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• Landscape, Public Space

Ernesto Alfaro is a Senior Associate at SLA Studio Land where he works in planning and landscape. He is also a Lecturer at Rice University.

On April 30, the Downtown Redevelopment Authority (DRA) held a press conference on the ninth floor of Houston House for the unveiling of renderings and a concept plan for what is being called the Southern Downtown Park. The name is temporary, but the intent to create a lasting sense of character for this Downtown neighborhood is not. Lonnie Hoogeboom (Rice Architecture ‘96), Director of Planning, Design, and Development for DRA walked the assembled audience of residents, stakeholders, and guests through the main talking points, the need and relevance for the park, etc. He turned over the explanation of the park itself to Lauren Griffith, the well-respected landscape architect whose firm has played a significant part in the creation of the other two major recent parks in Downtown: Discovery Green and Market Square Park. Her presentation was clear and compelling: the park acts as much needed green space for the neighborhood that is emerging here. It has all the right elements: large and small dog parks, contemplative gardens, a flexible-use lawn space, a restaurant with indoor and outdoor seating, bike racks, and a small children’s playground. But the most interesting element is one that has not yet been finalized: an art program with three distinct locations for “long-term temporary” sculpture that will double as pedestrian safety barriers.

While the use of planters and bollards has become a common place and sometimes not-bad-looking approach to protecting people walking and on bicycles, there is no other urban park in Houston, or perhaps the country, with such a potentially bold, progressive use of art in its design schema. And, because neither the art nor the artists have yet been selected, this program piece was mentioned only in passing. Indeed, the the overall design is only in its schematic phase — there is much more work to be done before the final plans are complete. But there is a real possibility that this innovative design approach could set this park apart and be the condition that enables a sense of place.

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• Place, Socioeconomics

Todd Romero is an Associate Professor of history at the University of Houston where he studies and teaches early American, public, and food history. This article first appeared in Cite 101: Be Here, which is available in bookstores.

I realize that lunchtime is closing on us, as patrons gather, singly or in small groups, at the Pyburn’s Farms Fresh Foods hot food counter. Steam rises from oxtails, chicken wings, boudin balls, and other delicacies — soul food by way of south Louisiana with stops in China (egg rolls), Mexico (menudo), and Italy (spaghetti). This is not your ordinary supermarket food counter, where the victuals are primarily prepared off-site before being assembled, reheated, and, at times, even cooked; dreary fare that is rarely attuned to place or clientele. It’s a very different scene here.

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雷神NN加速器

• Architecture, Environment, Landscape

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When Ernesto Alfaro asked me to write about my five favorite places in Houston, I made a list and came up with an absolute minimum of fourteen. In subsequent conversation with Ernesto and Raj Mankad, the focus of the assignment shifted as the concept of place, the theme of this issue, was emphasized. As common a word as “place” is, defining it is tricky, especially without resorting to tautology (a “place” is a “place” is a “place”). Ernesto proposed the concept “creative placemaking,” one that he pursues in the practice of landscape architecture. He noted, however, that this phrase has generated resistance, which led the three of us to debate the conceptual place of phenomenal place in the construction of place (back to tautology again).

Therefore I feel compelled to precede enumerating my list of favorite Houston places with an attempt to explain what makes them “places,” as opposed to mere spaces, terrain, landscapes, or buildings. Online definitions of “place” agree that it is a specific, defined, and bounded entity. The American Heritage Dictionary of the English Language offers thirteen definitions of “place” as a noun, another twelve of the verb “to place,” and two more as a term of sports. In confronting the question of what makes a space a place once before, I had defined place as a distinct ideological space.

