“Arts and cultural institutions are living sites of memory. They create narratives of the past informed by the present. The architect’s ability to mediate between the two is crucial.” -AN’s Malika Leiper writes on the Metropolitan Museum of Art’s current architectural and curatorial undertakings.
Read on HERE.
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“The transformational design walks a delicate line, as Tehrani admits, between framing the pieces—metallurgy, textiles, sarcophagi, statuary—in their correct capacity and giving the context its material specificity, without trying to upstage the work. […] But the project is part of a bigger discussion that rescripts the narrative of ancient cultures. By attempting to evoke these various realities through character, affect, color, materiality, and immersive space, NADAAA’s intervention enters into the complex discussion of what role a museum plays in today’s world.” – Patrick McGraw
Read on HERE.
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The character of this project derives much more directly from its social and cultural context than most of our other projects. The nod to the vernacular serves as a foil for anamorphic moments where the traditional is cast in a new light.
Architizer’s editors ask Nader about the biggest challenges of the Adams Library project, lessons learned, and his favorite project details. Read on HERE.
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Curbed’s Diana Budds asks Nader about his first job in New York, his favorite places in the city, what he would change about the field of architecture, and what to do in a creative rut. Check out Nader’s 21 Questions HERE.
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Today, Cooper Hewitt, Smithsonian Design Museum announced the 23rd class of National Design Award winners, honored for design innovation and impact. The 2022 Design Visionary award has been given to Nader Tehrani for his “profound contribution to advancing the field”.
“This year’s National Design Award winners reflect the central role that design can play in addressing some of the most urgent needs of our time. Attuned to increasing social and planetary challenges, all awardees, regardless of their category, have a regenerative approach to design work that takes into account our shared future. I’m grateful to our thoughtful jury this year for their selection. Their deliberations revealed that behind each winner is a philosophy of work that expertly weaves together technological innovation while elevating traditional craft, or that prioritizes preservation and reparation processes, ultimately designing for citizens, and not consumers—a reason for hope in today’s complex world if there ever was one.”
– Maria Nicanor, director of Cooper Hewitt, Smithsonian Design Museum
More information on the National Design Awards and this year’s awardees can be found on Cooper Hewitt’s website HERE and in Smithsonian Magazine HERE.
Press coverage: ARCHITECT | Surface | Architect’s Newspaper | Archinect
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Toby Reed of Nervegna Reed Architecture interviews Nader about John Wardle and their collaborations in this issue of 2A
“First and foremost, I would say that he does not impose order and form onto a project, he allows spaces to emerge from circumstances. Those circumstances are sometimes the issues that emerged from a site, a topography, a view, a geography. Other times, they’re internalities that come from a construction system. When you work in wood, it produces a different grain than if you work in brick or in steel. None of it is lacking in authorship per se. But the authorship is always mediated through something that becomes quite legible and authorial on its own terms. So, I would say that’s a strong characteristic of John’s work, and you can trace it through his houses as much as you can trace it through public projects. Embedded in all of those projects is a trope that is very common to ourselves also, that, construction is never smooth. It’s always composed of panelized limits, whether it’s in stone or precast, you see the seam between two things, and he takes advantage of those tectonic limits to demonstrate not only how a system works, but how it’s malleable enough to transform geometrically, spatially, environmentally, and he radicalizes how those things can happen. We not only learn those things from John, but we also shared in those sensibilities before we met him.” – Nader Tehrani on John Wardle
Order your issue HERE.
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Miguel Guitart’s new book Approaching Architecture: Three Fields, One Discipline has been released for pre-order and includes a foreword by Nader Tehrani and contributions from 18 globally diverse teams of architects.
Purchase Approaching Architecture HERE.
More on Guitart’s work HERE.
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Mathias Agbo Jr. recently interviewed Nader Tehrani and Moody Nolan’s Darius Somers on our collaboration for the new ANEC Galleries for The Metropolitan Museum of Art.
“For us at NADAAA, this is a new type of project entirely, and thus, it offers opportunities many other projects cannot… This has been an opportunity to put aside our authorship and look at the collection itself as the basis of inspiration: to build the project from the artifacts, and their relationship to their audiences.”
Read on HERE.
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“The tower’s distinctive appearance stems from a brilliant combination of technical know-how to meet the structural requirements and ingenious artistic flair.” Read more from Luca Maria Francesco Fabris (including his comparison of Site 4 to a mochaccino!) in the current issue of The Plan HERE.
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Mark Lamster writes for Architectural Record: ‘The new Adams Street Branch of the Boston Public Library, which opened last summer in the working-class municipality of Dorchester, is pleasing (if a bit of an odd duck), a work of inventive geometries that fits neatly into its low-rise context. The library’s quirky form was the product of a lengthy community-design process, one that forced the architects, Boston-based NADAAA, to rethink its original proposal for the building. The stumbling block was a large oak tree at the north end of the site, which runs along Adams Street, Dorchester’s primary commercial strip. The Boston Public Library wanted it removed, to create a tabula rasa for the new building, and the architects followed that directive. The community, however, desired the tree to stay put, and made that clear in no uncertain terms. In turn, NADAAA founding principal, Nader Tehrani, embraced this “productive friction,” as he calls it, redrawing the plan with the tree as a focal point.’
Read on HERE.
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