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Suche nach „gluck gluck“ 21 Treffer gluck. Interjektion - 1. lautmalend für das Glucken der 2. lautmalend für das Gluckern einer Zum vollständigen Artikel . Jeden Tag Alkohol: Gluck, gluck, gluck. InterviewManfred Rebhandl 6. Juni , Postings. Alkoholkranke sehen lange Zeit nicht, dass sie abhängig. Übersetzung im Kontext von „gluck gluck [Trinkgeräusch“ in Deutsch-Englisch von Reverso Context.

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A roof terrace, with a deck for yoga, crowns the structure. Architects are more sensitive to cost, schedule, and material issues during design, and more attuned to addressing quality issues during construction.

Our impression is that this is what clients want. Best of Hauser Crazy Horst. Tower House is featured in the special edition, Best of Hauser: Our editors look at hundreds of websites per week.

What do they admire and appreciate the most? Sites that are not only clean, but fast. Filters and facets are our best friends.

Fifty-six modules were prefabricated and factory-finished off site in Pennsylvania while construction workers poured the concrete foundation.

On top of the first floor, which houses commercial space, the modules were stacked to form 28 residential units, ranging from studios to three-bedroom apartments.

The process took ten months, shaving six months off the construction schedule for a traditionally built multifamily residence of the same size.

City Realty August 22, Rivington: A new building that is current, modern, and responds to the things we think about now and that excite us now.

Hopefully it will have that same excitement that the old building had to its user. Built for a large family of seven, the property is situated on a sandy stretch of private beach on the shores of Lake Michigan, bringing life to a picturesque plot that had been empty for over a decade.

The climate is ripe for new developments, which are springing up with regularity all across the city [ He has been outspoken about the traditional divisions between architecture and construction and how post-occupancy is understood.

Since the design team leads the entire process, from concept to construction completion, team members can analyse, interpret and respond to post-occupancy issues with immediacy.

Real Estate Weekly September 25, The architects who are building themselves a new future. The panel's moderator, Susan Szenasy, the editor and chief of Metropolis Magazine, told the audience, "New York is such a developer town, we think that developers are kings.

In fact they have been given that role here. I think there's some reason that they're reticent and there's all this sort of protecting your creative role, but at the same time, feeling that the money or the development or the kind of nasty reputation of development will rub off on you," said Szenasy.

Patience might be a virtue, but impatience has a power of its own. Instead, he and a small but ever-rising number of local architects have been taking a DIY approach with residential projects, developing their own designs.

In doing so, they have gained greater control and efficiency in their work process, shed frustrating developer-client constraints, and created noteworthy new living spaces in New York City.

Simply called Bridge, the story apartment tower will officially move forward with construction [ They were among the hundreds of supporters from the worlds of tennis, fashion, government and civic engagement who gathered at the new facility, which has been 15 years in the making.

The facility is a tribute to Leeds' late son Cary, a star on the Yale University tennis team who went on to become a world-ranked player, ranking No.

Open and five Wimbledon tournaments, where in he reached the semifinals in mixed doubles. A world-class tennis center is set to open in the Bronx next month.

Like so many other industries, architecture is undergoing profound change, much of it driven by technology, which in turn is undermining the economic foundation of the profession.

How architects get paid for-is in flux. The smartest and most profitable firms are identifying new opportunities and creating a broader definition of what constitutes architectural services.

The building's interior, too, states clearly that this is a house of the 21st century. Designing their own homes also allows architects to take more risks.

The dark surface reflects the trees and sky, allowing the structure to blend into the landscape [ Interior Design March Big Ideas: Apartments span multiple modules.

No cookie-cutter boxes here. BIG little house Scholar's Library. Located two hours north of Manhattan, on a heavily wooded site near a reservoir, this simple form sits directly on the ground.

It appears as an unexpected folly in the forest. The client, a scholar of Japanese history and wife of the architect originally requested a new chair for her desk.

The new chair project quickly became a new desk project. Soon, the really hard question "what are you going to do with all of these books?

A new seven story apartment building called "The Stack" is the first multi-family modular building in the city, developers say, providing moderate income housing.

Built entirely at a site in Pennsylvania, the 56 modules were constructed and outfitted in a controlled environment.

They were shipped to the site and after the foundation and first floor supports were constructed, the modules were hoisted into place in just 19 days.

Gluck's firm is the designer, one of the co-developers and construction manager on the project. Nomadic Newark school gets a lesson in offsite construction.

