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Taken with Pentax Q and Samyang 650-1300mm lens
Focal length equivalent: 7150mm
Distance to subject: 3.5 km
Taken with Pentax Q and Samyang 650-1300mm lens
Focal length equivalent: 7150mm
Distance to subject: 2.3 km
Soho, Manhattan, New York City, New York, United States
University Village is one of the finest examples of a mid-20th century residential complex located in New York City. Designed by architect James Ingo Freed of I. M. Pei & Associates for New York University, construction began in 1964 and was completed by 1967. Occupying a five-acre ìsuperblockî in Greenwich Village, between West Houston and Bleecker Streets, the site was originally part of a much larger urban renewal scheme conceived by Robert Moses, chairman of the MayorÃ-s Committee on Slum Clearance, in 1953. As part of NYUÃ-s agreement with the city to take over the site in 1960, the school set aside one-third of the units for middle-income residents.
The complex includes three identical free-standing 30-story towers executed in reinforced concrete that are positioned at the center of the site in a ìpinwheelî configuration around a 100-by-100 foot lawn. The west tower, at 505 LaGuardia Place, is a cooperative residence with a long-term lease from NYU, and the east towers serve as faculty housing. The buildings were thoughtfully arranged by Freed to maximize views and privacy, as well as to increase general visual interest. Cast in place, on site, using fiberglass molds, these buff-colored towers fall into the general stylistic category known as ìBrutalismî and reflect the influence of the Swiss-French architect Le Corbusier, whom Pei admired. The buildings display twin sets of smooth gridded facades that project from a central core. Each floor has four or eight deeply-recessed horizontal window bays, as well as a 22-foot-wide sheer wall, creating strong contrasts of light and shadow.
Near the center of the complex stands a large sandblasted concrete sculpture, an enlargement of a 1954 cubistic work by Pablo Picasso. Executed in 1968 by the French artistÃ-s frequent collaborator, the Norwegian sculptor Carl Nesjar, the off-center placement of the 36-foot tall bust echoes and enhances the projectÃ-s dynamic plan. University Village was a critical success and received awards from the American Institute of Architects, the City Club of New York, and the Concrete Industry Board. It was also selected as one of ìTen Buildings That Climax an Eraî by Fortune Magazine in 1966. Both Pei and Freed have received significant recognition for their contributions to this project; when Pei was honored with the Pritzker Architecture Prize in 1983 University Village was cited as one of his most notable works and at the time of FreedÃ-s death in 2005 Museum of Modern Art architecture curator Terence Riley counted the complex as among ìthe most refined examples of modern architecture in Manhattan.î
DESCRIPTION AND ANALYSIS
South of Washington Square
University Village contains three apartment towers designed by I. M. Pei & Associates. Located two blocks south of Washington Square, between Mercer Street and LaGuardia Place, the two buildings to the east are owned by New York University and serve as faculty housing; the west building is a cooperative apartment house on land owned by NYU. Conceived during the early 1950s as part of an ambitious ìsuperblockî plan to improve a nine-block section of Greenwich Village, these striking structures were skillfully sited to create a distinct sense of place and to contrast with the surrounding blocks of late nineteenth-century tenement and loft buildings.
Washington Square first became a public park in 1827. Many fine homes were erected in the vicinity, as well as the Gothic Revival-style building that originally housed NYU . Following the end of the Civil War, however, the neighborhoodÃ-s character began to change. Affluent residents were gradually replaced by French, Italian and Irish immigrants, and the blocks to the south and east of the square became an important wholesale district. Under Chancellor Henry MacCracken, the school was reorganized and the undergraduate arts and science division moved to University Heights in the Bronx where a Beaux-Arts-style campus , designed by the prominent architects McKim, Mead & White, opened in 1894. Unlike Washington Square, the suburban campus provided dormitories, making it less of a commuter school and more of a residential college. The schoolÃ-s original building was then demolished, but for financial reasons the trustees retained ownership of the site and constructed a revenue-producing loft building at 100 Washington Square East. Completed in 1895, the upper floors were planned as classrooms, allowing NYU to remain, in a small way, associated with Washington Square. The university began to plan its return to Greenwich Village in 1915. With the Bronx campus only partially executed, the school leased space in the structure where the tragic ìTriangle Shirtwaistî fire had recently occurred at 23-29 Washington Place and also began to fully occupy the structure it owned at 100 Washington Square East.
Following the Second World War, NYU developed ambitious plans to increase its presence in Greenwich Village. Whereas the University Heights campus occupied a large site with considerable potential for expansion, here the school grew in stages, block by block, acquiring large and small parcels for present and future needs. These transactions frequently caused controversy and strong community opposition, especially projects requiring government approval or financing. Despite criticism, Chancellor Harry Woodburn Chase alleged in 1949: ìFar from regarding Washington Square as its campus, New York University regards it as a national landmark of which it is glad to be a part and its devotion to which it has repeatedly manifested over the years.î Over the next decade or so, the school would adopt a somewhat traditional approach to design, choosing contextual aesthetic strategies that blended new buildings with old. Most of these structures were faced with red brick and limestone, including Vanderbilt Hall at 40 Washington Square South, Hayden Hall at 33 Washington Square West, the Loeb Student Center , and Weinstein Hall at 11 University Place. Even Philip Johnson and Richard FosterÃ-s divisive master plan of 1964 attempted to respect the schoolÃ-s historic context by proposing to clad new and existing structures with complementary red sandstone.
Robert Moses and Urban Renewal
During the 1950s, a nine-block area bordered by West Houston Street, West Broadway , Mercer Street and Washington Square, was targeted for slum clearance. Under United States President Harry S. Truman, the National Housing Act was passed in 1949 to provide Federal funds for local municipalities to acquire property in blighted urban areas for resale to private developers. This program had an extraordinary impact in New York, which received more aid than any American city. Under Robert Moses, chairman of the mayorÃ-s Committee on Slum Clearance, sixteen sites were identified, including thirteen in Manhattan. Such projects, public officials believed, would stabilize the middle class, support higher education, and elevate the cityÃ-s reputation. The blocks where University Village would ultimately be located, called Washington Square Southeast, was the fourteenth project proposed by Moses. The initial prospectus for Washington Square Southeast, prepared by Eggers & Higgins in August 1953, called for the demolition of 191 buildings, of which only 16 were residential. Most displaced tenants, consequently, were businesses, requiring no compensation under the 1949 law. Covering almost eighteen acres, the plan envisioned 2,184 apartments in nine 14-story structures.
To develop the project, nine city blocks were combined to form three ìsuperblocks.î The north block, bordered by West Broadway, West Third Street, Mercer Street and West Fourth Street, was set aside for educational use and NYU would eventually construct four academic buildings here, including the Elmer Holmes Bobst Library . The two blocks to the south were intended for middle-income housing and were sold to the Washington Square Corporation ñ a syndicate headed by developers Paul Tishman and Morton S. Wolf and subsequently transferred to numerous affiliated corporations. Named Washington Square Village, these two slab-like apartment houses occupy about a third of the site and the ground floors were deliberately laid out along Bleecker and West Third Streets to maintain the existing street pattern and allow north-south access along Greene and Wooster Streets. A third building, as well as an underground parking lot, was originally planned for the south block, between Bleecker Street and Houston Street, but was canceled by 1960. Some sources claimed that the developer experienced difficulty leasing units in the second building, while others contend they abandoned the project for economic reasons, asserting that the Federal government refused to allow a taller third structure without increasing payment for the land.
NYU was quick to act and in January 1960 declared interest in buying the superblock site to erect housing ìfor its faculty members and married students and an experimental school for student teachers.î Despite considerable opposition from critics who asserted private builders ìwould be glad to pay more than the $10.50 a square foot that NYU would pay for the landî and that this transaction would cost the city hundreds of thousands of dollars in lost tax revenue, the Board of Estimate approved the sale in September 1960. As part of the agreement, the school was required to develop one third of the site as middle-income housing, with priority given to people who lived or worked in the area. A limited-equity cooperative apartment building was proposed, financed with subsidized low-interest mortgage loans as part of the Limited Profit Housing Companies Act of 1955, commonly called the Mitchell-Lama Housing Program. Since the complex would occupy the undeveloped southern half of Washington Square Village, the schoolÃ-s governing board decided to name the development ìUniversity Village.î
I. M. Pei and James Ingo Freed, Architects
University Village was designed by I. M. Pei & Associates. More than twenty-five architects were reportedly interviewed for the job. Pei did not attend the firmÃ-s interview and correspondence with NYU was handled by Eason H. Leonard, who wrote:
The experience we have had in the sensitive design problems relating to housing of all types gives us confidence that we are well-equipped to develop for you a project of significant quality. Our recent work in Urban Renewal has assured us that within the limits of very low construction budgets, much can be done to improve standards of urban apartment living.
