Products Inc. ALUMOGRIT¨ • Anti-Slip Properties • Highly Durable • ADA Compliant • Concealed anchors available - no screws 800-321-4936 woosterproducts.com [email protected]
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34 ARCHITECTURAL RECORD JUNE 2022 Record NEWS Help Comes for Ukrainian Designers and Students BY WILL JENNINGS Russian attacks on Kharkiv, seen here in early March, have forced much of the population to flee. UNTIL EARLY March, Mariia Rusanova, an architect and Ph.D. student at Ukraine’s Kharkiv National University of Civil Engineer ing and Architecture, lived comfortably in a city just a few miles from Russia. The window in her apartment looked out toward the border, and, one morning after the Russian invasion began on February 24, she awoke to the sound of bombs exploding. For a week afterward, she practically lived in her basement, before finally realizing the war would not end soon and deciding to flee into Poland with her brother and his family. Kharkiv has been under relentless attack since the beginning of the invasion, and, beyond the tragic loss of life, the city’s heritage and cultural sites have been devastated. Parts of Rusanova’s university have been bombed, as has the Kharkiv School of Architecture (KSA), which has now temporarily relocated to Ukraine’s National Academy of Arts in Lviv, 540 miles west. Both KSA and Kharkiv National University are among the Ukrainian architecture schools calling for urgent support from their counterparts throughout Europe—from space for refugee students to the creation of workshops on urban reconstruction. In response, a constellation of aid efforts has emerged across the continent in an international show of solidarity with Ukraine. Many of these efforts are impromptu, rapidly coordinated schemes by a variety of actors, including nonprofits, academic institutions, and grassroots groups. Online resources are among the lowesthanging fruit; among them are several websites and a Telegram channel dedicated to helping Ukrainian designers find work. Larger institutions are offering similar support, including the Royal Institute of British Architects (RIBA), which is using its job page to match refugees with positions across the UK. A London friend recently told Rusanova about a job posted on the RIBA site. She was hired and will soon move to England, but not all Ukrainians are as fortunate. Speaking to record, Rusanova outlined the difficulties Ukrainians face in finding employment, including the disappearance of essential paperwork. “I needed to send some documents showing that I work at my university, but the university has been bombed,” she says. Katja Ignatieva is a secondyear student at Ukraine’s Odessa State Academy of Civil Engineering and Architecture, and, like Rusanova, she at first remained in her hometown after the invasion began, before leaving the country. Her journey through Moldova and subsequent resettlement in Germany were supported at every step by wellorganized volunteer and government systems, she says, including free buses and twiceweekly food packages and financial support provided by the German government. She now takes remote classes, but studying online is difficult. “To find materials is expensive,” she says. “You don’t have a lot of money when you run from your country.” Bob Sheil, the director of London’s Bartlett School of Architecture, is aware that not all countries are as proactive as Germany, and that national bureaucracy can slow institutional plans. “UK government strategies are inadequate, lacking breadth and failing to grasp the urgency,” he told record. The impact of the war, he adds, “will intensify for a considerable period ahead—thus longterm as well as shortterm planning is essential.” The Bartlett is involved in several initiatives, including projects organized by its parent institution, University College London (UCL). Ongoing fundraising efforts will support a new Academic Sanctuary Fellowship that will see UCL—home to the School of Slavonic and East European Studies— work with the Council for AtRisk Academics to support scholars facing threats as a result of the war. UCL and Yale University are also partnering in support of an international conference organized by the Ukraine Reconstruction Network, a new consortium of Ukrainian academic, cultural, and architectural organizations. The conference, “The Reconstruction of Ukraine: Sovereignty, Heritage, Solidarity,” is planned for July and will seek ideas for a sustainable, Ukraineled rebuilding process, with parallel events planned in Lviv, London, and New York. In the Baltic, where anxieties around the war run high, additional efforts are under way. The Nordic Baltic Academy of Architecture (NBAA), a network of 19 institutions, is working to provide space for Ukrainian schools to temporarily relocate to the Baltic states. Vilnius Tech, a member of the network, is already hosting seven fulltime Ukrainian students in its architecture school, each receiving a monthly stipend. “Vilnius Tech teachers who worked on CONTINUED ON PAGE 38 PHOTOGRAPHY: © FOTORESERG