The grand finale of the whole [townhouse] is the top floor, the preferred retreat of the couple, which opens out to a private roof terrace. The surrounding panorama of the midtown Manhattan high-rise "giants" is fantastic.

Do you think all architects should practice architect-led design build? Do you think there's still a place for other practice models?

I wouldn't say that all architects should practice designbuild. I do think that all architects should expand and involve themselves more.

I think we've lived through a period of time when the role of the architects has seen a series of limitations of their involvement.

Architects used to supervise their work; it was standard practice. Now architects are told not to supervise their work.

The Stack also dispels the myth that prefabrication limits the size and shape of the final product: While the Tower House is a beautifully calibrated, artificial object in its forest setting, part of its appeal is found not in its visual presence, or the arrangement of space, but in the resolution of the practical issue of energy use.

The arrangement of the kitchen and bathrooms in a stack means that they form a vertical thermal core, which can be isolated and heated when the house is closed in winter, to avoid both frozen pipes and excessive heating bills.

Because of such measures, the tower House uses a third of the energy of a house of comparable size. With regard to cooling, Peter Gluck is quite adamant that 'we don't go to the country to be air-conditioned', and describes how the adaptation of an attic fan system used in traditional American houses was influential in their thinking.

Air is heated through the glass in the stair enclosure and, by creating a difference in pressure, air from outside is drawn in through small awning windows or horizontally placed casement windows.

At night, either an open hatch at the roof level or a fan positioned under the roofline draws warm air out of the building through the stack effect.

Elevation offers many special - and often sublime - advantages. Living up high provides a feeling of openness and light, as well as a greater sense of space and freedom.

But it also offers the temptation of a home that engages with a vista full of interest and promise. This is especially true of a fresh generation of rural tower houses.

Like their urban cousins, they offer an enticing vantage point, yet are also belvederes with a powerful and intimate connection with their bucolic surroundings.

These buildings are, in turn, distinguished by massive lake-facing glass facades, camouflaged by wooden screens designed to maximize both privacy and views.

The project, explained Chang, "was really about sculpting in and out of the landscape, manipulating the ground plane. First, "it gave us a new level area for the clients to hang out outside," said Chang.

In Midtown Manhattan, this urban townhouse is a spectacular eye-catcher. While its modern steel front mimics the familiar brick facades of the older surrounding buildings, this new building makes it clear: This is a house of the 21st century.

Modular-building boosters, including traditional owners, developers, contractors and designers maintain that off-site construction is faster, safer, leaner, greener, better quality and potentially less costly than site construction.

But there is a big hitch, they caution: And that is no simple proposition. Brown, the developer and general contractor for the Stack, a mostly factory-built seven-story residential building in Upper Manhattan that opened in May.

It's not easy to be first. The team that built the seven-story Stack in Upper Manhattan, New York City's first steel-framed modular mid-rise building, knows that from experience.

The developer of the unit residential building—at It also took "a few years to figure out the best design" for the ft-deep, ft-wide lot, which is not an ideal dimension for an apartment building, says Jeffrey M.

Brown, the building's co-developer, with Kim Frank, and general contractor, under the firm that bears his name. The solution was a U-in-plan shape that provides a ft-sq courtyard, which offers more exposures.

Perspecta 47 August Interview: TG Our attitude starts with a global perspective on where the profession has been, where it is right now, and where it's going.

What's happened over time is that through trying to limit professional liability and reduce risk, the profession has also limited its own role and capacity to engage effectively.

Sometimes we talk about architect-led design-build as a strategy to regain control over the building process, but "control" can conjure up a desire for complete power.

The control we're interested in is instead the ability to follow the clients' interests and the conceptual underpinnings of a project through to completion.

As the architect retreats back to an increasingly narrow realm of influence, he or she limits the ability to craft a building that truly serves the client and the urban, social, and economic contexts.

The Nation August , Little Boxes. New York City's first true modular apartment building--the Stack, erected in a mere nineteen days--opened recently in Manhattan's northernmost neighborhood of Inwood.

It's a nice-looking building designed by Peter Gluck , but the apartments are a more conventional mix of unit types, none of them micro.

This is a promising development that should help diminish resistance to modular construction by those who know it only through its shabbiest and most unattractive examples.

Isn't this a better idea than stuffing people into spaces that can only be inhabited by childless Zen masters and anal-retentives?

Shouldn't the city be a place where the investigation is of how to produce choice and not compulsion? Architectural Digest August High Fidelity.

