Tadao Ando, Rem Koolhaas and Kengo Kuma join fight to save Moscow’s Shukhov Tower

News: architects including Tadao Ando, Rem Koolhaas, Kengo Kuma, Thom Mayne and Elizabeth Diller have launched an urgent appeal to Russian president Vladimir Putin to halt demolition of Moscow’s iconic Shukhov Radio Tower.

The group is among a host of names from the fields of art, architecture and engineering to have signed an open letter to Putin calling for the preservation of the 160-metre conical steel structure, which was completed by Russian engineer Vladimir Shukhov in 1922 and has been dubbed as the Russian equivalent of the Eiffel Tower.

Written by historian Jean-Louis Cohen and photographer Richard Pare, both experts in Soviet architecture, the letter claims the tower represents “a unique contribution of Russian engineering genius” and “an essential part of Moscow’s heritage”.

It reads: “The Shabolovka Radio Tower, the largest such structure ever built, remains as Vladimir Shukhov’s masterpiece and his monument. It is one of the emblems of Moscow, and one of the superlative engineering feats of the twentieth century, still influencing and enriching technical and architectural ideas globally.”

Moscow's Shukhov Tower
Moscow’s Shukhov Tower – image courtesy of Shutterstock

The text also notes that the tower’s replacement could take advantage of a planning loophole, allowing it to bypass the city’s usual nine-storey height restriction and extend up to 50 storeys, presenting “a golden opportunity for a cynical modern Erostratus”.

Other prominent figures to have signed the petition include Tate director Nicholas Serota, Columbia University’s Robin Middleton, Canadian Centre for Architecture founder Phyllis Lambert and Royal Academy of Arts curator Kate Goodwin.

The campaign to save the tower was launched following an announcement on 25 February that the Russian State Committee for Television and Radio Broadcasting had agreed to dismantling the steel diagrid, having left it to deteriorate for years.

In 2009 Putin had expressed support for restoring the tower and transforming it into a tourist attraction. The following year Norman Foster put his backing towards a campaign to save the “structure of dazzling brilliance and great historical importance”, thought to have inspired the Gherkin skyscraper.

See the complete letter below, or see a full list of signatories here:


An open letter to President Vladimir Putin concerning the fate of the Shukhov Radio Tower on Shabolovka St. Moscow.
March 13 2014

Respected President Vladimir Putin,

On February 25, 2014, the Russian State Committee for Television and Radio Broadcasting agreed to the dismantling of the celebrated Shabolovka Radio Tower in Moscow, designed by the engineer Vladimir Shukhov and completed in 1922. No conclusive evidence of danger has been demonstrated, although deferred maintenance has had negative effects on the surface of the structure. This superlative work of modern engineering and architecture has withstood the test of time both in its structural innovation and as a symbol of the city of Moscow thanks to the genius of its designer and builder, Vladimir Shukhov, who is generally considered the Russian equivalent of Gustave Eiffel.

Built in order to broadcast wireless programmes of the early Soviet era, the transmitting tower was developed from the research into hyperboloids undertaken in the late 19th century by Shukhov. Using variants on the basic form, hundreds of water tanks, electrical pylons and lighthouses were erected throughout Russia. So brilliant was the concept that the design was even incorporated into US Navy dreadnoughts where the structural type was used for constructing observation and communications masts. The Shabolovka Radio Tower, the largest such structure ever built, remains as Vladimir Shukhov’s masterpiece and his monument. It is one of the emblems of Moscow, and one of the superlative engineering feats of the twentieth century, still influencing and enriching technical and architectural ideas globally. Yet this masterpiece, featured in all the histories of engineering and architecture, is now threatened with being torn down in order to be replaced by new construction. The opportunity presents itself for a speculative developer to take advantage of the fact that, under present planning regulations, it is permitted to build to the same height as an existing structure on any particular lot, without the requirement for any further planning permission. Most of central Moscow, in which the Radio Tower site is included, is restricted to nine stories, approximately 25m. The Radio Tower at 150m, should it be replaced, would permit a structure of about 50 stories, a golden opportunity for a cynical modern Erostratus.

