The video begins with a brief introduction by Museum Director Carol Willis, followed by individual presentations by Don Friedman and Tom Leslie, then questions and dialogue with commentator Alexander Wood. in Architecture from Columbia University's GSAPP in 2020, and he is currently the Helen and Robert Appel Fellow in History and Technology at the New-York Historical Society. Wood is a historian of American architecture and urbanism, with a particular interest in the history of capitalism, construction, and labor. His book, The Structure of Skyscrapers in America, 1871-1900: Their History and Preservation (APT, 2020) surveys the development of high-rise buildings across the country in the last decades of the nineteenth century.ĪLEXANDER WOOD will be a respondent to the talks. He is the author of several books, including Historical Building Construction (1995, rev. A winner of the 2013 Booth Family Rome Prize in Historic Preservation and Conservation at the American Academy in Rome, he is also the author of Beauty's Rigor: Patterns of Production in the Work of Pier Luigi Nervi (University of Illinois Press, 2017).ĭONALD FRIEDMAN, president of Old Structures Engineering, has thirty years of experience as a structural engineer, working on both the construction of new buildings and the renovation of existing structures. He is the author of Chicago Skyscrapers, 1871-1934 (Champaign: University of Illinois Press, 2013), and is currently writing its sequel Chicago Skyscrapers, 1934-1986. THOMAS LESLIE is the Morrill Professor in Architecture at Iowa State University where he researches the integration of building sciences and arts, both historically and in contemporary practice. Differing approaches in New York and Chicago forged subtly different solutions. The advent of lightweight terra cotta allowed architects to combine ceramic's resistance to fire with iron's efficient strength, leading to hybrid structures that allowed the safe exploitation of the skeletal frame.įire also reshaped building codes, but new regulations reflected the competing desires of owners, tenants, architects, and skilled tradespersons that, in turn, influenced skyscraper massing and composition. Iron promised improvements over timber, but Chicago's Great Fire in 1871 revealed its vulnerability to collapse. Brick remained the only truly fireproof material, but owners and designers remained frustrated by its weight and inefficiency. ![]() This is a city.The fourth session of the Construction History series will examine the various dimensions in which the threat of fire affected skyscraper development. Claims of "fireproof building" were regularly disproved, often in cataclysmic fashion. ![]() The 101-story skyscraper is the worlds tallest structure designed by a woman. Let's not pretend you are in a single-family house. Scott Simon speaks with Jeanne Gang, the architect behind the St. "Our studio is interested in how architecture can build stronger communities, stronger relationships. This breaks down the old relationship between the high apartment and the distant skyline. "It was about letting people connect to the outside and connect to their neighbours in an interesting way," Gang says. From a distance, this produces a beautiful visual effect from the balconies themselves, people can look above and below to see their neighbours on their own balconies. ![]() At Chicago's Aqua Tower, completed in 2009, Gang wrapped a 250-metre rectangular tower with balconies that appear to ripple: the edges of the protruding balcony slabs are curved, and they bulge in different places on different floors. Studio Gang's work so far suggests a few ways to change things up. “In a building like that, a lot is structure and a lot is math” – physics and economics, in other words – “and there’s this narrow band to make it interesting.” Where other elite architects avoid the many difficulties of housing, “I like the challenge of it,” Gang says.
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