PeiÃ-s firm was currently working on four residential developments, including Society Hill in Philadelphia and Kips Bay Plaza in New York City. Both complexes were constructed using exposed reinforced concrete and the New York Times praised the technique for yielding ìfresh design.î
Born in Canton, China, in 1907, Ieoh Ming Pei immigrated to the United States in 1937 and studied architecture at the Massachusetts Institute of Technology and the Harvard Graduate School of Design . In 1948 he moved to New York City and became the first director of architecture at Webb & Knapp, Inc., a major real estate development company. Founded under the name 385 Madison Avenue in 1922 by W. Seward Webb, Jr. and Robert C. Knapp, as well as the noted architects Eliot Cross and John Walter Cross, the firm was purchased by businessman William Zeckendorf in 1949. Pei remembered that his boss ìwanted to remake the city. We had a shared passion for large scale undertakings.î In recognition of his expertise with residential design, Pei served on the Federal Housing AdministrationÃ-s Multi-Family Housing Committee during the late 1950s, as well as the design committee for the Mitchell-Lama Housing Program.
In 1960 ñ the same year Pei received the NYU commission ñ he resigned from Webb & Knapp and formed his own architectural practice. Though ZeckendorfÃ-s financial difficulties played a part in the architectÃ-s decision to leave, he later recalled:
I knew that if I stayed within the envelope of the company, I would never get the
kinds of jobs I really wanted . . . My growth as a designer was stunted; I should have
reached my maturity much earlier.
Success and notoriety, however, came quickly to Pei. He received the prestigious Arnold Brunner Prize for excellence in architecture from the National Institute of Arts and Letters in March 1961, followed by the Medal of Honor from the New York Chapter of the American Institute of Architects in September 1963. Major subsequent works by Pei include: the National Gallery of Art, East Building in Washington, D. C., the John F. Kennedy Presidential Library in Boston, the Bank of China Tower in Hong Kong, and the Grand Louvre in Paris. In New York City, he designed the National Airlines Terminal at Kennedy International Airport and the Guggenheim Pavilion at Mount Sinai Medical Center. In 1983 he was honored as the fifth recipient of the prestigious Pritzker Architecture Prize. Though Pei retired from the firm in 1990, he continues to practice as an architect and is associated with Pei Partnership Architects, based in New York City.
Pei selected James Ingo Freed to head the University Village design team. Born in Germany, Freed moved to Chicago at the age of nine. A graduate of the Illinois Institute of Technology in 1953, he studied under the architecture schoolÃ-s chairman Ludwig Mies van der Rohe and worked briefly with the architect on the Seagram Building . Hired by Pei in 1956, Freed participated in the design and construction of Court House Square, including the Denver Hilton Hotel , with colleague Araldo A. Cossuta, and later, served as lead designer on Kips Bay Plaza. During the mid-1960s, he collaborated with Pei on the design of fifty air traffic control towers for the Federal Aeronautics Administration. Planned during the administration of President John
F. Kennedy, like University Village, these slender structures were formed using cast-in-place concrete. Freed received many honors during his career and from 1975 to 1978 was dean of the School of Architecture at IIT. He later returned to New York and was promoted to full partner in 1980. At the time, the firm was renamed Pei Cobb Freed & Partners. Manhattan buildings designed by Freed include: a 32-story office building at 88 Pine Street , a 27-story office building at 499 Park Avenue , and the Jacob Javits Convention Center . His best-known work is arguably the United States Holocaust Memorial Museum in Washington, D.C., dedicated in 1993.
The Scheme
Freed began to plan University Village in late 1960 or early 1961. In PeiÃ-s office, he worked closely with architects Theodore A. Amberg and A. Preston Moore . The design went through several distinct stages and more than three years passed before construction of 505 LaGuardia Place began in April 1964. The building site consisted of the center area of the superblock and excluded the northwest corner of the superblock which was already developed with a one-story supermarket.
NYUÃ-s preliminary scheme contained three buildings that were ìcomparable in designî to Washington Square Village, as well as an elementary school facing West Houston Street. Separated by Greene and Wooster Streets, these rectangular structures were arranged in a single row, from east to west, across the center of the site. By December 1960, however, NYU had completely changed course; it informed the Housing and Redevelopment Board that Pei had a ìtentative plan in which he hopes to achieve some sort of community atmosphere with fairly low buildings interspersed with one or two tall structures.î
FreedÃ-s proposal was loosely modeled on Society Hill, juxtaposing structures of different height and materials, including a 16-story cooperative apartment house, a 29-story apartment tower for faculty members facing a plaza, and a ìserpentine building of six stories . . . modeled to some extent, on the typical New York City brownstone.î The latter buildingÃ-s footprint was quite large, turning at right angles, starting at Houston Street and ending on Bleecker Street. In late 1962, this design was greatly simplified, laying the groundwork for a scheme which included twin slab-like towers flanking Wooster Street and a seven-story brick residential building, distinguished an L-shaped footprint, facing the intersection of Houston and Mercer Streets. This approach appears to have remained under consideration until December 1963 when NYU announced its purchase of Washington Square Village. This acquisition allowed the school to reevaluate its housing needs and the low-rise building was abandoned and replaced by a third tower. Not only would three identical towers reduce construction costs and streamline the design process, but Freed said this type of plan would leave as ìlarge and flexible a land area as possible set aside for future use.î
The addition of the third tower dramatically altered the character of University Village. Not only did aesthetic uniformity result within the complex, but this strategy sharpened the contrast between the buildings and the neighborhood, similar to such pioneering ìtower in the parkî schemes as Parkchester in the Bronx, the Clinton Hill Houses , and Stuyvesant Town in Manhattan. No longer would mirror-image towers flank the former route of Wooster Street but three identical towers would be carefully arranged around a central lawn, with the east section of the superblock, between Mercer and Wooster Streets, left open. This block-long parcel is now occupied by the Jerome S. Coles Sports Center, completed in 1982.
In FreedÃ-s final scheme, the towers were deliberately arranged to turn away from the surrounding streets, particularly West Houston Street, a busy cross-town artery, and LaGuardia Place, which the city had intended to widen below Washington Square. Located near the center of the site, they rise from a slightly elevated man-made platform that raises the south end of the block almost ten feet and hides two parking garages. Landscaping would also be used to increase privacy and enhance the schemeÃ-s floating pinwheel arrangement.
In contrast to Washington Square Village, where the two buildings stand parallel to each other, the buildings in University Village are oriented in different directions, with two towers facing north toward Bleecker Street, and the other, west toward LaGuardia Place. This type of arrangement was pioneered in two earlier Pei projects, first at Kips Bay Plaza, where the two 21story apartment buildings slide in opposite directions toward the east and west, and more closely at Society Hill, where three 31-story towers rise tightly around a plaza. Whereas most Manhattan buildings fit snugly into the grid and address the street directly in a conventional way, at University Village each structure seems independent and was deliberately positioned in an asymmetrical manner around a 100-by-100-foot lawn to maximize views and create general visual interest. In addition, these open spaces act as corridors to frame views of each tower. Pei later remarked:
A city, so far from being a cluster of buildings, is actually a sequence of spaces
enclosed and defined by buildings. This may sound strange but it is the essence of
urban design.
Unlike many ìtower in the parkî projects located in New York City, Freed created a deliberate tension between the buildings and the space they occupy ñ not unlike the celebrated mid-20th century sculptor Alberto GiacomettiÃ-s City Square in which ìfour men stride across a wide plaza, each moving toward the center, yet none apparently directed toward an encounter with one another.î University Village similarly avoids a single axis or orientation, and thus also recalls the spatial experiments of the De Stijl group in Holland during the late 1910s and 1920s, as well as early residential projects designed by Ludwig Mies van der Rohe. Such innovative modernist ideas were essential to the final scheme, shaping not only the site plan but also the design of the three towers.