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Record NEWS Architectural Billings Fall The American Institute of Architects’ latest data show that the Architectural Billings Index dropped from 58 in March to 56.5 in April, still above the benchmark of 50 (scores over 50 indicate an increase in firm billings). New inquiries and design contracts also decreased from the previous month, from 63.9 to 62.3 and 60.5 to 55.4, respectively. 2021 2022 A M J J A S O N D J F M A INQUIRIES BILLINGS 20 30 40 50 60 70 51 62 58 57 62 55 54 62 65 70 projects in Ukraine before the war are now working in contact with Ukrainians who fled the country,” says Eglė Bazaraitė, a lecturer at Vilnius Tech in architectural history and vice dean for international relations and infrastructure. Back in Ukraine, the Kharkiv School of Architecture is fundraising to support teaching the generation of architects who will rebuild Ukraine. Architecture will be “one of the most relevant professions of the next decade,” founder Oleg Drozdov told record, and KSA plans to grow its faculty and rebuild and improve facilities—both short-term in Lviv and eventually in Kharkiv. The war and economic crisis have crippled fundraising for now, however, and the school’s tuition fees will be reduced, due to families’ losing employment. KSA is also “negotiating some activities with MIT,” Drozdov says, and pursuing long-term international partnerships. American firms could support individual students through their education, he notes. And the school is working on plans to invest in largescale 3D-printing technology to help fulfill Ukraine’s postwar housing needs. In Kharkiv, postwar reconstruction plans are already under way—with the much publicized involvement of Norman Foster, with whom Kharkiv mayor Ihor Terekhov has been working on a plan for the city that could form the basis of similar efforts across Ukraine. Rusanova is nervous about the rebuilding process. “From one side, we have Russian troops that have destroyed everything, and from the other side, we have a lot of good architects who haven’t worked with our heritage, who will build something new,” she says. In her view, the best approach is for nonUkrainian academics and architectural historians to advise but not dominate. Drozdov agrees. Citing the threat of what he calls “intellectual colonization,” he argues for the involvement of the city’s architectural schools in the process. The rebuilding, he says, is “a chance to rethink the city in terms of a new social formation.” n
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40 ARCHITECTURAL RECORD JUNE 2022 Record COMMENTARY The Imperative of Ending Coerced Student Labor BY RUSSELL FORTMEYER ON MARCH 25, students at the Southern California Institute of Architecture (SCI-Arc), where I have taught since 2011, erupted in protest over the alleged exploitation of free student labor by faculty, both in their capacities as educators and as architects in private practice. The specific allegations that sparked the protests have been well documented in record and elsewhere, but, in brief, students alleged that certain faculty who wield influence over students’ career prospects—and hold decision-making power over school scholarships—used their power to coerce students into poorly paid or unpaid internships in their private offices. This phenomenon is not unique to SCI-Arc; it is rampant globally throughout architectural education and practice. Dozens of my former students have stories attesting to it. Let’s face it: chances are that, if you’re reading this, you have your own personal experience with it or know someone who does. The United States’ Trafficking Victims Protection Act of 2000 describes labor trafficking as “involuntary servitude,” in which traffickers use force, fraud, or coercion to compel a person to work on the threat of serious harm. Federal labor laws in turn define serious harm as encompassing “psychological, financial, or reputational harm, that is sufficiently serious” to compel