Every architect commissioned to design a mountain home that's sympathetic to its setting faces the same challenge: Despite the inevitable urge to triumph over topography by building at the summit, embracing a more modest accommodation can sometimes be a better path to achieving domestic bliss in the clouds.

Situated well below the highest point on the property, at the edge of a sunken meadow ringed by trees and close to a precipice with a hundred-mile view to the bright lights of Charlotte, the residence strikes an elegant balance between exposure and protection, between high-altitude splendor and grounded repose.

All of which was accomplished while adhering to environmental standards rigorous enough to earn the project a LEED Silver certification.

The integration of building and landscape enhances the experience of the site…what was inhospitable and uninhabitable becomes new playing fields, outdoor dining terraces and recreational lookouts to more fully experience the exceptional characteristics of the geography of that particular place.

Design-build differs from conventional project delivery in that a single firm is responsible for both design and construction.

Proponents of the method argue that by repairing the breach between architecture and building design-build benefits both clients and architects, and produces better designs.

Fact or fiction, it is a common perception that the design and construction process is plagued with problems: Some architects have been pursuing a remedy for this fraught situation--the project delivery method known as design-build.

Until recently, most practitioners were reluctant to be too involved in construction. But that may be changing, with new approaches that make design-build a more viable alternative--one that gives the architect more control over the building process and the completed project.

According to the professional association the Design-Build Institute of America DBIA , "design-build is a method of project delivery in which one entity--the design-build team--works under a single contract with the project owner to provide design and construction services.

Fans of design-build tout its advantages. They say it provides the client with the convenience of a one-stop shop, or a single point of responsibility, for both design and construction.

They maintain that it provides tight control of costs and schedules. And they claim it fosters greater collaboration, and therefore results in a less adversarial process, and ultimately produces higher-quality buildings.

We headed miles north of Manhattan to a luxury eco retreat in upstate New York, designed by architect Thomas Gluck.

Called the Tower House, it offers elevated living and uninterrupted mountain views of the Catskills. Not only is it a gorgeous work of art, it's designed to be sustainable and energy efficient.

Marketplace April 21, Prefab apartment buildings on the rise. A big chunk of the substantive consumer goods that we buy, from watches to cars to dishwashers, is built in a factory someplace.

One notable exception until now, housing. From New York, Dan Bobkoff explains: I'm in Upper Manhattan, a new apartment building called 'The Stack'.

And by design, it looks kind of like a collection of staggered lego blocks. On the inside, it's like any other modern building in New York.

The Tower House sits on a small plateau above the rest of the property and relies on a combination of wood platform construction and steel.

Covering the armature is a skin that includes olive-green fritted glass, as part of a rainscreen cladding system, and insulated vision glass.

This slick envelope simultaneously emphasizes the structure as a man-made object and acts as camouflage, reflecting the house's environs and altering its appearance over the course of a day, with the passage of seasons, and in changing atmospheric conditions.

Bold designs, innovative business models, and risky projects define the best in architecture this year. With Architect Led Design Build, Peter Gluck and his team ensure quality and efficiency from idea to execution by seeing a building through the entire process of design and construction.

Best New Private House. But just a block north, another development is under way that is unlike any other in Manhattan. The Stack, the city's first multistory modular apartment building, is anticipated to come on the rental market this month.

The seven-story building was prefabricated in a Pennsylvania factory, shipped to Inwood in 56 modules, and was assembled on-site in the byfoot lot at Broadway.

Much is going on in New York. The city is being transformed at a rapid pace. Large projects are being produced on available sites that require massive amounts of capital, over existing railroad yards, or huge former industrial sites, eg.

Atlantic Yards or Trump Place. Deteriorating rail lines, waterfront piers of former times are being repurposed or converted to parks and public recreational areas, eg.

Unfortunately a major element of change is being driven by "gentrification. This phenomenon is effectively changing vast areas of the existing fabric.

With little focus or scrutiny from the "design community," it is developer-driven and for the most part done without much thought. In major portions of the city, this will become the city of the future.

Architectural thinking is seen as a luxury item not relevant to the real needs of the development process. Architects need to acquire multi-faceted knowledge and accept previously shunned responsibilities to ensure the quality and cost of the built result in order to change this perception, and merit participation.

All players in the process of designing and building have retreated into ever shrinking silos of responsibility.

