Last month the Indian Institute of Management in Ahmedabad put out an "Expression of Interest" for the design of new student housing at its main campus. In it was the assumption that 14 of its existing dormitories would be demolished and replaced with something new.
The problem with this assumption is that these dormitories were designed by one of America's most noteworthy architects: Louis Kahn. And so there was immediate public outcry. Architectural historian William J.R. Curtis -- who seems quite fond of real estate developers -- had the following to say in this op-ed piece in The Architectural Review:
Such is the smash-and-grab approach of developers in a world of astronomical land values and real-estate profiteering, especially in Modiland, the heartland of the Gujurat economic ‘model’. The price of everything, the value of nothing, quick returns on loans and investment above anything: such is the virus of neoliberalism as it spreads so quickly, far and wide across the globe. Timeless architecture has no role to play, and preservation is a pesky nuisance that gets in the way of profiteering. The public interest, social values and any long-range sense of history are thrown to the winds.
Last month the Indian Institute of Management in Ahmedabad put out an "Expression of Interest" for the design of new student housing at its main campus. In it was the assumption that 14 of its existing dormitories would be demolished and replaced with something new.
The problem with this assumption is that these dormitories were designed by one of America's most noteworthy architects: Louis Kahn. And so there was immediate public outcry. Architectural historian William J.R. Curtis -- who seems quite fond of real estate developers -- had the following to say in this op-ed piece in The Architectural Review:
Such is the smash-and-grab approach of developers in a world of astronomical land values and real-estate profiteering, especially in Modiland, the heartland of the Gujurat economic ‘model’. The price of everything, the value of nothing, quick returns on loans and investment above anything: such is the virus of neoliberalism as it spreads so quickly, far and wide across the globe. Timeless architecture has no role to play, and preservation is a pesky nuisance that gets in the way of profiteering. The public interest, social values and any long-range sense of history are thrown to the winds.
The Architectural Review also started a petition to save Kahn's IIMA's dormitories. But just like that, the school came forward with an announcement that it had decided to pull its Expression of Interest and that it would go back and deliberate on what to do next. (The dorms were apparently built using "second class bricks" and are currently in a state of extreme disrepair.)
As a developer and fake architect, I think I have a fairly good appreciation for both perspectives. Restoring old buildings is both difficult and expensive (the two usually go together). But I also grew up studying the work of Kahn. He happened to teach at the University of Pennsylvania until his death, though this was well before my time there.
I've also visited a number of his projects including the Salk Institute for Biological Studies in La Jolla, California and the National Parliament House in Dhaka, Bangladesh. Many credit Kahn with introducing modern architecture to Bangladesh with this project. It has unquestionable cultural significance.
On Friday evening, here in Toronto at the Aka Khan Museum, this year’s Pritzker Architecture Prize was awarded to Indian architect, Balkrishna Doshi. He is 90 and will receive US$100,000, as well as the honor of being the first Indian to receive architecture’s Nobel Prize. This year was also the first year it was awarded in Canada.
The Architectural Review also started a petition to save Kahn's IIMA's dormitories. But just like that, the school came forward with an announcement that it had decided to pull its Expression of Interest and that it would go back and deliberate on what to do next. (The dorms were apparently built using "second class bricks" and are currently in a state of extreme disrepair.)
As a developer and fake architect, I think I have a fairly good appreciation for both perspectives. Restoring old buildings is both difficult and expensive (the two usually go together). But I also grew up studying the work of Kahn. He happened to teach at the University of Pennsylvania until his death, though this was well before my time there.
I've also visited a number of his projects including the Salk Institute for Biological Studies in La Jolla, California and the National Parliament House in Dhaka, Bangladesh. Many credit Kahn with introducing modern architecture to Bangladesh with this project. It has unquestionable cultural significance.
On Friday evening, here in Toronto at the Aka Khan Museum, this year’s Pritzker Architecture Prize was awarded to Indian architect, Balkrishna Doshi. He is 90 and will receive US$100,000, as well as the honor of being the first Indian to receive architecture’s Nobel Prize. This year was also the first year it was awarded in Canada.
