Image: NYC Design Awards.
Designed by starchitect Philip Johnson for the 1964-65 World’s Fair to embody the architectural essence of Space Age futurism, the New York State Pavilion, has, in the ensuing decades, become what amNY called a “hulking 54-year-old relic of the World’s Fair,” though it has never lost its modernist cachet and has gained value as an historic ruin of sorts. Recently, talk of restoring the pavilion beyond its current inglorious purgatory slowly appears to be moving toward actual plans with funding attached. City officials and preservationists have secured $14 million for specific repairs and improvements to the pavilion.
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During a nearly two-hour public hearing on Tuesday, passionate preservationists, architects, and community groups testified in front of the Landmarks Preservation Commission in support of designating the postmodern skyscraper at 550 Madison Avenue as an individual landmark. Best known as the AT&T Building, the 37-story tower was designed by Philip Johnson, along with his partner John Burgee, and completed in 1984.
As postmodernism’s first skyscraper, 550 Madison has stood out for its pink-gray granite facade, arched entryway and Chippendale-inspired crown. A wide range of people on Tuesday voiced support for giving 550 Madison landmark designation, including architectural critic Paul Goldberger. In his testimony, Goldberger cited his own 1978 New York Times review of the building, before it was built, when he called the AT&T Building “a major monument” of postmodernism and “the most provocative and daring skyscraper to be proposed for New York since the Chrysler Building.”
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This morning the Landmarks Preservation Commission voted to calendar the postmodern skyscraper at 550 Madison Avenue, designed by Philip Johnson and completed in 1984. The world’s first skyscraper built in a postmodern style was originally known as the AT&T Building, as the tower served as the company headquarters. Sony moved in in the 1990s, giving it the nickname of the Sony Tower.
Last year, the building sold to the Olayan Group and Chelsfield for a whopping $1.4 billion. Their resulting renovation plan, led by Snøhetta, has elicited protest from preservationists who do not want to see changes to the building’s impressive arched entryway. Now that the tower’s calendared, the developers’ $300 million renovation will eventually come up for a landmarks vote by the LPC.
See renderings of Snøhetta’s proposal
Frank Lloyd Wright/TAA drawing of Key Project for Ellis Island. Credit: The Frank Lloyd Wright Foundation Archives (The Museum of Modern Art | Avery Architectural & Fine Arts Library, Columbia University, New York)
Ellis Island, well known as the processing center for millions of American immigrants until 1954, has figured heavily in the nation’s history; once the center was closed and neither of its current owners, the states of New York and New Jersey, knew of an alternative for its re-use, the island was offered for sale. Among the bidders for the 27-acre site were a pair of young NBC executives whose idea included breathtaking plans conceived by none other than Frank Lloyd Wright. According to Metropolis, Wright’s idea supported the media execs’ vision for “an entirely new, complete, and independent prototype city of the future.”
So what happened?
Photo of the protest courtesy of Nathan Eddy
After Olayan America and Chelsfield revealed plans last week for a $300 million renovation of the building at 550 Madison Avenue, known as the AT&T Building, criticism quickly followed. Members of the architecture community, including New York architect Robert A.M. Stern, rallied together last Friday at the base of the Philip Johnson-designed skyscraper, to protest Snøhetta’s proposal to replace the building’s base with a scalloped glass front (h/t Dezeen). Protestors held signs that read “Hands off my Johnson,” “Save the Stone,” and “Save AT&T.” Plus, a petition is currently being circulated on Change.org in an attempt to preserve Johnson’s iconic AT&T Building by having the New York City Landmarks Preservation Commission officially designate it as a city landmark.
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Photo via Wikimedia Commons
The iconic New York State Pavilion in Flushing Meadows-Corona Park is set to undergo a $14.25 million renovation funded by the city. As first reported by the Queens Chronicle, repairs of the monument will begin next spring, which will include some structural conservation work and electrical and architectural improvements. The pavilion, which was originally designed for the 1964 World’s Fair by Philip Johnson and Lev Zetlin, has been ignored for the past few decades, largely in part because of the city’s failure to find the money for repairs.
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As any modern architecture aficionado knows, the Glass House is Philip Johnson‘s best-known residence. However, it’s not his first. That title goes to the Booth House, built in 1946 (three years prior to the New Canaan beauty) in rural Bedford, New York. Like the Glass House, it boasts Johnson’s iconic floor-to-ceiling glazing, location atop a grass podium, and internal organization around a central fireplace. But unlike the Glass House, now a historic house museum, the Booth House is not protected, and moreover, its title is in litigation which means it could very well face the wrecking ball. Therefore, Archpaper tells us that the long-time owners have listed the home for $1 million in hopes that a preservation-minded buyer will step up.
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Screen cap via NYT
Just down the street from the now-closed modernist treasure trove and icon that was the Four Seasons in Manhattan’s east 50s is a lesser-known architectural treasure. Philip Johnson’s 1950 Rockefeller Guest House is one of a handful of private residences the architect designed for New York City clients. The house is a designated historic and architectural landmark, but a subtle one that’s easily missed on the quiet street–as the New York Times puts it, “the house doesn’t give up its secrets easily.” Once you spot the home’s brick-and-glass facade, though, it’s hard not to be enthralled.
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Happy New Year! New year, new month, new #Midnightmoment film in Times Square. This month Pipilotti Rist flattens and squishes her face each night across the screens in conjunction with her solo show at the New Museum. SF’s Spoke Art also opens a new show curated at Supersonic at their LES outpost, and Japanese artist Ayakamay examines media perception at The Lodge Gallery. But if you’re looking for a throwback or something more low-key, hear from old school graffiti writers at Eric Firestone Gallery, or treat yourself to new and exciting film at the Museum of the Moving Image. Lastly, head to The City Reliquary to catch a screening about Philip Johnson’s iconic World’s Fair pavilion in Flushing Meadow, bring your ideas to The Center for Architecture, and then visit the Brooklyn Museum for free courtesy of Target.
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The 21st century incarnation of the iconic Four Seasons restaurant set to open at 280 Park Avenue will bear no resemblance to the original, beyond the famous name and the sign that fronted the “Mad Men”-era power lunch spot in the Seagram Building, according to the restaurant’s co-owner, Julian Niccolini. The New York Post reports that the team behind the “new” Four Seasons–Niccolini and partner Alex von Bidder, the Bronfman family, landlord Steve Roth of Vornado and representatives of landlord SL Green Realty–approved the new restaurant’s design, by Brazilian architect Isay Weinfeld, last Friday.
A new femininity for the three-martini lunch?