There are many needed pluses. With the addition of these pluses, architects can be the logical quarterbacks of the development game. In architect-led design-build [ALDB], the architect is the full-service leader of the design-build team, taking responsibility for the entire process From the owner's point of view this can better reflect the need for a single source that is responsible for the design, costing, and production of the project, led by the entity that has originated the design and can take responsibility for its execution It is a continual collaboration between the architect and the construction trades and manufacturers, as well as the owner, which can provide agile responsiveness to the nonlinear process of producing a building.

In ALDB, this process can be a continuum from conceptual design to the ultimate commissioning of the building. C3 November Pool Pavilion.

Without any outstanding architectonic outline, the architects designed it to look more like a glass pavilion in a garden, half buried, merging into the landscape as part of it.

Completed in , the Tower House is a striking and unexpected sculpture sitting in the forest, with a tall, vertical shaft climbing upwards and intersected at the fourth storey by a horizontal, cantilevered box holding the main living spaces, looking outwards to the mountains.

Gluck, who started thinking about the design of the house back in , built a full-scale scaffold tower on the site before starting construction, just to test that the idea would work and that the view would be open enough.

It's one of a number of buildings on the property that has been in the family for many years. Later he added a guesthouse, called the Bridge House, at the base of the forested plateau.

There's also the Scholar's Library, a sublime study and book repository designed for Thomas's mother, Carol, who is a professor of history at Columbia University.

Like the rise of the nouveau riche, the dazzling state-of-the-art buildings touted by New York's newest schools can be viewed askance by some of the centuries-old institutions that rule the city's private-school scene.

Their modest--to put it politely--facilities are badges of honor, their reputations rooted in intellect and character, they say, not cutting-edge cafeterias.

So when Collegiate School--an all-boys K institution on the Upper West Side that has been in its current location since announced this year it would move to a brand-new building in the same neighborhood, the reaction was, perhaps, predictable: School officials gave the architects simple instructions: Make it nice, but not too nice.

It wasn't a function of having a shiny new building. New photography by Yoshio Futagawa. It took only 19 days to rise from foundation to seven stories tall -- and now "The Stack" in the Inwood section of Manhattan is New York City's first prefabricated apartment building.

He and his team of architects realized in order to do that, they'd have to totally reverse the way family-centric homes are traditionally laid out.

A bright yellow staircase leads from the house's base, up through the bedrooms to an observation deck-like communal space that rises above the tree line.

Architectural Record August House in the Mountains. The reasons are compelling--the grass roofs reduce energy loads and their low profile doesn't impinge on the natural landscape.

In the case of a 2,square-foot guesthouse in the Colorado Rocky Mountains, the clients Icon July Tower House.

The neutral colors and materials that camouflage the house are interrupted by the distinct yellow hue of the staircase -- a part of the house Gluck says should be embraced.

Just as the ladder is the entrance to the tree house, so the staircase is part of the conceptual experience of being up in the trees.

The family weekend house of Thomas Gluck is designed and built to save energy and minimize its environmental impact. Located north of New York City, the 4-story vertical house resembles a glass-cladded letter T, with the yellow staircase visible through the clear glass Is There A Real Renaissance?

In New York's Inwood neighborhood, workers are busy stacking together weighty prebuilt modules made in Pennsylvania, as they piece together one of the city's latest and more notable residential complexes built almost entirely offsite.

Prefabricated construction, as it's technically known, is constructing a building away from its ultimate location. Developers and architects increasingly look to the technique as a way to save time and money, even as they try to shake off the technique's negative associations.

In the case of Inwood, project principals at the apartment complex dubbed "The Stack" point out that construction should take only 10 months from start to finish, down from the 16 months they would project for traditional construction.

Architect Magazine July Stacks on Stacks. Despite the touted economy of off-site, prefabricated housing, the building methodology has made limited inroads in New York, stunted for decades by a wary local bureaucracy and a public that seemed to prefer flashy one-off condominiums.

Following a exhibition at the Museum of Modern Art, however, interest in the potential that prefab offers for the dense urban environment was renewed.

That interest only grew more urgent after Hurricane Sandy devastated parts of New York in , leading officials to reexamine prefab prototype disaster-housing schemes.

That is all the time it took to put up a unit, six-story apartment building in the Inwood section of Manhattan this summer. Working Monday through Friday from June 20 to July 18, a crew of just eight iron workers, a crane operator, and half-a-dozen helpers installed the 56 modules that make up the apartment building at Broadway.