Towers of Concrete
Pei favored reinforced concrete over all other building materials during the early 1960s. His work was typically crisp and elegant and this material defines the character of his mid-career production. A great admirer of the Swiss-born architect Le Corbusier , Pei claimed that in Shanghai before 1944: ìThere were no teachers to teach us the new architecture . . . so we turned to CorbuÃ-s books, and these were responsible for half of our education.î Titled the Oeuvre Complete, this self-published series of eight volumes documented Le CorbusierÃ-s development as an architect and his frequent use of concrete construction to create a formal language of abstract sculptural forms. This was particularly evident in his late design for the Unità dÃ-Habitation at Marseilles, which features a 12-story horizontal grid of deeply-recessed cells. During the late 1940s, this project received international attention and the play of large and small openings on the buildingÃ-s facade may have influenced PeiÃ-s subsequent work in concrete, especially his apartment buildings.
University Village makes extremely sophisticated use of exposed concrete. It falls under the general stylistic category known as ìBrutalismî for its straightforward use of this material but in contrast to many examples, particularly the late work of Le Corbusier and Breuer, as well as Paul Rudolph, the exterior is noticeably smooth and elegant. Pei developed this technique between 1957 and 1960, while employed by Zeckendorf. He later recalled: ìI had a wonderful client . . . who was willing to gamble with me on using concrete and not brick.î Edward L. Friedman headed the firmÃ-s research, publishing a thorough article on the subject in October 1960, just before NYU awarded Pei the commission. Though initial studies seemed to support the continued use of pre-cast concrete , cast-in-place concrete was substituted to trim costs and conform to building codes that encouraged ìstructural continuity.î Many challenges were overcome, such as how to control the consistency of the color and difficulties with shrinkage and cracking. Friedman described the nearly-complete Kips Bay Plaza as a ìprototype,î while the firmÃ-s soon-to-be built scheme for three towers at Society Hill was termed a ìrefinement.î
As construction of University Village neared completion, architect Araldo A. Cossuta, published ìFrom Precast Concrete to Integral Architectureî in October 1966. He, too, was part of PeiÃ-s office and his essay celebrated the firmÃ-s accomplishments, paying particular attention to the Earth Sciences Center at MIT where, as at University Village, load-bearing walls were poured on site to create column-free interiors. He specifically criticized conventional skin construction and how architects sometimes disguise the handiwork of engineers. The goal, Cossuta argued, was to create ìreal wallsî ñ not curtain walls ñ through the integration of structure and skin. He maintained that this technique would result in a ìreturn to classical simplicityî and that such plastic forms can express an ìexternal-internal continuumî whereby architects take ìpossession of shadows rather than diluting them by reflection.î
A warm, buff-colored concrete was selected for University Village, comparable, depending on the light, to sandstone or limestone. At Chatham Towers in Chinatown, architects used plywood boards to form the exposed concrete, producing a rough and yet interesting patterned surface. At University Village, however, fiberglass molds were employed. According to Friedman, this material was chosen for various reasons: not only was the quality of the results high but fiberglass is easy to assemble, strip, and re-use. Furthermore, various concrete coatings, release agents, and even scaffoldings were evaluated. In terms of cost and quality, he claimed that such research returned handsome dividends. Each section took approximately four-to-eight weeks to set and harden, and overall, construction took six-to-eight weeks less than conventional brick facings.
The three towers display twin sets of gridded facades projecting from a central core. Each floor has four or eight horizontal window openings and a 22-foot-wide sheer wall, separated by a thin slot of flat windows. Located at either end, these smooth windowless walls contrast with the deeply-recessed window openings and reflect light. Each opening is formed by a pair of T-shaped columns that meet over the center of the bay. These columns narrow toward the front, creating a wedge-shaped profile. Between floors, horizontal and vertical joints are visible. These gaps indicate each stage of casting and allow for thermal movement throughout the year. Deep reveals were fashioned to conceal troweled joints.
At the base, the T-shaped columns are considerably taller ñ more than twice the height of the residential floors. These columns form a continuous entrance arcade along the front facades, similar to Kips Bay Plaza. Shaped like elongated diamonds, they enclose a deep gallery with tan brick walls that flank the glazed outer walls of the lobby. In terms of color and rhythm they exhibit a vaguely classical spirit, suggesting an ancient Greek or Roman temple.
Construction
A ceremonial ground breaking for the first building ñ Washington Square South East, later known as 505 West Broadway ñ was held on August 12, 1964, following approval of plans by the Housing and Redevelopment Board and the Building Department. In attendance was NYU President James W. Hester who described the project as ìa successful example of community cooperation.î Later that year, in November 1964, the Board of Estimate endorsed the larger scheme, along with various criteria to determine residency in the cooperative apartments. Tenants who had been forced to move were given first priority, followed by people dislocated by similar projects in Greenwich Village. At this time, the Board of Estimate also approved the closing of Greene and Wooster Streets.
Construction started in late August 1964. The Tishman Construction Company served as contractor and Farkas & Barron was the engineer. Amberg, from PeiÃ-s office, served as site architect, overseeing day-to-day operations. The first step was the pouring of the foundations ñ a four-foot-thick concrete pad covering each buildingÃ-s footprint. More complicated than conventional concrete footings, it required continuous pouring and the delivery process was characterized by the New York Times as having the ìprecision of a military campaign.î It was a relatively efficient process and, according to Amberg, the towers rose simultaneously on a ìthree day cycle.î On the first day, the fiberglass forms were erected incorporating the steel, followed by a day for pouring, and a day for removing the formwork. Construction progressed on a ìstaggeredî schedule, meaning that the contractor performed one of three tasks on each tower during a given day. The first building was ìtopped outî in December 1964 and by late 1966 the three towers were nearly complete.
Modern Architecture and New York University
Prior to the 1930s, most American universities commissioned buildings inspired by European and Jeffersonian models, including neo-classical and neo-Gothic structures that recalled Oxford, Cambridge, Charlottesville, as well as other historic centers of learning. After World War I, European architects began to challenge this approach, arguing that traditional forms were no longer desirable or appropriate. These ideas attracted considerable support in the United States. The New School for Social Research was one of the first buildings in New York City and one of the first college buildings in the United States to exhibit characteristics of the so-called ìInternational Style.î Designed by Joseph Urban in 1930-31, the clean-lined glass and brick facade stood in sharp juxtaposition to its nineteenth-century neighbors. By decadeÃ-s end, several modern-style campuses had begun construction, including Florida Southern University , IIT , and Hunter College . After World War II, this trend accelerated, transforming the campuses of Harvard University, Yale University, and MIT.
NYU embarked on a major building campaign during the late 1940s. To help guide the schoolÃ-s expansion, a Buildings and Grounds Committee of the Board of Trustees was formed in 1952. George F. Baughman, the schoolÃ-s vice president and treasurer, praised their vision:
Without their willingness to take risks, we could do nothing. As an example, because of their enthusiastic aid, we have been able to employ some of the most exciting architects now practicing . . . a cross section of talent representing the best of contemporary American architecture.
Many exceptional firms participated, including Skidmore, Owings & Merrill, Harrison & Abramowitz, and Marcel Breuer. Among them, SOM was responsible for the schoolÃ-s first structure designed in the International Style ñ the Institute of Physical Medicine and Rehabilitation. Located near 34th Street, on the east side of First Avenue, it was part of the NYU-Bellevue Medical Center. Construction began in 1949 and the first four SOM buildings were completed by 1956. To provide housing for the schoolÃ-s staff, a plan for NYU-Bellevue Title I was issued in 1953. When the developer failed to obtain financing, Robert Moses invited William Zeckendorf to take over the project and he replaced S. J. Kessler & Sons with his own architect, I. M. Pei, in 1957. Located in full sight of the medical center, on the west side of First Avenue, this well-designed complex positioned Pei as a leading candidate to design University Village.
