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Boston City Hall to be demolished?

The trouble with posting a pic of Boston City Hall as "self-evidently" ugly, terminally dysfunctional, a disaster zone etc, is that ultimately, that's like saying she is "self-evidently" an obnoxious, talentless opportunist, dysfunctional, a disaster zone, etc.

Yet I know plenty of people who'd take a so-called dysfunctional disaster zone like that over her, or even her. And it's not as unnatural a choice as it appears--heck, even my own mother would make that choice. (Though as a Brel/Piaf type of long standing, she's well prepared to do so...)
 
One can always change the radio station, but living with (function) and in the presence of (context) a building is different altogether.
 
It isn't a matter of a radio station, it's a matter of overall personality--like, who'd you rather do lunch with, etc etc...
 
Adma, the issue is permanency. What we may like in small doses may not be what we want to live with day in and day out, particularly if it is causing us grief and suffering (poor function and/or context). That said, I don't want to set up a false "either/or" scenario. In other words, I'm not suggesting we should replace Courtney with Celine. Rather, maybe neither of them are ideal for this context, and other options should be considered.
 
"...other options should be considered."

I agree completely. I would hope Boston, as the most "liberal scholastically enlightened major city in North America" I hope they set the standard for the rest of us.
 
Maybe it's a matter of "understanding" rather than blithely condemning the proverbial Courtney, acquired taste though she might be.

Though it does make for an interesting opposite pole of BCH defense; rather than justifying it from an architectural-clique standpoint, justifying it through the prism of the same sensibility that places so-called obnoxious, pretentious, irresponsible a-hole rock stars on a pedestal--hey, it might "communicate" better w/the masses, if anything can...
 
Well, more like the younger and more "open" you are, the more acclimatized you are to her. As with any of these here "rock star types". And maybe we're healthier for it.

But anyway, funny how this escaped my eye...

www.nytimes.com/2007/03/0...ref=slogin

Architecture
Another Building by a Noted Modernist Comes Under Threat, This Time in Boston

By DAVID HAY
Published: March 7, 2007
BOSTON, March 1 — A plan to demolish a 1960 office tower by the influential architect Paul Rudolph threatens to pit a prominent developer backed by Mayor Thomas M. Menino against preservationists who see the building as a seminal example of midcentury Modernism.

If the developer, Steve Belkin, prevails, Mr. Rudolph’s 13-story structure will be supplanted by an 80-story skyscraper designed by one of today’s biggest names, the Italian architect Renzo Piano.

On March 13 the Boston Landmarks Commission plans to consider Mr. Belkin’s application for a demolition permit for the Rudolph building, at 133 Federal Street, in the city’s financial district. The commission, whose jurisdiction covers all buildings in downtown Boston and in other neighborhoods more than 50 years old, can order a 90-day delay during which it can ask the applicant to consider alternatives to demolition.

Several groups, including Docomomo, an international organization devoted to preserving Modernist buildings, plan to submit statements at the hearing urging the commission to recommend that the city delay issuing the permit by 90 days.

“We are not opposed to the new development, but we would like to think there is a solution that could accommodate the preservation of Mr. Rudolph’s building,†David Fixler, president of Docomomo’s New England branch, said. “It is a very significant piece of Boston’s architectural heritage and deserves a complete hearing.â€

Similar battles to prevent demolition of Rudolph residences have been unsuccessfully waged in Sarasota, Fla., and Westport, Conn., in recent years; preservationists are now fighting to save his Riverview High School in Sarasota.

The squat tower in Boston, originally called the Blue Cross/Blue Shield Building, was the first Modernist office building to rise in this city’s downtown, according to Docomomo. Its ornately intricate concrete exterior was viewed as a controversial rejoinder to the prevailing International Style of the 1950s, in which high-rises were typically wrapped in glass.