a “reasonable person of the same background and in the same circumstances” to work in order to avoid incurring it. Of course, coercion in architecture cannot be compared to the plight of human trafficking victims, and unpaid internships remain common in many industries across the country. Nonetheless, when a professor directly or indirectly suggests to a student that they perform uncompensated labor under threat of losing a scholarship or receiving a negative letter of recommendation, they commit a serious ethical breach—and one that comes uncomfortably close to how trafficking is defined. Such cases cannot be justified as a student’s “paying their dues,” as if a professor’s experience of similar abuse in the past is reason to accept it. This is psychological persuasion to compel students to work involuntarily or face potential consequences—a potential violation of U.S. law, since the fear induced in students regarding their career prospects certainly must weigh on a decision to report labor violations. Whether or not students are paid, they have no power in such a relationship. This is easily overlooked in architecture, where the culture has conferred status on single architects as geniuses for far too long. As professionals, architects have an ethical responsibility to uphold the public good beyond the mere aims of their client. An architect who purports to stand for the highest principles of the profession—empowering people, democratizing design, alleviating the climate crisis—may also be exploiting student labor in their own office. If you cannot pay your interns, do you even have principles? More dialogue around these issues is necessary at every level, and they will not be solved immediately. But the following actions would go a long way toward changing the culture: 1. Government agencies at every level must demand that no firm with which they do business use uncompensated labor. The General Services Administration, which holds the most real estate in the country, could adopt policies that explicitly prohibit contracting with any architect using uncompensated or coerced labor. 2. Licensing boards like the National Council of Architectural Registration Boards (NCARB) can adopt and enforce ethics policies around coerced labor. The existing ethics codes for both NCARB and the American Institute of Architects (AIA) make no mention of equitably compensating student labor. 3. College and university policies for equitable and compensated internships would help assure that students are not exploited. The National Architectural Accrediting Board (NAAB), which accredits architecture schools, can make implementing such policies a prerequisite for reaccreditation. 4. Reporting and exposing this behavior will help change this unfortunate tradition. Could NCARB and the AIA work with the U.S. Department of Labor on raising awareness of employee rights and procedures for filing complaints? Could the NAAB require schools to institute anonymous reporting mechanisms, like whistleblower hotlines? 5. Architecture competitions and award programs can also prohibit participation by architects using uncompensated or coerced labor. In my class at SCI-Arc, we often talk about the climate crisis as an unfortunate inheritance from the 20th century that will define the architecture of this century. Unethical labor practices are similarly a clear legacy of 20thcentury architectural culture, implicating even the best-known modern architects. Embracing resilient, sustainable architecture practices must go together with a commitment to ethical labor practices. It’s gratifying to see there are students of this generation who are willing to challenge conventional and entrenched power structures—and, in the face of the climate crisis, we need their leadership. Architects who claim they cannot obtain reasonable fees to compensate interns fairly either do not have a sustainable business, or are simply greedy. And if an architect’s solution to business struggles is exploiting labor, their license should be challenged. It is that simple. Stop blaming coerced workers as if they have other choices within the profession. Stop using the mantle of architecture to conceal abuse. n Russell Fortmeyer is the global sustainability leader for Woods Bagot, a faculty member at SCI-Arc, and a former record editor. PHOTOGRAPHY: COURTESY PAUL RUDOLPH INSTITUTE FOR MODERN ARCHITECTURE Architects at work in Paul Rudolph’s New York office in the 1960s