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• Industry, Reviews

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On the evening of March 27, on a Wednesday night in Midtown, a cacophony of female voices descended upon the unsuspecting patrons of Holman Draft Hall. Lively discussions filled the night air: Who is a design leader? Who is a creative manager? Should those two roles overlap? How do women negotiate their career choices and what do they sacrifice in order to succeed in architecture? These women, practitioners in architecture, engineering, and design, had just attended the Houston AIA Women in Architecture (WIA) panel discussion, “Me to We: An Authentic Look at Collaborators in the Practice of Architecture.” Five panelists, women from different backgrounds and experiences in the design industry, shared their insights on equity and collaboration in architecture. Primed to continue the discussion in a more casual setting, the attendees headed to the bar, abuzz with comments, honest discussion, and poignant questions on how the hot topic of collaboration can possibly be the key to creating greater equity for women in the design fields.

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• Architecture

Dan Singer is a freelance writer based in Texas. This article first appeared in Cite 101: Be Here, which is available in bookstores.

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Together they established Gentry, Haynes and Whaley, Structural Engineers. They were ambitious from the start though it didn’t pay off immediately. “We were bold and confident enough to call on firms developing large projects” says Whaley. “They were courteous, but it was ‘get a portfolio and come back.’ They were not going to give us a high-rise building without a portfolio.” So, the three partners developed a new strategy. “We focused on calling on and establishing relationships with new firms in Houston led by young leaders – The Woodlands, Trammell Crow, Transwestern, and the Hines subsidiary, Sugarland Properties. Much like their own firm, these clients were just getting started in Houston in the early 1980s. When Aubrey left the firm some years later, the firm became Haynes Whaley Associates, Inc. (HWA).

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• Architecture, Reviews

Geneva Vest is a graduate of Rice University. Learn more about efforts to rebuild the Architecture Center Houston and to donate to the campaign click here.

Where there is water, there is an American city’s neonatal lifeline. Chicago’s history pulsates upwards and outwards in buildings and roads from the mouth of the Chicago River much like Houston’s Buffalo Bayou. Though Houston and Chicago are only a few years apart in age, Lake Michigan and the Chicago River brought industry and prosperity to its banks earlier on. It was urbanized in a more methodically gridded way than Houston and in a less dense way than New York City, positioning it uniquely for architectural experimentation.  It makes sense then that one of the oldest American architectural engagement organizations, the Chicago Architecture Center (CAC), formerly the Chicago Architecture Foundation (CAF), displays the city’s contributions in its new home, practically at the intersection of the Chicago River and Lake Michigan.

If you have any interest in architecture and have been to Chicago, then you probably know the CAC for their Chicago Architecture River Cruise. The CAC’s new location gets the same view as one floating under the Chicago skyline. It sits at the foot of a downtown office building, but this isn’t just any office building. It’s one of Mies van der Rohe’s fifteen projects in Chicago and his last, completed posthumously in 1970. Mies left his signature in gridded black steel, opaque glass and, lucky for the CAC, a practically uninhabitable plaza opening from the lobby. Its corporate front yard was raised on a cement slab just above street level, creating a cavernous and privatized jaunt into the main lobby. The CAC purchased this site and recruited a local firm with global influence, Adrian Smith+Gordon Gill Architects (AS+GG), to do the interior architecture.

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• Architecture

Marcel Merwin is a graduate of Rice Architecture and a designer at Metalab.

Gathered in front of a bank of computers, four teens watch a Youtube series on animation. On the other side of the glass, a rambunctious group of toddlers laugh and play with their toys while their parents and guardians look on, some reading, some just enjoying the time to relax. These moments are unexceptional to some, but to me they speak a larger story of the necessity to have community spaces like the Alice McKean Young Neighborhood Library. I found Shajuana Jones and Eric Ashton sitting in front of the expansive windows looking out onto Griggs Road. For Jones, the Young Library offers a space for her to focus on her work away from home. “I tried studying at home, but then I got to the point where I wouldn’t focus much at home, so that’s when I started seeking out a library to go to. … I like the study rooms because when you really need to focus, you can go in there and it’s really quiet.”

For many people, the first thing they think of when defining the word “library” is books. However, for the twenty-first-century library, that definition has to change to encompass a much broader idea of what can be provided by a public asset. The recently completed Young Library is an example of the twenty-first-century library. Designed by Perkins + Will and completed in 2016, the Young Library took a long and winding road to reach the point of being a true asset to the community.