Currently owned by Mr. Belkin’s company, Trans National Properties, it is part of the Winthrop Square redevelopment, whose biggest portion is occupied by a city-owned parking garage. At the urging of Mayor Menino, Mr. Belkin submitted the sole proposal in November to build the 80-story tower on the site. Preliminary drawings for the Piano tower call for it to be topped by a “lookout garden†and to strive for certification as an environmentally sensitive green building. Also planned are an adjoining covered plaza and an indoor public garden. The board of the Boston Redevelopment Authority, which must approve projects larger than 20,000 square feet, endorsed the proposal in late January with Mr. Piano in attendance. The developer has until April 25 to submit a financing plan to the authority.

James W. Hunt, chief of environmental and energy services for the city, said that Mayor Menino was committed to the Piano tower. “It furthers his vision of Boston becoming a contemporary architecture hub,†he said.

But preservationists argue that the Rudolph building need not be sacrificed to make way for the Piano tower. Ideally, they say, the 1960 structure might even enter into a visual dialogue with a bold new tower.

In this month’s issue of the Journal of the Society of Architectural Historians, Timothy M. Rohan, an assistant professor of art history at the University of Massachusetts at Amherst, says the building received a mixed reception upon its completion. It drew praise from the architect Philip Johnson and later from the architectural historian Vincent J. Scully Jr., who applauded its “excellent relationship to the pre-existing street†and said it prefigured the progressive urbanist schemes of Alison and Peter Smithson in London.

But Architectural Forum called the building “one of the most controversial structures put up in the U.S. in some time.â€

Unlike many of his Modernist peers, Mr. Rohan said in an interview, Mr. Rudolph “felt the need to respond to the mainly 19th-century historic styles then surrounding the site.â€

“He thus decided against a glass-paneled facade, opting for this richly detailed but still Modern shell,†he said. “In this appreciation of urban context, he was far ahead of his time.â€

Some architecture enthusiasts detect a paradox. For them, Mr. Rudolph’s architectural experiment offers parallels to some of Mr. Piano’s early triumphs, like the 1977 Pompidou Center in Paris (designed with Richard Rogers), with its exposed mechanical systems.

Many of the precast concrete piers that line the exterior of the Blue Cross/Blue Shield Building, for example, are hollow to accommodate the building’s engineering systems, including its heating and cooling. “By moving the structural systems to the exterior, he added to the spaciousness and flexibility of the interior,†Mr. Rohan said.

Mr. Fixler of Docomomo said: “There is a spirit of structural and system experimentation associated with the Rudolph building that is very close to Renzo Piano’s. If it could be saved, it would make a good neighbor to his tower.â€

In an interview, Mr. Piano said he wanted his tower to have a “light presence,†hovering above the proposed 70-foot-high public plaza. Without the vast open space, he said, his tower will seem too aggressive, and only demolition of the Rudolph building will make that wide plaza possible.

“I am a great admirer of Rudolph’s and I always ask myself, ‘Can we try to keep a building as a piece of architectural memory?’ †he said. “But if it is not demolished, we lose the opportunity to create a city square.â€

Yet Mr. Piano added that he was under pressure from Mr. Belkin to increase the tower’s width, something he said he could not agree to do. That conflict leaves the project’s outcome even more unclear.

Mr. Piano also designed the new headquarters of The New York Times Company, which is scheduled to open this spring.

In a letter he plans to submit to the Landmarks Commission, Mr. Rohan points out that in 1986 Mr. Rudolph was hired by a former owner of 133 Federal Street to produce a plan for developing that site. Mr. Rudolph, who died in 1997, proposed doubling the building’s size, an idea never realized.