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44 ARCHITECTURAL RECORD JUNE 2022 Record EXHIBITION The Art of the Oblique: The Drawings of Claude Parent BY JOSEPH GIOVANNINI BACK IN 1963, French cultural theorist Paul Virilio called Parisian architect Claude Parent’s attention to a vertiginous spatial experience he had encountered in a World War II German bunker that had surfed down an embankment onto a beach in France. What had been a rightangled, battleready structure was then oblique, the walls, ceilings, and floors slanted. The tilt produced a thrilling effect on the body, suddenly alert to every step in an angled, topsyturvy world. Partners in the firm Architecture Principe, the two men based their 1966 pamphlet, The Function of the Oblique, on this discovery, publishing a manifesto that coincided with Robert Venturi’s Complexity and Contra diction in Architecture. Theirs offered complexity and contradiction of a different sort, based on physical experience rather than language, with an influence that arguably outlasted the book that yielded Postmodernism. Gallery a83, a new, daring experimentalarchitecture gallery in New York, has just opened a show of Parent’s drawings, Claude Parent Oblique Narratives No. 1, curated to introduce the subject of the oblique to an audience occupying Manhattan’s vertical world (through July 3). On two rows of easels, themselves angled on the oblique and looking, in miniature, like one of the oblique cities that Parent himself draws, gallerists Owen Nichols and Clara Syme (they are both practicing architects) display largeformat pencil drawings by Parent, who died in 2016. The easels themselves sit on flat files containing drawings. As visitors pull drawers out, a rumbling, rolling noise gives the gallery a John Cage soundtrack. The show creates the ambience of archives in a reading room. The files are themselves set on red metal sawhorses, forming a tripartite structure of easels, files, and base. Nichols and Syme designed the installation with great economy and elegance on a next to nonexistent budget. The 44 pencil drawings in the drawers and on the easels are organized by series. One of the earliest, from the 1980s, called “Rage,” shows skyscrapers attacked and cracked open by buildings flying on the oblique, introducing fracture as well as the oblique into a new, complex architectural vocabulary. Some oblique structures attack horizontal blocks. The new order challenges both the rigid modernist vertical order and the classical horizontal order, establishing fresh ground on which to predicate architecture. Another series, “The Barge,” is less architecturally confrontational. Wellmannered and dapper in his Issey Miyake jackets, Parent was, despite a posh background, both subversive and eccentric, and willing to chance his career on an idea. He owned a beach house in Brittany, named Sissable, set in a ghostly white landscape of salt flats, populated by flatbottom boats used for collecting oysters. In this surreal landscape, which confirmed an idiosyncratic view of the world, the architect transformed in his drawings the barges moored out front into buildings, many set in conjugal geometries that find their ecstasies on the oblique (the static yielding to the exstatic). Parent, born in 1923, was the rare survivor of several French paradigms: his BeauxArts education; France’s own homegrown and pervasive Cartesianism; and Le Corbusier, whose functionalist “architectureisamachineforlivingin” dominated so much of the 20thcentury French thoughtscape (Parent briefly apprenticed with Corbusier). Against this fortress of rationalism, the oblique had an uphill battle, which Parent waged, counterintuitively, with a pencil trained in traditional drawing techniques. Parent only cursorily used hardedged tools like the triangle or ruler to outline a drawing, but otherwise built his oblique visions in textures penciled without lifting the pencil tip from the paper. Parent dances the lead on the surface to create contrasts, often defaulting to a shading technique called scumbling, in which spidery lines overlap in tiny circles. The drama of massive forms cantilevered acrobatically into the infinities of white paper is achieved through a buildup of subtle textures. The titles of his drawings— Submerged Cities, Tensed Arc, Villa Refusing the Vertical, Oblique Laser, Cut Urban Tissue—reveal that each of his graphic speculations, one per page, explores an organizational idea or theme. This Piranesi of France thought by visualizing ideas graphically. The drawings also explore social issues beyond form. He was early to address ecology as a subject, for