Philadelphia: The Latest Architecture and News

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In 2020, in the midst of the first wave of lockdowns due to the pandemic, the municipality of Amsterdam announced its strategy for recovering from this crisis by embracing the concept of the “Doughnut Economy.” The model is developed by British economist Kate Raworth and popularized through her book, “Doughnut Economics: Seven Ways to Think Like a 21st-Century Economist”, released in 2017. Here, she argues that the true purpose of economics does not have to equal growth. Instead, the aim is to find a sweet spot, a way to balance the need to provide everyone with what they need to live a good life, a “social foundation” while limiting our impact on the environment, “the environmental ceiling.” With the help of Raworth, Amsterdam has downscaled this approach to the size of a city. The model is now used to inform city-wide strategies and developments in support of this overarching idea: providing a good quality of life for all without putting additional pressure on the planet. Other cities are following this example.

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Protests, civil disobedience, and dissent are not only a defining part of our shared history since the colonial era, they also continue to the present day on campuses, at political conventions, and elsewhere. In this context, some historic marches, sit-ins, and other actions are enshrined in our collective narrative, while others have faded from memory; however, the cultural landscapes that served as stages where these events occurred still exist. These places are the focus of Landslide 2024: Demonstration Grounds and a portal for re-engaging with the stories of little-known or even forgotten events that were pivotal in USA history. The thirteen different sites across the country, represented in the new report and digital exhibition from The Cultural Landscape Foundation (TCLF), touch on events that shaped individuals and sparked movements.

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As 2024 comes to an end, the architectural world looks ahead to 2025, a year set to unveil transformative projects across the globe. From cultural landmarks in Asia, such as Sou Fujimoto's "Grand Ring" for Expo 2025 Osaka and MAD Architects' Hainan Science Museum in China, to dynamic urban developments like OMA's Harajuku Quest in Tokyo and David Chipperfield's Elbtower in Hamburg, these projects reflect a commitment to innovation, sustainability, and preserving cultural heritage.

In North America, Studio Gang's Shirley Chisholm Recreation Center in Brooklyn and the Lucas Museum of Narrative Art in Los Angeles highlight architecture's role in fostering community connections. Meanwhile, Europe anticipates Shigeru Ban's hybrid residential tower in Antwerp and Kengo Kuma's Visitor Center at Albania's Butrint National Park, showcasing the intersection of contemporary design and local context. As these projects take shape, they offer a glimpse into architecture's power to redefine spaces and inspire communities.

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In the early 2000s, an abandoned rail line in Manhattan sat decaying - a memory from a time when freight trains traveled straight through the city. To most citizens, it was a site destined for demolition. However, a few visionary residents saw an opportunity in this neglected space and advocated to transform it into a public green space for the community. The success of the project seemed to spark a "High Line Effect", inspiring other American cities to pursue civic infrastructure on outdated railways, roadways, and industrial sites.

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New York-based architecture office WEISS/MANFREDI Architecture/Landscape/Urbanism has been named the 37^th recipient of the Louis I. Kahn Award, offered by DesignPhiladelphia. The firm, founded by Marion Weiss and Michael Manfredi, is recognized for its wide range of projects, from cultural institutions to urban landscapes, all demonstrating and responding to contextual conditions, sustainability standards, and centered around the human experience.

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This month, Skidmore, Owings, and Merril's (SOM) $550 million William H. Gray III 30^th Street Station broke ground in Philidelphia. Initially proposed in 2016, the scheme involves a new mixed-use urban district with an emphasis on transit for the 30^th Street Station Precinct. Boasting a vibrant public realm, the initial phase of the plan focuses extensively on renovating the historic station. Designed in collaboration with Gilbane, Amtrak, Plenary, Vantage, and Johnson Controls, the overarching goal is to position the station for sustained growth over the next five decades and enhance the travel experience for millions of annual visitors.

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This article was originally published on Common Edge.

It has been a bull market for downbeat urban reporting since the pandemic arrived in town. And it isn’t hard to see why. In 2020, central U.S. cities went from “comeback” success stories to ghost towns; transit lost nearly all ridership; tens of thousands of stores and restaurants shuttered; and many of the affluent decamped to the suburbs and distant Zoom towns. 

Herzog & de Meuron has been honored as the 36^th Louis I. Kahn Award winner by the Center for Architecture and Design in Philadelphia. The annual award, founded in 1983 in memory of Philadelphia architect Louis Kahn, celebrates individuals who have made significant contributions to the field of architecture. Jaques Herzog, one of the two founders of the Swiss-based architecture firm, will present a talk on behalf of this office during the official award ceremony, to be held at the University of Pennsylvania’s Museum of Anthropology and Archeology at 6:30 pm on May 31, 2023.

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Herzog & de Meuron and landscape designer Piet Oudolf are collaborating to create Calder Gardens, which will house and display artworks by American sculptor Alexander Calder. Located between Vine Street and Benjamin Franklin Parkway in Philadelphia, the 6,500 square meter site will house a two-story building, half of which is developed underground. Instead of developing the site as a typical museum, the team decided to transform it into a garden as an attractive alternative for the people of Philadelphia.

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Diébédo Francis Kéré founded his architecture practice Kéré Architecture, in Berlin, Germany in 2005, after a journey in which he started advocating for the building of quality educational architecture in his home country of Burkina Faso. Deprived of proper classrooms and learning conditions as a child, and having faced the same reality as the majority of children in his country, his first works aimed at bringing tangible solutions to the issues faced by the community.

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Excerpt from the book: Real and Fake in Architecture–Close to the Original, Far from Authenticity? (Edition Axel Menges)

The term “fake” has been in the media frequently in the early 21^st century, referring to headlines and fictional statements that are perceived as real and are influencing public opinion and action. Replacing the historically more common term “propaganda,” fake news aims at misinformation and strives to “damage an agency, entity, or person, and/or gain financially or politically, often using sensationalist, dishonest, or outright fabricated headlines.” Tracing fake news and differentiating “real” information from personal opinions and identifying intentional (or unintentional) deceit can be complicated. It is similarly complex to trace the duality of fake and real in the built world. To explore the larger context of fake statements in architecture and environmental design, a look at the definition of fake and related terms might be necessary.

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Last year, a series of new museums, expansions and several museum renovations have opened their doors to the public, adding a new dimension to the cultural landscape around the world. From the long-awaited re-opening of the Neue Nationalgalerie in Berlin, to Ryue Nishizawa's Jining Art Museum merging with the landscape, and MVRDV's reflective Art Depot, discover the architecture of the latest venues of art and culture.

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Philadelphia Museum of Art opened to the public earlier this month after completing an extensive four-year renovation and interior expansion project led by Frank Gehry. The intervention, dubbed the Core Project, focused on renewing the museum's infrastructure, creating galleries and public spaces while leaving the 1928 exterior untouched. The culmination of two decades of planning and design, the project led by the renowned architect creates a compelling vision for the future of the museum while honouring the landmark building.

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