By 1959 NYU had seven new buildings under construction. The Architectural Record enthusiastically reported: ìNew York University ñ largest in the nation ñ is matching its size with a building program that calls for thirty-five million dollars worth of construction in one year!î Included were structures designed by Breuer, Harrison & Abramowitz, SOM, and Warner Burns, Toan & Lund.
Bust of Sylvette
At the center of University Village, near the southeast corner of the center lawn, stands Pablo PicassoÃ-s Bust of Sylvette. Thirty-six feet tall and purportedly weighing sixty tons, this colossal cubistic sculpture served a dual purpose ñ to decorate the lawn and to enhance the schemeÃ-s pinwheel character.
Outdoor sculpture has played an important role in New York City since the mid-nineteenth century. Most early examples were financed by private groups to embellish public squares and parks. Some, like bronze portraits of George Washington and Abraham Lincoln at Union Square, were intended to express patriotism and recall historic events, while others, including Central ParkÃ-s Angel of the Waters served a symbolic purpose, representing common ideas and shared beliefs. Gradually war monuments and memorials began to dominate the public realm, particularly to honor the 25th anniversary of the end of the Civil War. Most were executed in a realistic style, with handsome stone pedestals, echoing the classical statuary of ancient Greece and Rome.
The Bust of Sylvette, however, belonged to an entirely new tradition, one inspired by French modernism and the Art Deco style. At Rockefeller Center, a gilded statue of the Greek god Prometheus was commissioned to adorn the sunken plaza. Located on axis with the promenade that connects with Fifth Avenue, it was conceived to draw people toward the lower shopping concourse and serve as a gleaming focal point or ìeye catcherî within the limestone complex. Other works at Rockefeller Center were notable for employing the modern materials, such as glass block, stainless steel, and aluminum.
This trend intensified after the Second World War, especially during the period when modern architectural aesthetics became part of the mainstream. Industrial materials transformed the appearance of new buildings and new planning concepts would open up ManhattanÃ-s grid with privately-owned plazas. Two pioneering examples, Lever House and the Seagram Building , were conceived as settings for contemporary sculpture. Though no works were executed, major pieces were, in fact, commissioned for Chase Manhattan Plaza in lower Manhattan: a sunken circular garden by Isamu Noguchi and Group of Four Trees , a 42-foot-tall work by Jean Dubuffet.
Pei first developed an interest in modern art during the 1940s. He collected works by Abstract Expressionist painters, as well as sculptures by Dubuffet and Henry Moore. During a 1958 visit to Paris he met the Norwegian sculptor Carl Nesjar , who was returning home from the south of France where he recently introduced Picasso to the technique called ìnaturebetongî or nature concrete. Also known as ìBetrograve,î this sandblasting process was developed by architect Erling ViksjË and engineer Svere Jystad during the mid-1950s. Picasso commented: ìI am intrigued with your concrete and want to do something with it.î Initially, he made four large wall drawings for a government building in Oslo, followed by a 1961 frieze in Barcelona. Pei told Nesjar:
I have long thought about monumental sculpture in scale with modern architecture,
and I recognize the possibilities of concrete technique. Here and now I am beginning
a one-man crusade to have a monumental Picasso work for one of my projects.
Pei wanted to install a Picasso, possibly from the Sylvette series, in the courtyard of Kips Bay Plaza but his client, Zeckendorf, was not convinced it was essential to the program. He reportedly told the architect: ìI can give you fifty saplings or this piece of sculpture.î Pei ultimately chose trees. In Philadelphia, however, the cityÃ-s Percent for Art Ordinance, established in 1959, required that developers incorporate art into their projects. Early renderings for Society Hill illustrate two pieces: an equestrian statue set on a raised pedestal in the central plaza, and what appears to be Sylvette, on a lawn behind the apartment towers. Though neither would be executed, Pei reportedly had a $400,000 budget and instead commissioned bronze sculptures by Gaston Lachaise and Leonard Baskin.
Sylvette David was nineteen years old when she met Picasso in spring 1953. Approximately forty portraits of her in various media resulted, including the group of five busts that Nesjar viewed at the artistÃ-s Valluris studio, La Galliose, in 1962. Fabricated with folded sheet metal and then painted, each piece was approximately two feet tall. In consultation with Nesjar, Picasso selected which would be most appropriate for enlargement and then produced a photo collage representing the view from Houston Street. Dated April 4, 1967 and October 17, 1967, the artist wrote: ìI agree that Nesjar reproduce this sculpture.î A close examination of the collage, however, reveals that during the period between the two dates the sculptureÃ-s location was changed from the west side of the lawn, where it would have been visible from the intersection of Houston and Mercer Streets, to a somewhat more central location, opposite the entrance to 110 Bleecker Street.
In November 1967, while a retrospective devoted to PicassoÃ-s sculpture was being held at the Museum of Modern Art, NYU formally announced the commission. The model for Sylvette was part of the exhibition and Pei persuaded one of the museumÃ-s patrons, Allan D. and Kate S. Emil, to finance it. It was the second sculpture that the family had donated to the school, following an abstract aluminum relief by Rueben Nakian , which originally adorned the upper north wall of the Loeb Student Center . Articles appeared in the New York Times and Time magazine which described the projected Picasso sculpture as ìhalf as high and twice as sexy as the Great Sphinx of Egypt.î Alfred Barr, former MoMA director, forecast that it would be the ìgrandest sculpture in Manhattan . . . not to mention the tallest pony-tail hairdo in the whole world.î It would be the second monumental Picasso sculpture in the United States ñ the first being an untitled fifty-foot-tall work executed in Cor-Ten steel for the Chicago Civic Center .
NesjarÃ-s team worked on Sylvette for five months, from January to June 1968, taking twice the time estimated. He was assisted by two Norwegians, the carpenter Sigurd Fragure and the artist-writer Eric Hesselberg, who served on the crew of the Kon-Tiki expedition in 1947. The New York firm Wieskopf & Pickworth assisted with the structural engineering. It was NesjarÃ-s twelfth collaboration with the Picasso. Nesjar commented:
This is a collaboration or if you prefer, a translation . . . IÃ-m like a conductor of an orchestra. The composer gives me a piece of music and then itÃ-s up to me to see what I can do with it.
It was a unique relationship and PicassoÃ-s only criticism of Nesjar was that results were frequently ìtoo perfect.î
Freed and Amberg coordinated the sculpture project and, according to Pei, spent nearly a year bringing it to fruition. Amberg briefly lived in a NYU-University Village apartment and worked closely with Nesjar. To prepare the site, a beam and slab foundation was formed, supported by steel beams that rise from the garage. On top of the base, one side of the sculptureÃ-s plywood formwork was assembled, followed by the steel skeleton, consisting of reinforcement bars. The skeleton was then enclosed with a second set of boards to create a water-tight form filled with crushed black basalt pebbles imported from Norway, as well as Hudson Valley traprock. Next, the rock was gently vibrated to achieve maximum density. According to Amberg, NesjarÃ-s team then drilled numerous ports that were used to inject the form with liquid concrete. This process was repeated several times until the concrete reached the top. After six days, the boards were removed, revealing a smooth, joint-free surface. In the final steps, Nesjar marked the outer surface with charcoal and wax crayon, making minor adjustments to the artistÃ-s original vision for reasons of scale or point of view. He remarked: ìI must be the only person in the world who has corrected a Picasso.î Nesjar then used a sandblast nozzle to expose the dark rock, making her face, hair, and shoulders permanently visible.
The Bust of Sylvette was dedicated the universityÃ-s Tishman Auditorium on December 9, 1968. Neither Allan nor Kate Emil had attended NYU but during his speech he described their shared admiration for the school and the ìwork it does today.î He also observed:
Picasso is one of the most important artists of our time, and New York should have a major example of his work in this medium. I canÃ-t think of a better location for it than New York University, where it can serve education, art, and the public at large.