example, when he drew dense cities in crevasses of the earth. His concentrated urbanism liberated ground for agriculture and created way stations in the opened landscape for the mass human migrations he anticipated. For many, Claude Parent Oblique Narratives No. 1 will be an introduction to a major 20thcentury figure whose drawings and buildings hardly pierced the AngloFranco bloodbrain barrier. His work, however, was a secret influence in the many ramped structures by Jean Nouvel, Rem Koolhaas, and Zaha Hadid, and in the topographic landscapes of architects like Weiss/Manfredi. Snøhetta’s Opera House in Oslo is an orgy of planar Parent ramps at the scale of urban design. Parent’s graphic speculations take on a special meaning in the context of today’s digital design. At a time when many architecture schools no longer teach drawing, his pencil documents poetic meditations generated by the human imagination rather than the algorithms of 3D programs. His analog techniques slow design down and remove it from directive and homogenizing media cycles. Parent could change his vision merely by adjusting his pencil, or just by changing a thought. His commitment to drawing was not just a commitment to representation, but to a process of discovery into what he did not yet know. n Joseph Giovannini is a critic and architect based in New York and Los Angeles. PHOTOGRAPHY: OLYMPIA SHANNON Claude Parent’s drawings on display at Gallery a83 in New York
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48 ARCHITECTURAL RECORD JUNE 2022 HOUSEof the Month 1 2 6 7 3 12 5 IN EASTERN LONG ISLAND, RYALL SHERIDAN ARCHITECTS SEPARATES WOOD VOLUMES TO CAPTURE OCEAN VIEWS. BY WENDY MOONAN RARELY HAS BILL RYALL, of the Manhattan-based firm Ryall Sheridan Architects, had clients more involved in the design process than Michel and Caroline Zaleski. Several years ago, the New York couple commissioned Ryall to replace their weekend home, a 1950s bungalow in Amagansett, Long Island, where they had lived for two decades, with a new beach house. The Zaleskis came to the project well schooled in architecture. Caroline, a preservationist, wrote Long Island Modernism: 1930–1980, in 2012. Michel, an investor, is the son of a Polish-born architect, Joseph Zaleski, who worked with Le Corbusier in the 1940s, in Paris, and again, in the 1960s, in Cambridge, Massachusetts, when he was the project architect for Le Corbusier’s Carpenter Center for the Visual Arts at Harvard University. “At our first meeting about the house, Michel handed Bill a sketch of a section,” recalls Caroline. “Michel also came up with the plan, and Bill put it into architecture.” Adds Ryall, “Their knowledge and historical references made the design process collaborative, educational, and a pleasure for everyone.” Perched on a high dune on a long, narrow two-acre lot, the cottage occupies an idyllic site overlooking the Atlantic Ocean to the south and Napeague State Park and Gardiner’s Bay to the north. Zoning restrictions required the house to be set back more than 100 feet from the dune crest, and several hundred feet from the ocean’s high-water line. To keep the structure stable in the sandy soil, Ryall and project architect Niall Carroll placed it on wood piles buried 40 feet deep. Because it is in a hurricane zone, the robust structure has a wood and steel frame clad in a burnt-cypress rainscreen. It can withstand 140-milean-hour winds. The 5,000-square-foot house (not including a basement and garage) is loosely V-shaped, with two angled wings, sited to capture views of nature (instead of the neighbors’ properties). The Zaleskis wanted to accommodate three generations of their family while retaining a degree of autonomy for themselves. They occupy the smaller two-story wing, with a main bedroom suite and study upstairs, and a library and study below. The other wing has four bedrooms, a screened porch, and a children’s playroom upstairs, while another bedroom and the large open kitchen and dining room are located downstairs. A single-story living room connects the two volumes, enclosed on the north and south by expanses of glass. A generous roof deck above the living room looks out toward “1,200 acres of borrowed landscape,” A burnt-cypress rainscreen clads the southwest side of the angled bedroom wing. 1 ENTRANCE 2 LIVING ROOM 3 KITCHEN 4 DINING ROOM 5 BEDROOM 6 LIBRARY 7 STUDY 8 FAMILY ROOM 9 ROOF TERRACE 10 MAIN BEDROOM 11 SCREENED DECK 12 POOL PHOTOGRAPHY: © DONNA DOTAN/DD REPS 5 5 5 5 8 7 10 SECOND-FLOOR PLAN 0 15 FT. 5 M. FIRST-FLOOR PLAN