Perkins + Will’s first design was not successfully carried through. In 2010, a major budget crises halted the project, shelving the design for good. In addition, community members felt that the process and scheme had been produced without the right voices being heard. After a restart in 2012, Perkins + Will committed to community integrated design, working with community members and stakeholders to produce a library both by, and for, the people of the neighborhood. From 2012 to February 2014, community meetings were held to engage a deeper discussion of what the needs of the neighborhood were.

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• green极光加速器, Art & Culture

Bruce C. Webb is Emeritus Professor, Gerald D. Hines College of Architecture and Design, University of Houston.

Dietmar Froehlich’s The Chameleon Effect: Architecture’s Role in Film (Birkhauser 2018) is a pioneering book in the way Susan Langer’s classic book Feeling and Form or Susan Frank’s Literary Architecture or even Charles Jencks’s The Language of Post Modern Architecture are. Like them it’s a book interested in what we can learn by thinking across artistic genres, deconstructing boundaries, and wondering what new understanding comes by conjugating one art form as a metaphor for another. Architecture is the beneficiary (or victim) of a good many of these conjugal relationships: It is frozen music, or inhabited painting, a kind of material poetry, embodied narrative a masque. In The Chameleon Effect architecture finds a near perfect partner in the cinema. In fact, as the book suggests, the two arts may well be destined to meld into one another. Products of the architect’s imagination that are reconstructed in the cinematographer’s imagination create a third artistic phenomenon that Froehlich calls “The Chameleon Effect.”

Architecture enters into this symbiosis as a figure of speech: Beyond requirements of commodity and stability, a building embodies semantic meanings. This happens in a twofold way; elements have denotative meanings identified as functional parts of the architecture code. Peter Eisenman foregrounded these elements (columns, beams, planes, voids) as a stark, self-referential vocabulary to create his iconic, generative houses (House I, II, II … X). The houses express a formal, transformational grammar, a spare architectural meal for the rational regions of the brain. Building with highly abstract materials that have been denatured by applying dense white polymer paint over plywood, Eisenman erases even the sensual evocation of natural material. But as we see in Chameleon Effect, even this kind of minimalist reductionism never quite escapes from a symbolic or sensuous interpretation.

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Double Vision: The Unerring Eye of Art World Avatars Dominique and John de Menil: A Review by Terrence Doody

• Art & Culture

Terrence Doody is a professor emeritus of English at Rice University, author of Confession and Community in the Novel and Among Other Things: A Description of the Novel. He has received NEH and Mellon grants as well as several prestigious teaching awards at Rice.

In 2008 as the Menil Collection was surveying its holdings in African art, the curator Kristina Van Dyke wrote: “The couple did not have a predetermined agenda and did not aim to be encyclopedic in this or any part of their collection.” They were free, therefore, to leave their African pieces deliberately idiosyncratic, and without a deliberate plan, they were able to exercise their imagination and courage across a very wide range of cultures, periods, and styles. In doing so they were also able to express their belief in art’s spiritual dimension, and to do this on a grand scale with the freedom the Schlumberger fortune allowed them.

The “spiritual” is a theme that runs throughout William Middleton’s long book, Double Vision: The Unerring Eye pf Art World Avatars Dominique and John de Menil (New York: Alfred A. Knopf, 2018). Spiritual does not simply indicate the traditional religious meaning of the sacred or religious objects—crosses, for instance, or ceremonial African masks—which were part of their collection, nor is it quite the equivalent of the traditional proposition that art is “useless” and, therefore, the object of pleasure and contemplation. Ceremonial masks are spiritual and, in their culture, useful. The objects that the de Menils valued personally, and always had around them in their homes, suggest something else. An African totem and a surrealistic painting are not representational in the traditional Western sense, nor realistic. So, what is it that they “present”? “The real” that they each embody? And what is the effect when they are juxtaposed and put into play with each other?

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