Reception
University Village attracted considerable attention from the local media but only a few articles in national magazines. Initially, most writers focused on PeiÃ-s innovative use of exposed concrete. The New York Herald Tribune reported in April 1964 that the preliminary design would ìyield architectural distinction rarely associated with even more costly buildings.î As the project neared completion, the New York Times took a more neutral position; the complex was called ìcontroversial,î with detailed descriptions of the exoskeleton and the interior layouts. Architectural Forum published the most thoughtful and detailed essay in December 1966. Written by critic and photographer Cerwin Robinson, he examined the complex in terms of plan, technique, tenant amenities and neighborhood context. He concluded: ìThe three towers are among the least costly Pei has done. They are also among his best. New York has gained not only a triad of landmarks but clear proof that inexpensive housing can be distinguished architecture.î In Fortune magazine, Douglass Haskell featured the complex on a list of the ten best buildings of 1966, placing it under the category where architects engage in a ìback-andforth play between a showy sculptural architecture on the one hand and on the other the concept of a reserved repetitive grid.î
University Village was honored with three professional awards. Under the category of residential work, it received a prize from the Concrete Industry Board of New York in December 1966, a Bard Award for excellence in design from the City Club of New York and a national honor award from the American Institute of Architects , both during May 1967. And when the first AIA Guide to NY debuted in 1967, the complex was strongly praised:
Of these three, nearly identical towers, the one closest to West Broadway is Mitchell-Lama middle income housing ñ undoubtedly the finest in the city, and much better than PeiÃ-s Kips Bay Plaza . . . the result is exceptional for high-rise housing where one can, for a change, grasp the size of the individual apartments . . . from the north they appear as the logical and elegant termination of the progression of recently built, structures.
The nearly complete towers, along with NYUÃ-s Weaver Hall, were likewise part of the AIAÃ-s 1967 exhibition of ìoutstanding architecture of the last 100 yearsî built in New York City.
A decade later, in 1979, New York Times architecture critic Paul Goldberger described the three towers as ìdignified and sophisticated . . . In a city with hardly more than a handful of decent postwar apartment houses, these stand out. PeiÃ-s ability to bring rhythm and texture to a facade that is just a grid of concrete is absolutely superb.î Critic-cartographer John Tauranac commented in Essential New York that the towers were ìCrisply designed [with an] attention to massing and detailing that many ìluxuryî houses ignore. The tenants get their moneyÃ-s worth, as do the passing pedestrians.î Architect-historian Robert A. M. Stern later praised the complex in New York 1960, calling it ìanimated, sculpturally vigorous yet human-scaled design.î And in Manhattan Skyscrapers, a 1999 book devoted to mainly office buildings, Eric P. Nash praised University Village for exhibiting an ìelegant synthesis of many strains of modernist design.î Calling the complex a ìfine composition,î he observed that it displays a ìkinetic sense of energyî in which ìthe flow of space is almost palpable.î
When Freed died in 2005, many writers paid tribute to his career, particularly Terence Riley, curator of architecture at the Museum of Modern Art. Among the various buildings he called out in the obituary in the International Herald Tribune, University Village was cited as being one of ìthe most refined examples of modern design in all of Manhattan.î
Subsequent history
University Village looks much as it did when NYU faculty began to occupy the schoolÃ-s two buildings during late 1966. Most of the cooperative apartments were sold by October 1965 and the owner-tenants began to occupy the third building in April 1967. Both NYU buildings were renamed in 1974 to honor a major donor to the school, Julius Silver, class of 1922. Trained as a lawyer at Columbia University, for many years he advised Edwin Land of the Polaroid Corporation. A free-standing metal plaque installed on the north side of the plaza acknowledges his substantial gifts to the school, as well as horizontal metal plaques attached the walls inside each buildingÃ-s arcade. The diagonal path, connecting the central plaza to Bleecker Street, is not original and probably was added during the 1970s or 1980s. Many of the freestanding lighting fixtures, except those near 505 LaGuardia Place, date from the 1980s or later. Overall, the concrete exteriors are in a remarkably good state of repair. Some patching, however, is visible, particularly on the north facade of 505 LaGuardia Place.
Description
University Village is located in the southeast section of Greenwich Village on two tax lots bordered, in part, by LaGuardia Place, Bleecker Street, and West Houston Street. The south half of the site has been raised to create a level platform for the three buildings. Beneath the buildings are two parking garages, reached by separate concrete entrance ramps on the north side of West Houston Street. The east ramp, serving both NYU buildings, is located close to Greene Street. Painted steel tubular railings are attached to the top of the concrete walls that flank the ramp. Along part of the top of the east wall is steel fencing. The west ramp, located between Wooster Street and LaGuardia Place, serves the 505 LaGuardia Place garage. Steel fencing is attached to the upper portion of the concrete walls that enclose the west garage entrance. Pedestrian access to both garages is provided by sidewalks, lined with steel fencing, leading to single, hollow-metal doors; the doors are located on the west side of the east garage, and on the east side of the west garage. Both garages have metal roll-up doors. Immediately to the west of each garage ramp is a sanitation area. Both sanitation areas have locked gates, concrete paving and low concrete walls surmounted by steel fences. The western sanitation area has sheet metal attached to the inside face of the fence.
A paved drive, located along the former Wooster Street links Houston and Bleecker Streets. From Houston Street, the original purplish-pink, granite-block paved drive separates 110 Bleecker Street and 505 LaGuardia Place. This drive turns east, passing the entrance of 110 Bleecker Street, and then north, passing 100 Bleecker Street, and then east again, bordering the central lawn/plaza. Planted with grass, the level plaza is square in shape, with rounded corners. Adjoining the corners are arrow-shaped metal drains set into concrete. At the southeast corner of the lawn is the Bust of Sylvette, as well as a small brass plaque on a low concrete pedestal identifying the artist and donor. Historic concrete curbs curl into the granite road bed, with three curb cuts leading to the west drive. Concrete bollards, original and mostly in good condition, are scattered around the sidewalk that adjoins the road. Along the north sidewalk is a low concrete bench with a slight cantilever on both sides that extends from the northwest corner of 100 Bleecker Street to the east side of the west drive . Toward the west end of the sidewalk is a pair of bronze-colored metal flagpoles. Between the flagpoles, a freestanding metal plaque set into a concrete slab describes the NYU buildings.
The north lawn parallels Bleecker Street and extends east from the drive to the eastern edge of the site. The closely-planted trees are likely to date from the time of construction. The lawn also contains non-historic lighting fixtures, including U-shaped pole lights and pole-mounted flood lights. A diagonal concrete path, starting near the northwest corner of 100 Bleecker Street, extends northeast through the north lawn, ending near the Bleecker Street sidewalk. The east lawn, adjoining 100 Bleecker Street, extends south to a concrete path, from the siteÃ-s east boundary. Between this path and Houston Street is a seating area featuring a broken spiral of concrete benches. At the southeast corner of the site, between the seating area and east garage ramp on Houston Street, is a playground enclosed with original concrete walls, featuring a concrete bench, ramp, and circular sandbox set into the ground and a circular tree planter. The south central lawn, between 110 Bleecker Street and Houston Street, is bordered by a steel fence on the east, west, and south. It is also enclosed by a non-historic chain-link fence extending from the east facade of 110 Bleecker Street to the playground. An original concrete taxi call light is located at the southwest corner of the south central lawn, near Houston Street.
South of 505 LaGuardia Place is a lush private garden, enclosed by a steel fence. This garden, as well as the buildingÃ-s rear facade, is visible through the fence. Located within the garden are two original lampposts. Proceeding north from Houston Street, along the shaded path between the private garden and the ìTime Landscapeî , is a wide concrete staircase with four metal railings that ascend east into a mews or passageway, passing 505 LaGuardia Place on the right . This passage has three original painted metal light poles, each with five glass globes. The other lighting fixtures along the plaza and sidewalks are non-historic and feature slender steel poles with U-shaped supports that hold covered square-shaped down lights. Where there is grass, they are set on concrete cubes, the rest are bolted to the sidewalk. Along the north side of this passage is a low concrete bench that encloses a planting bed. Directly north of the stairs, the west end of the bench becomes the top of a concrete wall, to which the raised historic metal numbers ì505î are attached. At the east end, the bench curves and meets a rectangular base on which a steel fence has been installed. Non-historic metal signs are installed on the face of the bench. From this bench, a sidewalk extends north along the west side of the former route of Wooster Street. Here, non-historic U-shaped lighting fixtures and trees alternate. A high steel fence separates the sidewalk from a planting bed with a second row of trees, as well as a low concrete wall that separates the complex from the space used by the adjacent supermarket driveway. A chain-link fence is installed on top of this wall.