In a bow to the property's innovative construction technique, the building is to be known as The Stack. Given that this is the first one we've ever done, this went amazingly smoothly.

By the end of the summer, uptowners can live in a Lego house: Broadway Stack is a unit moderate-income apartment complex built with 56 prefabricated modules.

The modules were assembled off-site in a former subway car factory and then shipped to Inwood, where they are being stacked to form a seven-story tower.

Standing at the edge of the lot, we discussed the history of modular and prefabrication building methods, and why they are again relevant.

An inclination toward viewing architecture less as an art form and more as a high-tech solution to society's problems marked a shift in thinking for Gluck and his professional peers.

National Mortgage News July 22, N. A multifamily building under construction in a working-class Manhattan neighborhood promises to offer a new avenue to creating moderate-income housing in urban areas.

In a first-of-its-kind building project for New York, the apartment, seven-story structure is being put together with modular units that are constructed off site.

It's precise work, with the 56 modulars that make up this steel and concrete structure delivered by truck and then lifted by cranes and slowly and carefully set into place.

Trucking thousands of building modules weighing up to 25 tons and as wide as two Hummers is a challenge in a densely packed city like New York, one complicated by narrow side streets and aging bridges.

A case in point is Broadway, in the Inwood section of upper Manhattan. Brown Associates is building 28 apartments from 56 modules that are being fabricated in Pennsylvania.

Real Estate Weekly July 17, City's first modular apartment building unveiled. New York City's first multi-unit modular residential building was unveiled to the public last week in northern Manhattan.

The unit rental building is expected to be completed in September when the apartments will be leased by a team from Douglas Elliman and Newmark Grubb Knight Frank will handle marketing of the retail space at the base of the building.

Architectural Record July Stacking Up. On Thursday contractors plan to top out a seven-story, unit apartment building known as the Stack on an infill site in Upper Manhattan.

The event would be unremarkable, except that four weeks ago, the only part of the structure that had been erected on the foot-wide by foot-long lot was the first floor framing.

Now it is completely enclosed, and has its interior partitions as well as plumbing fixtures, countertops, doors, and hardware--even the toilet paper dispensers have been installed.

These components, which make up the studio, one-, two-, and three- bedroom apartments, have been trucked to the site with all interior finishes in place and stacked by crane at the rate of about four per day since June On a sizable, mid-block site in Inwood, near the northernmost point of the island, what might be New York's first prefab steel-and-concrete apartment building is taking shape.

The foot-wide, foot-deep lot is sprinkled with a few cranes and what look like trailers but are actually building modules. From across the street, pedestrians stop in their tracks as each of the foot-long oblongs seemingly takes flight.

The result is a 'tree house for grown-ups' that is mindful of its natural surroundings and indebted to its geographical location: We are proud to be the first to release the studio's video about this bold project in upstate New York: Click here to subscribe.

In the article about Tower House that was published in Mark 44, we printed the name of the studio as Peter Gluck and Partners.

Innovation, Grace and Style. A mini-house on steroids that recalls a forest ranger's watchtower. It shows the optimism of an architect.

Dark green, back-painted glass of the rainscreen wall cladding camouflages the house by reflecting the surrounding woods. The tower is a glass-enclosed stair that ascends from the forest floor to a treetop aerie connecting all levels of the building up to a rooftop terrace.

The south-facing stair creates a solar chimney- as heated air rises, it is exhausted out the top, and fresh air enters the house from the cooler north side.

Spreading out from the top of the stair is the main living space, cantilevered 30 feet from the ground. Interni May The Tower House. To play pranks and to shout to those passing underneath.

It's an exciting time for modular building, especially in New York, and as someone who has been deeply immersed in the world of prefabrication for over a decade, I am glad to see the much-maligned building technology finding its proper niche.

It's the killer app for the modular industry. B2, a story tower that is part of a 1,unit, mixed-use complex designed by SHoP Architects for Brooklyn's Atlantic Yards, will soon be the tallest modular building in the world.

It's a fun and effective way to condense the main thesis behind a project without resorting to archi-speak. It's also a good bit of marketing.

A simple subversion like "horizontal skyscraper" immediately makes a potentially interesting or uninteresting project that much more compelling.

The four-story-high-building is configured to resemble Lego blocks, an analogy that extends to the house's bright yellow and green color scheme.

A vertical bar, the "tower," is bisected at its summit by a wide horizontal volume, which appears to conquer gravity with the most minimal of supports.