Dismantling the tower and storing its components in order to rebuild it later, even if it were possible to do so, would be extremely hazardous, as there is no guarantee that reconstruction will even be possible. Most importantly, the link of the tower to the Shabolovka neighbourhood, a distinguished housing scheme of the heroic early Soviet period would be lost, also lost would be its function as a key component in the Moscow panorama and cityscape. The hypothetical structure, if it were to be recreated elsewhere, would lose much of its historical significance and all of its urban context.

Respected President Putin, we are urging you to take immediate steps to assure the preservation of this essential part of Moscow’s heritage, a unique contribution of Russian engineering genius to world culture. Instead of being dismantled, there is an urgent need for its careful conservation along international standards and to nominate this masterpiece into the UNESCO World Heritage List. This necessity has been discussed by national and international experts for decades. Please assure that this great structure be permitted to remain as a beacon and symbol of progressive, forward looking civilisation.

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join fight to save Moscow’s Shukhov Tower
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Michael Graves’ Portland Building faces threat of demolition

Michael Graves' Portland Building faces threat of demolition

News: Michael Graves’ seminal postmodern work the Portland Public Services Building is under threat of demolition, following news that the 32-year-old building needs more than $95 million worth of repairs.

Also known as the Portland Building, the 15-storey municipal office block in Portland, Oregon, was completed by American firm Michael Graves & Associates in 1982 and is credited with being one of the first major buildings of postmodernism, yet its demolition is one of several options under consideration by city officials following a recent analysis of the building’s condition.

According to the assessment, a complete overhaul of the building would require $95 million (£58 million), while replacing it or relocating could cost anything between $110 million and $400 million (£67 million and £243 million).

Michael Graves' Portland Building faces threat of demolition

The Portland Building has been plagued with major structural problems and defects ever since its completion, many of which are attributed to the tight $25 million budget of the original construction.

The recommendation of the report was to renovate the structure, which would take two years and require finding a temporary home for 1300 employees that currently work in the building. However, city commissioners have branded it a “white elephant” and are considering pulling down both this building and a neighbouring courthouse to make way for an all-new public services complex.

“My reaction is we should basically tear it down and build something new,” long-standing commissioner Dan Saltzman told local newspaper The Oregonian, describing the building as “a nightmare for people who work there”.

“There’s got to be a better option than putting another $100 million into a white elephant,” added Nick Fish, who oversees the city’s water and environmental services bureaus.

Responding to the news, architect Michael Graves described the Portland Building as “a seminal project”, as recognised by its addition to the USA’s National Register of Historic Places in 2011. “Of course my preference would be to repair the existing structure,” he said.

Michael Graves' Portland Building faces threat of demolition

Architectural historian Charles Jencks underlined the importance of the building in his influential book The Language of Post-Modern Architecture, where the author wrote: “The Portland still is the first major monument of Post-Modernism, just as the Bauhaus was of Modernism, because with all its faults it still is the first to show that one can build with art, ornament, and symbolism on a grand scale, and in a language the inhabitants understand.”

The news emerges in the same month that the Williams and Tsien-designed former American Folk Art Museum in New York is lined up for demolition to allow an extension to the neighbouring Museum of Modern Art, just 13 years after the building’s completion.

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faces threat of demolition
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Watchcase: Reinvention in Sag Harbor: Historic preservation brings new life to the abandoned Fahys Watch Case Company factory

Watchcase: Reinvention in Sag Harbor


Long Island’s Sag Harbor, a quiet Hamptons escape, has long maintained a community that holds history and preservation paramount. For the last seven years, a project has been underway to meet local standards and reinvent one of the village’s iconic structures. …

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Shark Toof: The graffiti artist talks about diving with, painting and saving his beloved predator

Shark Toof

by Vivianne Lapointe LA-based artist Shark Toof has made quite a name for himself for his dangerously bold depictions of the world’s most popular and misunderstood apex predator on street corners across the US. When asked about the genesis of his style and the reasoning behind his shark fetish, he…

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The Preservation Kitchen

Paul Virant goes through a year of pickles, preserves and aigre-doux

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From Paul Virant, chef-owner of the Chicago area’s Vie and Perennial Virant, comes a collection of recipes and techniques geared towards foods with a long shelf life. “The Preservation Kitchen” traces the Michelin-starred chef’s mission to dish out local and seasonal meals, offering instructions on proper canning techniques, full meal recipes and seasonal advice for pickled vegetables and fruit jams.