Adjoining the central plaza, to the east, south and west are three 30-story apartment buildings. Located near the center of the site, this trio rises in isolation and stands taller than the various buildings that surround the site. Each tower is defined by grids of deeply-recessed windows executed with exposed concrete. Wider than deep, each projecting facade has four or eight windows, flanked on one side by a row of narrow windows, as well as a sheer wall of concrete divided into vertical panels. Each bay consists of two sections: the upper one incorporates a pair of sliding aluminum windows, and the smaller lower section, a ventilation grille. At the ground story, the primary facades have deep arcades that lead to lobbies, and the secondary facades have large windows set above raised bases. Small recessed openings at the basement level are filled with louvers; most of the louvers at 505 LaGuardia Place are original, while most of those at 100 and 110 Bleecker Street are non-historic. Other non-historic elements include: flood lights mounted to many of the basement louvers and parapets, metal mesh boxlike fences which enclose recesses at the ground floor; sheet-metal signage; and security cameras.
The exterior wall of the lobby of 505 LaGuardia Place faces north and is set behind an arcade. There is a short step within each bay, except at the east end, which has been converted to a ramp. The cement pavement within the arcade is divided into rectangles; joints separating the rectangles are aligned with the columns. The step riser at the two center bays has been painted yellow. The east and west walls of the arcade are faced with tan brick. On the west wall is the historic ì505î sign with raised digits. The ceiling incorporates a row of original recessed lighting fixtures, aligned with the center of each bay. The entrance consists of a projecting pavilion with concrete side walls, brown-colored aluminum framed windows and two inward-opening glass doors. The pavilion is flanked by recessed plate glass windows on either side. A service entry located to the west end of the arcade has brown-painted metal doors and a sheet metal transom. A non-historic security camera is installed at the east end of the arcade on the upper wall. Original ì505î signs with raised digits are located on the northeast corner of the north facade and at the northwest corner of the west facade.
The exterior wall of the lobbies of 100 and 110 Bleecker Street are similar to 505 LaGuardia but are not identical, with larger sheets of plate glass to either side of the entrance pavilion. Horizontal metal strips have been added in various locations near the ground to protect the glass. The walls to the right of both entrances are faced with tan brick. Attached to these walls are the original raised numerals that indicate the buildingÃ-s address ì100î and ì110,î as well as a circa 1970s metal plaque indicating ìSILVER TOWERS, NEW YORK UNIVERSITY.î The shallow ramps that enter through the arcade are not original and probably replaced a single step. Most of the lighting fixtures in these arcades are not original, nor are the low granite benches on either end. Original service entries with metal doors and sheet-metal transoms are located on the west side of 110 Bleecker Street and the south side of 100 Bleecker Street.
- From the 2008 NYCLPC Landmark Designation Report
Designed to maximize the day-to-day activities of players, coaches and staff, the new Allen N. Reeves Football Complex elevates the Clemson University football program, and promotes the recruitment, training and development of student athletes with likely the most functional facility of its type in college or pro football. The building, designed by GMC's sports group and HOK, adjoins the indoor practice facility and outdoor practice fields, consolidating football operations into one complex. Clemson staff visited 36 similar faciltiies across the country and took the best parts from each and made them better. The 142,500-square-foot complex is the largest and most programmatically inclusive football-specific training facility in the nation. Knowing that this facility will serve as a home away from home for many of the users, the project provides amenities that allow the student-athletes to train, study and unwind in the same place. Features include 1.5 acres of outdoor leisure and entertainment space, state-of-the-art hydrotherapy, training, weight equipment and technology, a steam room and recovery room and a Gatorade fuel bar. The design maximizes adjacencies and functionality, with a centralized player concourse that allows coaches and athletes to move efficiently through their routines and better utilize valuable practice and training time. The concourse is connected to the lobby through a slide, bringing Coach Swinney’s focus on fun to the forefront in the design. The multiple atriums in teh facility keep the coaches on the second floor in constant contact with players on the first floor. The complex also features miniature golf, bowling, a movie theater, gaming lounge and basketball, volleyball and bocce ball courts, giving players an opportunity for some friendly competition. Compelling graphics and displays throughout the facility celebrate the team’s storied history and reflect the Clemson spirit, including a scale replica of Memorial Stadium’s famous Hill and Howard’s Rock. Of course the home of the national champions would not be complete without a prominent spot to display their trophies including the 2016 College Football Playoff National Championship trophy, which sits proudly in the main atrium. The project is targeting LEED Silver certification.
Goodwyn Mills Cawood
Mitch Barns, Chief Executive Officer, Nielsen, USA at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Christian Clavadetscher
There are many parallels between NASA’s research and terrestrial needs in industry, medicine and safety. NASA’s Technology Transfer program ensures that technologies developed for missions in exploration and discovery are broadly available to the public, maximizing the benefit to the nation. NASA has an extensive patent portfolio and software catalog with hundreds of technologies available for licensing by the private sector.
The NASA Commercialization Training Camps introduce NASA’s technology portfolio to attendees, explain the technology transfer process and provide points of contact for those interested in using a NASA technology to develop a commercial product. Attendees meet with NASA inventors as well as tour facilities and labs at Goddard.
To learn more about the NASA Technology Transfer Program, please visit: technology.nasa.gov/
Credit: NASA/Goddard/Taylor Mickal
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Part of the Chevron Forum on Development
csis.org/event/presidents-africa-trip-and-power-africa-in...
With opening remarks by:
Andrew Herscowitz
Coordinator, Power Africa and Trade Africa, USAID
Featuring:
Christopher Camponovo
Director, Business Development, Symbion Power
Ben Leo
Global Policy Director, ONE
Ambassador Robert C. Perry
Vice President for International Programs, Corporate Council on Africa
Sarah O. Ladislaw
Codirector and Senior Fellow, Energy and National Security Program, CSIS
Moderated by:
Jennifer G. Cooke
Director, Africa Program, CSIS
Friday, July 12, 2013
1:30 p.m.–3:30 p.m.
B1 Conference Center
CSIS 1800 K Street NW, Washington, DC 20006
Recent announcements by President Obama while travelling in Africa signal a paradigm shift in U.S.-Africa engagement, with greater priority given to economic growth, trade and investment, and new forms of partnership with a “continent that is on the move.” The president announced a new U.S. initiative while in Tanzania—“Power Africa”—targeting increased access to reliable, affordable, and sustainable power in Africa. The president’s announcement offers an opportunity to tackle a long-standing barrier to development and growth in Africa, as well as a major stumbling block for potential U.S. investors.
Please join CSIS for a discussion of the likely impact of the president’s trip in boosting private-sector engagement in Africa, the parameters and potential of the Power Africa initiative, and critical next steps by the administration, Congress, private-sector players, and African governments to maximize its impact. The panel will offer its views on the opportunity for the private and public sectors to coordinate their strategies and leverage their strength to achieve measurable growth in power accessibility in Africa.
This event is part of CSIS’s ongoing “Chevron Forum on Development” series, which seeks to highlight innovative approaches to global development.
This should be a timely and informative discussion.
Please RSVP to ChevronForum@csis.org.
Follow @CSIS_USLD, @CSISAfrica, and #CSISLive for live updates.
Programs
AFRICA PROGRAM, CHEVRON FORUM ON DEVELOPMENT, PROJECT ON U.S. LEADERSHIP IN DEVELOPMENT
Topics
ECONOMIC DEVELOPMENT AND RECONSTRUCTION, ENERGY AND CLIMATE CHANGE, TRADE AND ECONOMICS, DEVELOPMENT POLICY, GLOBAL PROSPERITY
Regions
AFRICA, SUB-SAHARAN AFRICA
With space maximization in mind, the design incorporates a store room behind the TV wall.
Website:
The Maryland National Guard’s 32nd Weapons of Mass Destruction Civil Support Team conducted training at Garrett College and Garrett County Airport August 20-24, 2012 in Western Maryland. The 32nd WMD-CST's mission was to build a partnership with local responders and assess the team's response and travel time. The Survey Team checked for chemical, biological, radiological and nuclear (CBRN) threats and collected samples. Cpl. Jeffery Jones, 32nd CST, uses the TruDefender to identify an unknown chemical substance. The TruDefender is a technology that can identify chemical substances through transparent packaging. It also maximizes in-the-field coverage of a broad range of chemicals and provides a direct link to incident command or reachback support through embedded mobile phones.