One solution, Mr. Rohan suggested, “might be to use Rudolph’s schemes as the inspiration for the expansion rather than demolition of the structure.â€

07rudo_CA0.190.jpg
07rudo_CA1.190.jpg

[left: proposed; right: extant]
 
Boston Globe

Link to article

Renowned architect quits tower project

By Thomas C. Palmer Jr., Globe Staff | March 16, 2007

The famed architect behind the audacious 1,000-foot environmentally sensitive skyscraper planned in downtown Boston, Renzo Piano, has split with the building's developer, Steve Belkin. Piano's original design for the building, which would be the tallest in the city and has received major support from Mayor Thomas M. Menino, was for an unusual tower of glass floating over a ground-level park.

A senior executive at Renzo Piano Building Workshop in Genoa, Italy, yesterday said the split involved a dispute over creative control of the tower.

"There have been requests to change" the building, said the executive, who asked that his name not be used because he had not discussed his remarks with Piano. "Some modifications were asked for. We felt they weren't appropriate," he said, but declined to elaborate on what those issues were.

Piano was traveling in California yesterday and couldn't be reached for comment.

Belkin's company, Trans National Properties, issued a statement with Piano's firm that did not discuss why the architect departed.

Rather, the statement said Trans National thanked Renzo's firm "for its inspired artistic vision for the site and its now completed involvement." Trans National said the Boston-based architect on its team, CBT/Childs Bertman Tseckares Inc., would have "sole future responsibility for architectural design and execution." Belkin couldn't be reached for comment.

In an article published this month in The New York Times, Piano was described as being "under pressure from Mr. Belkin to increase the tower's width, something he said he could not agree to do."

Belkin and Piano unveiled the Italian architect's design for the 80-story building in November. The design called for the glass tower to have reflectors that would direct sunlight to the ground-level public space, external elevators to whisk visitors to a restaurant and public space at the rooftop, and a supermarket and parking below.

Belkin was the sole respondent to Menino's solicitation last year for proposals to build a skyscraper on the site of a decrepit city-owned parking garage between Winthrop Square and Federal Street. In January, the Boston Redevelopment Authority officially selected Belkin as site developer.

"I called for world-class architects to come up with a building that reflects all the greatness and potential of Boston," Menino said when Belkin and Piano unveiled their design in November. "Today's proposal . . . promises everything we asked for."

Yesterday Menino said, "From what I understand, it's still a Piano-inspired design, and I'm happy about that."

Neither the joint statement nor the Piano executive indicated whether Belkin and CBT would keep the Italian architect's striking design, all or in part .

Belkin's project had already lost a key player when the leader of the development management team at Meredith & Grew, Daniel O'Connell, left to become secretary of the state Executive Office of Housing and Economic Development in the administration of Governor Deval Patrick.

O'Connell was a partner and experienced development professional who previously worked at Spaulding & Slye and helped prepare the massive Fan Pier on the South Boston waterfront for development. He was replaced by Yanni Tsipis, a vice president who has been with the firm's development group for years.

Belkin is an experienced businessman who helped launch the affinity credit card market, and has interests in travel, financial, and other industries. This is his first effort as a real estate developer. Other developers have privately said a project of the size proposed by Belkin would be difficult and expensive to build, even for an experienced developer.

Piano is known for the Centre Pompidou in Paris, which he designed in the 1970s, and for many other idiosyncratic buildings, like the Kansai Airport Terminal in Osaka, Japan. His new headquarters for The New York Times Co., which owns The Boston Globe, opens at Times Square this spring.
 
Ah, nearly forgot this one

www.metropolismag.com/cda...artid=2550

Farewell, Marcel
A Brutalist tower in Cleveland by Marcel Breuer looks destined to be razed.
By Kelli B. Kavanaugh
Posted March 14, 2007
Poor Marcel Breuer. Recent adaptive reuses of his work, such as Ikea’s partial demolition of the Armstrong Building, in New Haven, Connecticut, have significantly altered his original visions. In January, Grosse Pointe, Michigan, announced plans to tear down its Central Library. Even his masterpiece, the Whitney Museum, narrowly escaped the fate of controversial additions—all abandoned—by Michael Graves, Rem Koolhaas, and Renzo Piano. And now his 1971 Cleveland Ameritrust Tower is in danger of being demolished.