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The vibrantly photographed kitchen companion is rife with stories surrounding Virant’s forays into preservation and his Midwestern heritage: “I grew up eating pickles,” he writes. “My grandmothers, both from Missouri, were avid canners, their summer meals often punctuated with a plate of tart dill-marinated tomatoes served straight from the refrigerator.” While the anglo-American influence is heavy in his recipes for pickles and preserves, his classical French training shines through in his exhaustive treatment of aigre-doux and mostarda.

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Virant offers a practical set of guidelines for safe canning, breaking down the science and proper measurements for beginners, before launching into pickles, the foundation of his canning program. Going beyond strawberry preserves, the variety of recipes brings creativity to canning, from peach saffron jam and ramp sauerkraut to Virant’s Beer Jam Manhattan, which sweetens bourbon with a stout syrup and gets a brandied sour cherry as a garnish.

Recipes for preserves from the early parts of the book—which each come prefaced with a thoughtful introduction and chart outlining volumes and percentages—are later incorporated into seasonal meals in which Virant combines fresh ingredients with pantry-ready canned items, like grilled and pickled summer squash salad; chicken liver mousse with arugula, currant mostarda and grilled bread; and buttermilk ice cream with brandied peaches.

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Shipping 3 April 2012, “The Preservation Kitchen” is available from Random House and on Amazon.


The Chairs at Clift

A San Francisco hotel lobby houses a curious collection of furniture

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Hotels may play to the boutique experience by furnishing the public areas with a sturdy mix of handsome tables and chairs culled from high-end shops like Design Within Reach, but few go as far as San Francisco’s Clift. The motley collection of designer furniture gracing the hotel’s immense lobby would more likely be found in a museum or private home than a stopping place for hundreds of travelers, wheeling their luggage with kids in tow. As Clift’s Vice President of Design Mari Balestrazzi explains, high-end furnishings are an important part of the hotel’s distinct charm. “We’re like an interactive museum,” she says. “The pieces are real and some are quite expensive but it would take the fun out of it if we didn’t allow our guests to really use the spaces.”

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Conceived by Philippe Starck ten years ago, the diverse range of lobby furniture is not only intriguing to the eye, but it also keeps the space fresh from a design perspective. Upon entering the hotel, guests come across Roberto Matta‘s homage to surrealist artist René Magritte—a stool posed as a green apple in a black bowler hat—and to their right they’ll find William Sawaya‘s octopus-like Darwish chair, a bronze four-seater custom-crafted for the hotel.

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Salvador Dali’s Leda table unites a cluster of chairs in the main area, including Michel Haillard‘s Horn Sofa and a plexiglass and bronze side chair, designed by Starck and developed by the famed French atelier Thierry Goux (now known as Rinck). A few feet away sits Crystal Farm‘s “Elk Gentleman’s Chair,” a rustic piece more traditionally placed in a cabin in the woods, but in a swanky hotel, manages to round out the lobby’s warm vibes.

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To the right of Gerard Garouste’s 18-foot bronze fireplace, along the Brazilian cherry back wall, a gold-hued chaise perfectly juxtaposes a slightly gruesome Bronze Chair chair sculpted by Sawaya & Moroni.

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Starck’s aptly named Big Arm chair—the focus of a city-wide scavenger hunt and a piece of furniture guests are encouraged to climb on or crawl under to see a “childish” design surprise—serves as a perfect contrast to the hotel’s “Angel Chair.” Though sitting in that chair isn’t forbidden, the “Angel Chair” is the only furnishing with a slight “do-not-touch” vibe. Vice President of Guest Experience Dave Freiberger explains that the beautifully ornate chair—positioned by itself near the lobby elevators—is the only one remaining from the original Clift lobby, designed in 1918. The leather chair features gargoyle-like lions and a cherubic boy carved into each wooden arm, recalling the hotel’s formerly lavish Italian Renaissance decor.

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Home to one of California’s most expensive and unique collections of designer furniture, Clift stands out for staying authentic to its boutique hotel atmosphere despite its 300 rooms. Balestrazzi speaks to the choice in luxury over durability, stating simply, “We want our guests to feel engaged by their surroundings.”