An increasing desire to house visiting friends and family in privacy has given rise to striking stand-alone spaces that double as anything from a pool house to a music room.

Dominic Bradbury reports on a forward-looking generation of guest lodges. One of the great pleasures of having a beautifully designed home is sharing it with others, and in an age when friends and family are often spread far and wide, entertaining house guests has attained a special level of importance.

Small wonder, then, that architects and their clients are approaching the business of creating inviting spaces for visiting friends and family with new enthusiasm and a fresh eye.

And hence the rise of an ambitious generation of guest lodges: On Monday night, a crowd of assembled at a construction site in Harlem for the first panel in a series called "Changing Architecture.

Szenasy, focused on the need for architects to develop a wider skill set that will enable them to take a more involved role in the building process of their projects.

He is a strong believer in architects getting their hands dirty at the construction site, working with communities, and being held responsible for a project coming in on budget.

He remarked that "Architectural thinking is seen as a luxury item not relevant to the real needs of the development process Architects need to acquire multi-faceted knowledge and accept previously shunned responsibilities in order to change this perception.

There exists a long tradition of architects designing houses for themselves, many of them becoming historically notable works of architecture because of experimentation, a mix of living and working spaces, and an obviously unique architect-client relationship.

The list of architects and houses goes on, with preth-century examples found in Thomas Jefferson's plantation home at Monticello and Sir John Soane's house-museum in London, to name just two.

A Stairway to the Treetops: A chameleonlike house--which changes with the seasons and throughout the day--provides a perch for total immersion in the surrounding woods.

Architecture need not always be serious. And nowhere is lightheartedness more fitting than in a vacation house. One such playful example is the Tower House--a 2,square-foot structure on a sloping, wooded site in Ulster County, New York, about miles north of Manhattan.

It is completely glass-clad and has three bedrooms and adjoining baths stacked one on top of the other to support a living and dining room cantilevered 30 feet from the ground.

A switchback stair, with bright-yellow treads and risers, connects all four levels and leads to a rooftop deck. The goal, says Gluck, was to create an aerie within the trees and take advantage of views of nearby Catskill Park, a vast state forest preserve.

A vacant lot on Broadway between Academy and th Streets in Inwood is littered with rubble and concrete pilings. But in a matter of weeks, this foot-wide sand pit will be transformed into a seven-story apartment building, with finished bathrooms, maple cabinetry and 10 terraces.

It is not a magic trick, but rather the result of modular, or prefabricated, construction. A technique in which a building is manufactured piecemeal on a factory assembly line, trucked to the construction site and erected much the way Legos are, modular construction is gaining popularity across New York City.

Domus March 5, Making Room. An exhibition at the Museum of the City of New York attempts to disrupt the city's present housing situation, exposing the key housing regulations and policies and reinforcing the ambition to produce real and tangible change.

An architecture report from New York by Leigha Dennis. Housing in New York City is not easy to find. That is no secret. The city's population is at its highest and steadily increasing.

In the next 20 years, the population is expected to grow by roughly , people, and yet housing conditions are already compromised.

Many New Yorkers are living in illegal and often unsafe shared and informal arrangements. But what will happen when more people must squeeze in?

Where will they live? How will the city make room? It will be the 17th move for the school since its founding in New Amsterdam in , but the first since , when the West End Collegiate Church and the Collegiate School moved to the Upper West Side.

A pure and elegant cube matches the unity of the building's purpose and form, in both programmatic and metaphorical terms.

The first floor of this forest library houses the main book stacks and remains completely closed to the outdoors.

On the second floor, the structure opens up to let in light and views for a scholar's working study. The structure expresses this dual character, with the floating roof cantilevered off the second floor to highlight the distinction between solid and void.

The windows open on all four sides, to produce a light and airy feeling. The changing seasons outside act as evolving backdrops for the project, moving from green to orange and then white over the course of the year.

Domus October Affordable by Design. When it comes to affordable housing in New York, the strongest arguments for better design are often not architectural but political or economical.

This past July, decision makers from the sectors of policy, finance, real-estate development and design gathered for a 1-day session on the 47th floor of the Deutsche Bank's Wall street office in new York to discuss strategies aimed at "Lowering the Cost to Develop and Sustain Affordable Housing".

With the backdrop of Grank Gehry's recent. Philadelphia Inquirer September 15, Changing Skyline: Old City plan deserves praise, not opposition.