Architect Barton Myers has his home in Montecito, California on the market right now for $8.2 million. In addition to his own residence, the 38-acre site also houses his studio and a guesthouse, all of which have roll-up garage doors so that you can enjoy that perfectly benign California climate. The estate is quintessentially Myers and it's obviously awesome. Here is the listing from Sothebys. (I tried to street view the address but was only successful at locating what I think is its mailbox. What a natural setting.)
For those of you who may be unfamiliar with the work of Myers, he is considered one of Toronto's most influential architects. After graduating from the University of Pennsylvania and working with architect Louis Kahn for a few years, he moved to Toronto in the late 1960s to take up a teaching position at the University of Toronto. He then started his own architecture practice with Jack Diamond (also an alumnus of the University of Pennsylvania) and remained a principal of Diamond and Myers until 1975.
Myers moved on to start his own firm -- Barton Myers Associates -- that same year and became known for notable projects such as 19 Berryman Street in Yorkville (Myers' own residence) and the Wolf House at 51 Roxborough Drive, which was Architectural Record's House of the Year in 1977. Probably the most distinguishing characteristic of his work is his use of exposed industrial materials, which is, of course, something that is on display in Montecito. But he managed to deploy these materials in a way that made them feel high-brow. His homes also feel very California to me.
In 1984, he opened up an office in Los Angeles and eventually his practice in Toronto was shutdown. But not before leaving a lasting legacy in Toronto. For a map of all the firm's North American projects, click here.
Alex Bozikovic of the Globe and Mail sat down with Doshi while he was in Toronto. Article here. Doshi also lectured at the Daniels Faculty at the University of Toronto earlier in the week.
Some of you will probably recognize the name because of his collaborations with Le Corbusier and Louis Kahn. But as Alex quoted in his article, this year’s prize is about, “expanding the scope of architecture’s usefulness.” Doshi’s architecture is less about objects and more about the public good it creates.
On a related note, I was happy to see worlds collide in my Instagram feed this morning with this photo from the event. It’s a picture of Jeanne Gang, Meg Graham, and Andre D’Elia of Studio Gang and Superkul, respectively.
We are thrilled to be working on projects here Toronto with both firms.
Architect Barton Myers has his home in Montecito, California on the market right now for $8.2 million. In addition to his own residence, the 38-acre site also houses his studio and a guesthouse, all of which have roll-up garage doors so that you can enjoy that perfectly benign California climate. The estate is quintessentially Myers and it's obviously awesome. Here is the listing from Sothebys. (I tried to street view the address but was only successful at locating what I think is its mailbox. What a natural setting.)
For those of you who may be unfamiliar with the work of Myers, he is considered one of Toronto's most influential architects. After graduating from the University of Pennsylvania and working with architect Louis Kahn for a few years, he moved to Toronto in the late 1960s to take up a teaching position at the University of Toronto. He then started his own architecture practice with Jack Diamond (also an alumnus of the University of Pennsylvania) and remained a principal of Diamond and Myers until 1975.
Myers moved on to start his own firm -- Barton Myers Associates -- that same year and became known for notable projects such as 19 Berryman Street in Yorkville (Myers' own residence) and the Wolf House at 51 Roxborough Drive, which was Architectural Record's House of the Year in 1977. Probably the most distinguishing characteristic of his work is his use of exposed industrial materials, which is, of course, something that is on display in Montecito. But he managed to deploy these materials in a way that made them feel high-brow. His homes also feel very California to me.
In 1984, he opened up an office in Los Angeles and eventually his practice in Toronto was shutdown. But not before leaving a lasting legacy in Toronto. For a map of all the firm's North American projects, click here.
Alex Bozikovic of the Globe and Mail sat down with Doshi while he was in Toronto. Article here. Doshi also lectured at the Daniels Faculty at the University of Toronto earlier in the week.
Some of you will probably recognize the name because of his collaborations with Le Corbusier and Louis Kahn. But as Alex quoted in his article, this year’s prize is about, “expanding the scope of architecture’s usefulness.” Doshi’s architecture is less about objects and more about the public good it creates.
On a related note, I was happy to see worlds collide in my Instagram feed this morning with this photo from the event. It’s a picture of Jeanne Gang, Meg Graham, and Andre D’Elia of Studio Gang and Superkul, respectively.
We are thrilled to be working on projects here Toronto with both firms.
