Preservationists have been trying for years to obtain a landmark designation for the 1970 I. M. Pei–designed Terminal 6 at JFK Airport, but they may have run out of time. On April 29, the Port Authority of New York and New Jersey announced its intention to demolish the terminal, calling it “obsolete,” and arguing that maintaining it was not a prudent use of resources. “This came as quite a surprise to us, and a great disappointment,” said Pei Cobb Freed partner George Miller.
 The building was one of the first to use glass mullions. (Click to zoom) George Cserna |
The terminal, which originally housed National Airlines and later JetBlue, is due to be razed, along with six cargo buildings and hangars, at a cost of $42.3 million, yielding estimated savings of $1.7 million each year thereafter. Although no precise date for the demolition has been set, the Port Authority predicts it will happen next year, after which time JetBlue will use the space to build an expansion for their growing international operations.
Terminal 6 sits next to another pedigreed building at JFK, the 1962 Eero Saarinen–designed Terminal 5, which the Port Authority agreed to preserve largely intact after heavy lobbying from the public and preservationists several years ago. However, without the landmark designation that Saarinen’s building enjoys, Terminal 6 will have a more difficult time obtaining a stay of execution. “The Saarinen building has historic status. The I. M. Pei building does not,” said Port Authority spokesperson Ron Marsico.
Pei Cobb Freed, along with preservationists like New York Tristate DOCOMOMO, disagree. They cite the terminal’s expansive, clear-span pavilion space, a style that set a precedent for later I. M. Pei buildings such as the Louvre Museum’s pyramid and the John F. Kennedy Presidential Library and Museum in Boston. Its all-glass facade was created with an unprecedented use of glass mullions in place of the typical metal ones, above which hangs a series of glass panels, one of the first suspended glazing systems built in the United States.
To add to the terminal’s airy feel, Pei’s team devised an innovative drainage system that feeds into the terminal’s exterior concrete columns, to avoid having to extend a vertical column of ductwork down from the ceiling. “The transparency of the glass and the uninterrupted ceiling are what give the building its character,” said Pei Cobb Freed partner Michael Flynn.
The design is also notable for its approach to managing congestion, which in 1970 was just beginning to be a major pressure at airports. “We were designing just as there was this colossal expansion in the capacity of planes,” Flynn said. Rather than placing the arriving and departing passenger traffic in the same location at the front of the building as was the norm, Pei separated the main terminal from the airline gates with a raised walkway, creating space behind the building for arrivals and leaving the front of the building exclusively for departures. An innovative approach then, separation is now standard.
DOCOMOMO is now in talks with other local organizations to band together in support of Terminal 6, and is calling for public support for preservation or reuse. “It would be a total waste of energy and money and resources to demolish a building of this scale,” said DOCOMOMO-New York chair Nina Rappaport. JetBlue did respond to calls for comment.
  | | Opening: September 11, 2010 Theme: Living in Evolution 161 works, 72 artists Venues: Busan Museum of Art, Busan Yacht Center, Gwangalli Beach, etc. Busan, Korea Host: Busan Metropolitan City, Busan Biennale Organizing Committee www.busanbiennale.org |
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| The major objective of the 2010 Busan Biennale is to strengthen the cohesion of exhibitions and their access to the public. The previous Busan biennales had three disparate exhibitions with respective exhibition directors, that is, the Contemporary Art Exhibition, the Sea Art Festival and the Busan Sculpture Project. Departing from the tradition, the 2010 Busan Biennale has one director planning for all exhibitions. By taking this approach, organic cohesion between works and exhibition venues can be achieved and planning directions and messages can be delivered more effectively. Access to the public will be expanded not just through shorter distances between exhibition venues but also through the aim of ensuring organic cohesion between art works and exhibition venues. Forging links between works displayed indoors and outdoors and creating stories will help the public to better understand art works and exhibitions in general as well as to appreciate contemporary art and works on display. This will ultimately lead to bringing contemporary art one step closer to the public. The 2010 Busan Biennale is composed of exhibitions and different programs aimed at connecting viewers with exhibitions. This year's biennale seeks to simplify exhibition content and focus more on the exhibition theme. Combining the Contemporary Art Exhibition, the Sea Art Festival and the Busan Sculpture Project into a single exhibition will help secure consistency in exhibition planning. Furthermore, interlinking exhibition venues and factors affecting exhibitions like the spokes of a wheel will strengthen interconnectedness. For example, an artist can create works both for indoor and outdoor exhibition to see how art works reflect spatial characteristics. Placing similar art works both at a traditional exhibition venue such as an art museum and at an experimental venue like a yachting center will generate quite different perspectives. Along with this, large-scale installations will be placed at several key spots in the city to serve as landmarks, which depict the exhibition theme and symbolize civilizations. (Covered so far is the main exhibition at the Busan Museum of Art, the Busan Yachting Center, Gwanganri Beach and other venues, where 72 artists from 23 countries entered 158 works.) The "Now, Asian Art" exhibition will take place at the exhibition halls in the Busan Cultural Center and the Busan City Hall, and the subway station Geumryunsan Gallery with the objective to tighten regional networks in Asia and introduce the trend of contemporary Asian art as it is. Young and experimental artists from Korea, China and Japan will participate in the exhibition. "Now, Asian