Two years ago the Cuyahoga County government purchased a chunk of properties on the block where the building sits, with plans to consolidate several of its now scattered administrative offices into one complex. Six architecture firms submitted site concepts, and they all agreed on one point: to preserve the adjacent 1908 Rotunda Building. Only one, Davis Brody Bond, proposed to reuse the Breuer tower.

Part of the problem is that while Breuer is hailed as a master, the public has not always had such a warm relationship with his work. The 28-story Brutalist skyscraper is not universally admired in Cleveland—and many of its defenders are ambivalent too. Steve Rugare, interim director of the Cleveland Urban Design Collaborative, which organized a forum advocating its preservation, has an office just a stone’s throw away from the tower. “It’s not an immediate public favorite,†he says. “It’s not a building that people love or identify with, even among designers.â€

Energy efficiency is another concern: Cuyahoga County wants a building that is LEED Silver certified, and commissioner Timothy Hagan says the tower “doesn’t meet the requirements of a new building as far as green architecture goes.†But Peter Jones, the only one of the commissioners still open to saving the structure, doesn’t buy that. He argues that preservation is inherently more sustainable than demolition and that retrofits could enhance its efficiency.

Last October the county commissioners selected a design team—Cleveland-based Robert P. Madison International and Kohn Pedersen Fox—that sided with the majority regarding demolition. Although he studied under Breuer’s Bauhaus cohort Walter Gropius at Harvard, Madison says their proposal is driven by functionality and cost—not preservation. “As architects, of course, we are sentimentalists,†he says. “But it is our job to be responsive to clients, to be as objective as possible.â€

A study to determine the relative cost of demolition versus preservation was commissioned in January—Davis Brody Bond estimates that renovating the building would cost $20 million less—but with even its allies less than in love with its looks, it appears that the tower’s days may be numbered. “If I h to lay money,†Rugare says, “I certainly wouldn’t bet on its survival.â€
 
You know there's something wrong when a city as down and out as Cleveland finds it necessary to take down a relatively new 28 storey building. There's plenty of empty space in downtown Cleveland that could be used.
 
Everyone: I have been to Boston and also have been inside City Hall myself. The mindset back then in the 60s was new was always better. After losing famous landmarks like NYCs Penn Station,landmark preservation was born in earnest. What was said about Boston's City Hall is right on track so far-I could picture a courthouse,library or college campus building constructed this way. In fact-one of the legislative buildings at the NYS Empire State Plaza in Albany looks remarkably similar. The area around BOS City Hall is as was said somewhat pedestrian-unfriendly and the T subway stop is the only main pedestrian destination nearby. If the BOS government-or the Commonwealth of Massachusetts did not waste so much money on the Big Dig(Correction: BOONDOGGLE!!) they could have constructed a newer City Hall and possibly sold off this one-to be a library or some other use as it should have been! Opinions and observations from LI MIKE
 
Got this thru a listserv...
==============

Dear Friends,

This is a call for letters of support and testimony for the petition
submitted to the Boston Landmarks Commission this week to consider Boston
City Hall as a City Landmark. The crucial Preliminary Hearing is scheduled
for April 24th at 5:45 pm; without a favorable vote, the process ends that
night; with a favorable vote (to accept), the petition is referred to the
Commission staff, as the first step toward eventual consideration for
landmarking by the Commission, by the City Council, and by the Mayor, if it
meets approval at each step along the way.

A strong show of support now not only helps in this key decision on the
24th; it may sway the final results. By alerting the City to the level of
concern for this building, support may encourage Mayor Menino to rethink his
plan to sell off City Hall for likely demolition and commercial development
of the site.

(Unsympathetic observers suggest that, were Mayor Menino the Pope, he would
be selling off St. Peter's! After all, it's an outdated, oversized
monumental structure full of wasted space. It isn't particularly cozy or
lovable or green. And think what a developer would pay for the opportunity
to build on that site!)