Forget the government's economic indicators. You know that Philadelphia's real-estate market is coming out of the doldrums when an old-time, bare-knuckle skyscraper fight breaks out in Old City.

The scene is a familiar one: They produced one of the city's best designs of the period, an accommodating foot-high midrise. The Old City Civic Association loved it, but the market collapsed before it was built.

Because the zoning permits were filed last month the building is subject to old code. The group voted 11 to 1 to oppose the project. There his first opera, Artaserse was performed on 26 December , dedicated to Otto Ferdinand von Abensberg und Traun.

Set to a libretto by Metastasio , the opera opened the Milanese Carnival of According to one anecdote, the public would not accept Gluck's style until he inserted an aria in the lighter Milanese manner for contrast.

Nevertheless, Gluck composed an opera for each of the next four Carnivals at Milan , with renowned castrato Giovanni Carestini appearing in many of the performances, so the reaction to Artaserse is unlikely to have been completely unfavourable.

He also wrote operas for other cities of Northern Italy in between Carnival seasons, including Turin and Venice, where his Ipermestra was given during November at the Teatro San Giovanni Crisostomo.

Nearly all of his operas in this period were set to Metastasio's texts, despite the poet's dislike for his style of composition. In Gluck accepted an invitation from Lord Middlesex to become house composer at London's King's Theatre , probably travelling to England via Frankfurt and in the company of the violinist Ferdinand Philipp Joseph von Lobkowitz, the son of Phillip Hyacinth.

The timing was poor, as the Jacobite Rebellion had caused much panic in London, and for most of the year, the King's Theatre was closed.

Six trio sonatas were the immediate fruits of his time. Gluck's two London operas, La caduta de' giganti and Artamene eventually performed in , borrowed much from his earlier works.

Gluck performed works by Galuppi and Lampugnani , who both had worked in London. A more long-term benefit was exposure to the music of Handel — whom he later credited as a great influence on his style — and the naturalistic acting style of David Garrick , an English theatrical reformer.

On March 25, shortly after the production of Artamene , Handel and Gluck together gave a concert in the Haymarket Theatre consisting of works by Gluck and an organ concerto by Handel, played by the composer.

Charles Burney reports Handel as saying that "he [Gluck] knows no more of contrapunto , as my cook, Waltz ". The years and brought Gluck two highly prestigious engagements.

First came a commission to produce an opera for Pillnitz , performed by Pietro Mingotti 's troupe, to celebrate a royal double wedding that would unite the ruling families of Bavaria and Saxony.

Le nozze d'Ercole e d'Ebe , a festa teatrale , borrowed heavily from earlier works, and even from Gluck's teacher Sammartini. The success of this work brought Gluck to the attention of the Viennese court, and, ahead of such a figure as Johann Adolph Hasse , he was selected to set Metastasio's La Semiramide riconosciuta to celebrate Maria Theresa 's birthday.

Vittoria Tesi took the title role. On this occasion Gluck's music was completely original, but the displeasure of the court poet, Metastasio, who called the opera " archvandalian music", probably explains why Gluck did not remain long in Vienna despite the work's enormous popular success it was performed 27 times to great acclaim.

For the remainder of and Gluck travelled with Mingotti's troupe, contracting a venereal disease from the prima donna and composing the opera La contesa de' numi for the court at Copenhagen, where he repeated his concert on the glassharmonica.

In he abandoned Mingotti's group for another company established by a former member of the Mingotti troupe, Giovanni Battista Locatelli.

The main effect of this was that Gluck returned to Prague on a more consistent basis. For the Prague Carnival of Gluck composed a new opera, Ezio again set to one of Metastasio's works, with the manuscript located at the Lobkowicz Palace.

His Ipermestra was also performed in the same year. The other major event of Gluck's stay in Prague was, on 15 September , his marriage to Maria Anna Bergin, aged 18 years old, the daughter of a rich but long-dead Viennese merchant.

The year brought another major commission to Gluck, when he was asked to set Metastasio's La clemenza di Tito the specific libretto was the composer's choice for the name day celebrations of King Charles VII of Naples.

The opera was performed on 4 November at the Teatro di San Carlo , and the world-famous castrato Caffarelli took the role of Sextus.

For Caffarelli Gluck composed the famous, but notoriously difficult, aria "Se mai senti spirarti sul volto", which provoked admiration and vituperation in equally large measures.

According to one account, the Neapolitan composer Francesco Durante claimed that his fellow composers "should have been proud to have conceived and written [the aria]".