Art" is not an exhibition featuring a single theme like the main exhibition. Rather, it will provide an opportunity to read the current state of Asian art and observe trends of up-and-coming artists. Since it will give easier access to contemporary art than the main exhibition, it is expected to draw the attention of quite a number of art experts and art lovers. In addition, a conference of art editors in Asia will be convened on September 12, 2010 under the title of the "Asian Editors' Conference" to take stock of the current state of Asian art. The conference will serve to pique interest in Asian art. As in the 2008 Busan Biennale, another major project in the 2010 Busan Biennale is to organize exhibitions engaging local artists to expand the fan base for contemporary art and support the creative work of local artists. First of all, the Gallery Festival is a set of special exhibitions of local art galleries featuring artists participating in the 2010 Busan Biennale and up-and-coming local artists. Artists from Korea, China and Japan will take up the majority of works to be exhibited at the Gallery Festival. Unlike existing art fairs, the Festival aims to revitalize commercial art galleries to be utilized as artistic bases not just for the art industry but also for the general public. Another attempt made by the 2010 Busan Biennale is to establish a strategic partnership with alternative art spaces in the city and undertake experimental projects in order to support local artists and encourage avant-garde activity. Among the partners are the "Open Space Bae," which participated in the 2008 Biennale , the "Art in Dadaepo," which is rising as a new art icon in the region with the track record of quite a few exhibitions and projects, and the "Moonjeonseongsi Project," which takes place in the Bujeon Market, an old traditional market in Busan. In particular, the "Moonjeonseongsi Project" is not designed to create spaces for producing or displaying art works. Rather, it aims to seek out a possibility for a new art trend by forging solidarity with people making a living in the market. The top priority of the 2010 Busan Biennale has been given to educational programs. To make educational programs more effective, adult art lovers and middle school students have been set aside as main targets. A contemporary art course to be called "Art Story" will open for adult art lovers and students aspiring to become artists. Scheduled to open in October to commemorate the 10th anniversary of the Busan Biennale, the course will have the previous exhibition directors of the Busan Biennale giving lectures, which will touch upon interesting topics and stories on contemporary art. A workbook will be produced to serve as a customized guidebook for middle school students to help them to better understand works and exhibitions. The workbook promises a richer educational experience gained from exhibitions, creating potential demand for biennales. | ||
  the tower  the balconies of the main tower  the base building  interior  the curves of the building project facts: address: vällingby parkstad, stockholm, sweden client: svea fastigheter size: 13,000 m2 (14 floors) 1st prize in invited competition 2010 construction is planned to begin 2011 3XN team: kim herforth nielsen, jan ammundsen, stig vesterager gothelf, majbritt lerche madsen, rasmus hjortshoj, audun opdal, eva hviid-nielsen, sofia steffenoni, caroline purps, tobias trudsO |
Zaha Hadid named UNESCO Artist for Peace
By Karen Cilento On July 13, 2010
© MARCO GROB FOR TIME
On June 24, Zaha Hadid was honored as the UNESCO Artist for Peace, an award bestowed upon a person who promotes the values of the organization, specifically by creating the conditions for dialogue among civilizations, cultures and peoples, based upon respect for commonly shared values. "The arts have always bridged cultural, economic and social divides; teaching us that disparate worlds are not mutually exclusive, but rather layered upon each other and profoundly interlinked. I am honored to join the Artists for Peace, furthering UNESCO's important message and programs," said Hadid.
More about the award after the break.
The Director-General of UNESCO, Irina Bokova, acknowledged Hadid's efforts to raise public awareness of intercultural dialogue through her architecture and creativity. As the new inductee, Ms. Hadid joins the ranks of past winners, such as author Frankétienne (Haiti), musician Manu Dibango (Cameroon), fashion designer Bibi Russell (Bangladesh), and writer Scott Momaday (United States); all "renowned personalities who use their influence, charisma and prestige to promote UNESCO's message."
The UNESCO award is a prestigious honor and others agree with Hadid's influence – she recently placed on top of the "Thinkers category" of TIME magazine's 2010 "100 Most Influential People in the World."
Congratulations, Ms. Hadid, not only for your accolades and being inspirational to other female architects, but also for continually producing work that instantly causes a reaction. Your architectural point of view may differ from the traditional, yet we are always excited to see what you will produce next.
Article taken from ArchDaily - http://www.archdaily.com
به دور می رفتم
به جستجوی راز جهان
که دودکش خانه ات را دیدم
نزدیک که شدم
دریافتم
آنچه به دنبالش بودم تویی
زنی در سرزمینی برفی
با گیسوانی بافته و
آوازهایی که
خواب خرسها را پر از کندوهای عسل می کرد
اینجا فرود آمدم
و برای بخاری ات هیزم جمع کردم
شعر از رسول یونان
دوره بین المللی قنات (کاریز) برای کشورهای اسلامی
یک دیدگاه بین رشته ای به
یکپارچه کردن دانش سنتی با پیشرفتهای مدرن
5 الی 10 مهر 1389
یزد – ایران
برگزار کننده:
مرکز بین المللی قنات و سازه های تاریخی آبی
(تحت حمایت یونسکو)
با مشارکت:
بانک توسعه اسلامی
وزارت نیروی جمهوری اسلامی ایران
دفتر منطقه ای یونسکو – تهران
برای جزئیات بیشتر بروشورضمیمه را مطالعه نمایید
سرمست شد نگارم بنگر به نرگسانش
مستانه شد حدیثش پیچیده شد زبانش
گه می‌فتد از این سو گه می‌فتد از آن سو آن
کس که مست گردد خود این بود نشانش
چشمش بلای مستان ما را از او مترسان
من مستم و نترسم از چوب شحنگانش
ای عشق الله الله سرمست شد شهنشه
برجه بگیر زلفش درکش در این میانش
اندیشه‌ای که آید در دل ز یار گوید
جان بر سرش فشانم پرزر کنم دهانش
آن روی گلستانش وان بلبل بیانش
وان شیوه‌هاش یا رب تا با کیست آنش
این صورتش بهانه‌ست او نور آسمانست
بگذر ز نقش و صورت جانش خوشست جانش
دی را بهار بخشد شب را نهار بخشد
پس این جهان مرده زنده‌ست از آن جهانش