Mitch Barns, Chief Executive Officer, Nielsen, USA at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Christian Clavadetscher
Designed to maximize the day-to-day activities of players, coaches and staff, the new Allen N. Reeves Football Complex elevates the Clemson University football program, and promotes the recruitment, training and development of student athletes with likely the most functional facility of its type in college or pro football. The building, designed by GMC's sports group and HOK, adjoins the indoor practice facility and outdoor practice fields, consolidating football operations into one complex. Clemson staff visited 36 similar faciltiies across the country and took the best parts from each and made them better. The 142,500-square-foot complex is the largest and most programmatically inclusive football-specific training facility in the nation. Knowing that this facility will serve as a home away from home for many of the users, the project provides amenities that allow the student-athletes to train, study and unwind in the same place. Features include 1.5 acres of outdoor leisure and entertainment space, state-of-the-art hydrotherapy, training, weight equipment and technology, a steam room and recovery room and a Gatorade fuel bar. The design maximizes adjacencies and functionality, with a centralized player concourse that allows coaches and athletes to move efficiently through their routines and better utilize valuable practice and training time. The concourse is connected to the lobby through a slide, bringing Coach Swinney’s focus on fun to the forefront in the design. The multiple atriums in teh facility keep the coaches on the second floor in constant contact with players on the first floor. The complex also features miniature golf, bowling, a movie theater, gaming lounge and basketball, volleyball and bocce ball courts, giving players an opportunity for some friendly competition. Compelling graphics and displays throughout the facility celebrate the team’s storied history and reflect the Clemson spirit, including a scale replica of Memorial Stadium’s famous Hill and Howard’s Rock. Of course the home of the national champions would not be complete without a prominent spot to display their trophies including the 2016 College Football Playoff National Championship trophy, which sits proudly in the main atrium. The project is targeting LEED Silver certification.
Goodwyn Mills Cawood
Designed to maximize the day-to-day activities of players, coaches and staff, the new Allen N. Reeves Football Complex elevates the Clemson University football program, and promotes the recruitment, training and development of student athletes with likely the most functional facility of its type in college or pro football. The building, designed by GMC's sports group and HOK, adjoins the indoor practice facility and outdoor practice fields, consolidating football operations into one complex. Clemson staff visited 36 similar faciltiies across the country and took the best parts from each and made them better. The 142,500-square-foot complex is the largest and most programmatically inclusive football-specific training facility in the nation. Knowing that this facility will serve as a home away from home for many of the users, the project provides amenities that allow the student-athletes to train, study and unwind in the same place. Features include 1.5 acres of outdoor leisure and entertainment space, state-of-the-art hydrotherapy, training, weight equipment and technology, a steam room and recovery room and a Gatorade fuel bar. The design maximizes adjacencies and functionality, with a centralized player concourse that allows coaches and athletes to move efficiently through their routines and better utilize valuable practice and training time. The concourse is connected to the lobby through a slide, bringing Coach Swinney’s focus on fun to the forefront in the design. The multiple atriums in teh facility keep the coaches on the second floor in constant contact with players on the first floor. The complex also features miniature golf, bowling, a movie theater, gaming lounge and basketball, volleyball and bocce ball courts, giving players an opportunity for some friendly competition. Compelling graphics and displays throughout the facility celebrate the team’s storied history and reflect the Clemson spirit, including a scale replica of Memorial Stadium’s famous Hill and Howard’s Rock. Of course the home of the national champions would not be complete without a prominent spot to display their trophies including the 2016 College Football Playoff National Championship trophy, which sits proudly in the main atrium. The project is targeting LEED Silver certification.
Goodwyn Mills Cawood
Attic Bedroom Ideas To Maximize Your Beautiful Attic
Attic Bedroom Ideas -Your attic bedroom may be a guest room or one for a member of your family but either way you want to make sure it has great design style, even if the room is quite small. Here are some tips on how to get the most out of...
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Mitch Barns, Chief Executive Officer, Nielsen, USA and Tonye Cole, Co-Founder and Chief Executive Officer, Sahara Group,.Nigeria and Ilene S. Gordon, Chairman, President and Chief Executive Officer,.Ingredion, USA and Peter T. Grauer, Chairman, Bloomberg, USA and Linda A. Hill, Wallace Brett Donham Professor of Business Administration, Harvard Business School, USA at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Christian Clavadetscher
Pete Metropoulos Guitarist/Producer/Session Player
Biography
Guitarist/Producer/Session Player
Pete Metropoulos (Rocktropolis) is the guitarist for the progressive rock band Rocktropolis. Pete Metropoulos (Rocktropolis) has worked with The Process, Gabe Gonzalez (George Clinton) and former drummer John Macaluso (Yngwie Malmsteen, ARK and VOX). Pete Metropoulos (Rocktropolis) is a Nominee of the 2013 & 2014 Detroit Music Awards.
ROCKTROPOLIS is represented by Howard Hertz/Joseph Bellanca (Hertz Schram, p.c.) Mr. Hertz’s impressive roster includes George Clinton, Sippie Wallace, The Romantics, The Bass Brothers, Eminem, Marilyn Manson, Russell Simmons, O-Town, Pantera, Marcus Belgrave, The GO, Mike Posner, Elmore Leonard, Warner Tamerlane and Atlantic Records.
Pete Metropoulos “Rocktropolis” was born July 15, 1984, In Bay City Mi. Pete Metropoulos “Rocktropolis” came from a family who shared a deep love for music and many of Pete Metropoulos “Rocktropolis” family members are highly gifted musicians. Pete Metropoulos “Rocktropolis” was introduced to music and musical instruments at a very early age. Pete Metropoulos “Rocktropolis” was exposed to many different styles of music ranging from Classical, Ethnic (traditional and contemporary Greek, Polish, Russian, Spanish), Pop, and of course, the many different types of Rock. Because of this exposure by people with intense love for music, Pete Metropoulos “Rocktropolis” love for music grew exponentially. When Pete Metropoulos “Rocktropolis” was 11 years old, his dad gifted Pete Metropoulos “Rocktropolis” with his first guitar. Pete Metropoulos “Rocktropolis” has been playing for about 18 years. Pete Metropoulos “Rocktropolis” started to really take off with his playing after age 13. Pete Metropoulos “Rocktropolis” life, from 13 years old and on, was everyday to make music or be with the greatest musicians in his area. Pete Metropoulos “Rocktropolis” father Sam Metropoulos (bass/keys for ROCKTROPOLIS), played a huge part in Pete Metropoulos “Rocktropolis” early years. Sam kept Pete Metropoulos “Rocktropolis” very busy playing and sharpening his skills on the fretboard. Pete Metropoulos “Rocktropolis” had a tight group of friends that had a similar mind set, one of which was his best friend growing up. He was heavily influenced by Rock, Jazz and Blues. Pete Metropoulos “Rocktropolis” really learned a lot from him as he helped open a new door which expanded Pete Metropoulos “Rocktropolis” ability. Pete Metropoulos “Rocktropolis” chops are due to all the years of practice. Pete Metropoulos “Rocktropolis” would easily spend 8 hours a day while I was a teenager and young adult writing, playing and improving with or without other musicians. Pete Metropoulos “Rocktropolis” owe a big thanks to his father Sam Metropoulos for having such a big part in jump starting his musical carrier. One of Pete Metropoulos “Rocktropolis” most memorable moments was with John Macaluso (former drummer for Yngwie Malmsteen). He has always been a big inspiration to Pete Metropoulos “Rocktropolis”. Another close friend of Pete Metropoulos “Rocktropolis” is Gabe Gonzalez (George Clinton P-Funk All Stars). David Asher (The Process) has always been a tight friend of Pete Metropoulos “Rocktropolis” growing up and he will guest appear on our upcoming ROCKTROPOLIS album 3113.The list of players Pete Metropoulos “Rocktropolis” has played with can never be too big. There's a lot more players Pete Metropoulos “Rocktropolis” would love to work with. Pete Metropoulos “Rocktropolis” said “it has been very special to have the experiences and friends I’ve made so far. I really am looking forward to what the future may bring for me.” In 2013 was Pete Metropoulos “Rocktropolis” first time for a nomination in the Detroit Music Awards. Pete Metropoulos “Rocktropolis” ended up with 3 nominations in all. It was very flattering to know that Pete Metropoulos “Rocktropolis” had that much support from such a strong music community. When Pete Metropoulos “Rocktropolis” was learning music Pete Metropoulos “Rocktropolis” never really learned how to play his favorite guitarist's style or favorite band's music. When Pete Metropoulos “Rocktropolis” knew enough to play, Pete Metropoulos “Rocktropolis” would let feelings take it away and start to hone feelings and techniques to create something magical. Music isn’t about being the best or being the greatest. It’s about being YOUR best, YOUR greatest, by being the best that YOU can be. No Competition...we all just do what we do said Pete Metropoulos “Rocktropolis”. Some of the gear Pete Metropoulos “Rocktropolis” use for live performances: Yamaha and Parker guitars, Engl 530 tube preamp, CryBaby DCR-2SR rack wah, Alesis Quadraverb Digital Effects Processor, BBE 482i Sonic Maximizer, Crate SPA-200 power amp, and Fender Stereo Ready 4X12 cabs.