Durante simultaneously declined to comment whether or not it was within the boundaries of the accepted compositional rules of the time. He wrote Le cinesi for a festival in and La danza for the birthday of the future Emperor Leopold II the following year.

In Gluck produced the groundbreaking ballet-pantomime Don Juan in collaboration with the choreographer Gasparo Angiolini ; the more radical Jean-Georges Noverre was involved for the first time?

By that time, Gluck created musical drama, based on Greek tragedy , with more compassion, influencing the latest style Sturm und Drang.

Under the teaching of Gluck, Marie Antoinette developed into a good musician. She learned to play the harp , [45] the harpsichord and the flute.

She sang during the family's evening gatherings, as she had a beautiful voice. In Spring , she took under her patronage her former music teacher and introduced him to the Paris public.

Gluck had grove ways, demanded strict adherence from the cast when rehearsing. The soprano Arnould was replaced. He insisted that the chorus, too, had to act and become a part of the drama — that they could no longer just stand there posing stiffly and without expression while singing their lines.

Gluck was assisted by Gossec , director of the Concert Spirituel. Marie Antoinette received a large share of the credit. Gluck had long pondered the fundamental problem of form and content in opera.

He thought both of the main Italian operatic genres, opera buffa and opera seria , had strayed too far from what opera should really be and seemed unnatural.

Opera buffa had long lost its original freshness. Its jokes were threadbare and the repetition of the same characters made them seem no more than stereotypes.

In opera seria , the singing was devoted to superficial effects and the content was uninteresting and fossilised.

As in opera buffa , the singers were effectively absolute masters of the stage and the music, decorating the vocal lines so floridly that audiences could no longer recognise the original melody.

Gluck wanted to return opera to its origins, focusing on human drama and passions and making words and music of equal importance.

Francesco Algarotti 's Essay on the Opera proved to be an inspiration for Gluck's reforms. He advocated that opera seria had to return to basics and that all the various elements—music both instrumental and vocal , ballet, and staging—must be subservient to the overriding drama.

In Vienna, Gluck met like-minded figures in the operatic world: The first result of the new thinking was Gluck's reformist ballet Don Juan , but a more important work was soon to follow.

On 5 October , Orfeo ed Euridice was given its first performance, on a libretto by Calzabigi, set to music by Gluck. Gluck tried to achieve a nobel, Neo-Classical or "beautiful simplicity".

The dances were arranged by Angiolini and the title role was taken by Guadagni, a catalytic force in Gluck's reform, renowned for his unorthodox acting and singing style.

Orfeo , which has never left the standard repertory, showed the beginnings of Gluck's reforms. His idea was to make the drama of the work more important than the star singers who performed it, and to do away with dry recitative recitativo secco, accompanied only by continuo that broke up the action.

Calzabigi wrote a preface to Alceste , which Gluck signed, setting out the principles of their reforms:. Joseph von Sonnenfels praised Gluck's tremendous imagination and the setting after attending a performance of Alceste.

On 11 September Burney went to see Gluck to say goodbye; Gluck was still in bed, as he used to work in the night. As his operas were not appreciated by Frederick the Great , Gluck began to focus on France.

The premiere on 19 April sparked a huge controversy, almost a war, such as had not been seen in the city since the Querelle des Bouffons.

The composers themselves took no part in the polemics, but when Piccinni was asked to set the libretto to Roland , on which Gluck was also known to be working, Gluck destroyed everything he had written for that opera up to that point.

On 2 August the French version of Orfeo ed Euridice was performed, more Rameau -like, [56] with the title role transposed from the castrato to the tenor voice.

This time Gluck's work was better received by the Parisian public. In the same year, Gluck returned to Vienna, where he was appointed composer to the imperial court 18 October after 20 years serving as Kapellmeister.

Over the next few years, the now internationally famous composer would travel back and forth between Paris and Vienna.

He became friends with the poet Klopstock in Karlsruhe. On 23 April , the French version of Alceste was given.

During the rehearsals for Echo et Narcisse in September , Gluck became dangerously ill. The opera was announced as a collaboration between the two composers; however, after the overwhelming success of its premiere on 26 April , Gluck revealed to the prestigious Journal de Paris that the work was wholly Salieri's.

In Vienna Gluck wrote a few more minor works, spending the Summer with his wife in Perchtoldsdorf , famous for its wine Heuriger. Gluck suffered from melancholy and high blood pressure.

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