Sending letters of support to the Landmarks Commission in time to be
distributed before the hearing on the 24th will help, as will speaking at
the hearing, whether to represent yourself or an organization.

Please send letters to the following address:

Ellen Lipsey, Executive Director
Boston Landmarks Commission
The Environment Department
Boston City Hall, Room 805
Boston, MA 02201

The hearing will be in City Hall, in the Piemonte Room, 5th Floor.

Apparently this is a difficult building for some people to support, who
might otherwise be natural advocates for it, because of its architectural
style, because of the urban renewal with which it is associated, or because
of not wanting to oppose the Mayor. Several points of information that
might help, in addition to the arguments in the attached petition statement:

1. There is an active threat. The Mayor has said repeatedly that he wants
to relocate City Hall to the waterfront and to sell off this parcel. Matt
Viser reported in the Globe on March 28 that Stull and Lee have been hired
to undertake programming for the new building, with planning and design to
begin mid summer.

2. The Landmark Petition is for the building itself, not the plaza. It
seeks to designate the exterior of the building, and the main entrance lobby
on the interior. The petition statement includes a section encouraging the
Commission to see City Hall as a building that, because of its scale and
design, can tolerate greater latitude for change than such smaller, older
landmarks as the Paul Revere House, the Gibson House Museum or Faneuil Hall.

3. Among some of the better-known Boston residents who signed the petition
are architectural historian Stanford Anderson from MIT; former Landmarks
Commission chair Pauline Chase-Harrell; Boston historian and president of
the Victorian Society in America/New England Chapter, Ed Gordon; writer and
critic Jane Holtz Kay; president of the Friends of the Public Garden, Henry
Lee; former BSO musician Fenwick Smith; and architect Frederick (Tad) Stahl.
In addition, architectural historian Douglass Shand-Tucci signed and is
serving as the spokesperson for the petitioners.

4. Articles advocating saving City Hall have been written by Globe
architecture critic Robert Campbell; architect and UC/Berkeley professor
Donlyn Lyndon; former Kallmann McKinnell and Wood principal, Henry Wood;
Docomomo/US New England President David Fixler; Boston Phoenix critic, David
Eisen, among others. A Globe editorial on March 9, "City Hall: The hub of
The Hub",favored both preservation and slowing down the Mayor's plans.

5. For those who don't see City Hall as a thing of beauty, worthy of
support, Donlyn Lyndon's comment in his Globe article may be helpful:
"Don't obsess with whether or not you like the building. Consider it a
venerable part of the larger public realm. The first buildings of Boston
were just two blocks away. This is where the core of city government should
be.

6. For those familiar with only the building itself and not the historic
open competition that led to it, the attached petition statement provides an
overview of that, along with other arguments for historical and
architectural significance.

7. To put the building in context for those not around when it was built,
perhaps the simplest way to think of City Hall is as the "Bilbao" of its
day. It was one of the most innovative, dramatic, acclaimed and
controversial, widely-published, influential buildings of its time, and was
built, against all expectations, in what was then considered by many to be a
down-and-out, provincial community. That it is a public building, the seat
of government in Boston, makes it all the more remarkable.

Please spread the word.

Gary

Gary Wolf, AIA
Vice President of Docomomo/US New England
Gary Wolf Architects, Inc.
7 Marshall Street
Boston, MA 02108
617 742-7557
617 742-7656 fax
gwolf@wolfarchitects.com

[nb: Regarding the endangered Boston City Hall, while the Landmarks Commission
will not accept emails, they will accept a signed FAX. The FAX number is
617-635-3435]
 
perhaps the simplest way to think of City Hall is as the "Bilbao" of its
day.]

A good way to look at it. 40 years from now, people may say, "What did our parents see in Frank Gehry anyway? All his buildings have this deformed, defective look."
 

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