Official website: www.RocktropolisMusic.com.
Facebook: www.facebook.com/Rocktropolis
Maximizing National Security: The Framework for U.S. - Polish Strategic Cooperation on Missile Defense seminar took place on March 5, 2013 in Warsaw. Organized by the German Marshall Fund of the United States in partnership with National Defence University (Akademia Obrony Narodowej; AON), the seminar engaged high-level speakers from the U.S. and Poland in discussions on the prospective Polish AMD system and its impact on transatlantic security as well as requirements that need to be met for its successful implementation.
The days of having stuff run nilly willy in the back of your rig are gone. Give your gear a home, maximize storage, and maintain quick access to your stuff.
With slip, cargo, and zipper pockets, there's lots of space for almost everything. With quick release buckles, installation is easy and the MOLLE webbing allows you to clip grab and go items.
The 4Runner Rear Organizer features:
Lots of mil spec PALS / MOLLE webbing
Velcro loop to attach patches
9 Zipper Pockets
8 slip pockets
3 Lower Cargo
3 Box Pockets
Multiple triangle rings
Elastic loops
The 4Runner Rear Organizer measures 36" wide x 24" long
Shown in black. To order in a color not listed, email us.
Proudly made in the USA, backed by our lifetime workmanship warranty. Accessories not included!
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Taken with Pentax Q and Samyang 650-1300mm lens
Focal length equivalent: 7150mm
Distance to subject: 2.3 km
Taken with Pentax Q and Samyang 650-1300mm lens
Focal length equivalent: 7150mm
Distance to subject: 3.5 km
Taken with Pentax Q and Samyang 650-1300mm lens
Focal length equivalent: 7150mm
Distance to subject: 2.3 km
Alejandro Ismael Murat Hinojosa, Governor of the State of Oaxaca, Mexico, speaking at the World Economic Forum on Latin America 2018 in Sao Paulo, Brazil. Copyright by World Economic Forum / Benedikt von Loebell
Nicolás Mariscal Servitje, Chief Executive Officer, Grupo Marhnos, Mexico, speaking at the World Economic Forum on Latin America 2018 in Sao Paulo, Brazil. Copyright by World Economic Forum / Benedikt von Loebell
Debba Haupert, organizer of the workshop, prays as the workshop begins. Find more about Debba at www.girlfriendology.com
Treat Her Right at The Middle East, Cambridge, MA
www.myspace.com/treatherrightband
en.wikipedia.org/wiki/Treat_Her_Right
Treat Her Right
OriginBoston, Massachusetts, United States
GenresBlues, Low rock
Years active1984-1991, 1995-1998, 2009-10
LabelsRCA Records, Rounder Records
Members
The late Mark Sandman
Dave Champagne
Jim Fitting
Billy Conway
Gust: Billy Beard
Treat Her Right brought the blues back to the Boston rock scene with a fresh new approach, one which rolled back the too-cool veneer to illuminate the blues-based origins of rock. The power and sheer joy in their sets made clear the reasons why Brian Jones and company sought an avenue for young, white class rebellion at the feet of blues revivalists like Alexis Horner- and later at the actual source: Muddy Waters, Little Walter, Robert Johnson, Lightning Hopkins. THR obtained a weekly residency in Cambridge's Plough and Stars, the tiny Irish pub on Mass Ave. The series of shows that they played at the Plough established the band almost immediately as the premier drinking and dancing outfit in the city. David Champagne remembers those shows, as early as they were in the band's history, as their creative high point." We took chances at those shows that we - that I - wouldn't later on, once we were established. Indeed the band would always excel in small club situations. They were just perfectly suited to sweaty, smoky rooms that were packed with bodies crammed against one another. Some of my favorite THR shows aside from the Plough gigs were a Providence R.I. performance that I attended at a sometimes strip club to shoot super-8 footage of the band, and a NYC show at a miniscule dive that featured the Maneaters as the opener. The Maneaters were an all-female blues-rock act I'd worked with at the Fort when their producer, Peter Halsapple of the DB's (later a key touring presence with REM, and Hootie and the Blowfish) brought them to Boston; they were a good match for THR. After that Manhattan road trip I got a bit closer to Mark Sandman. We got together whenever we could to go candlepin bowling at the alleys underneath the Middle East Restaurant. I liked Mark tremendously right from the start. His philosophy of songwriting was wonderful- less is more would be an understatement to describe it. Mark told me once that the best songs had only one verse and, if necessary, a single chorus. Mark is the kind of guy who always had something to play for you when you came by his house- some wild kind of Brazilian American music or an obscure delta blues tune, or a tape of a song written for one of his many ongoing projects. I remember going by there one day and realizing he was playing in five different bands, all of which with the exception of Treat Her Right he had started himself. It was hard to keep up...Sandman, Candy Bar, Morphine, plus side projects slipped between the regular bands. I thought of Mark as an extremely shrewd musical investor who had diversified his holdings to minimize the risks and maximize the potential for hitting the jackpot. As it turned out it was Morphine that Mark Sandman would take to the bank when THR became insolvent, and Morphine within which he would develop his songwriting formula to its' logical, hypnotic end. The Morphine article isn't too long, but there are a large number of Morphine pages on the web, both official and unofficial, so I know you won't starve for lack of data. There is also a page on this site dealing with harp player Jim Fittin's new band, the Coots. Very different stuff, a combination of blues, country swing and New Orleans-style funk and rock. Just take this link to the Coots page to check them out. As for Dave Champagne, he started a very cool band after THR called the Jazz Popes. I think Dave wrote some of his best material for that band. Although David's post-THR refinement of his songwriting style didn't meet with the immediate commercial success of Mark's Morphine catalogue, I felt the material was just as interesting and unique as the latter's... but with a few more lyrics thrown in. Dave and his wife Katie played the ocassional show together when they could get a good babysitter under the name the Heygoods. Their performances at Billy Ruane's Valentine's Day '98 show at Green St, Grill and at Skeggie's Spring '98 Plough and Stars gig were thouroughly enjoyable, and shows at the Toad in summer '98, and in September at Green Street Grille revealed an act that just kept getting better. Here's a few pictures, and the Heygoods article has a lot more. You can also find a link there to the new Heygoods
Discography
Treat Her Right (1986)
Tied to the Tracks (1989)
What's Good for You (1991)
The Anthology 1985-1990 (1998)
The Lost Album (2009)
Presenters (left-to-right): Paul Watts, Amelia Pauley Louden, Linda Little, Debba Haupert, Daniel Johnson, Jr.
Participants speaking at the World Economic Forum on Latin America 2018 in Sao Paulo, Brazil. Copyright by World Economic Forum / Benedikt von Loebell
I found this bar on the bottom of the Mac interesting. Taken as we were getting the screen projector set up.
Taken with Pentax Q and Samyang 650-1300mm lens
Focal length equivalent: 7150mm
Distance to subject: 1.6 km