Sukkah City: 12 Radically Re-Imagined Traditional Jewish Shelters For Sukkot.

above: a modern sukkah, Fractured Bubble, by Henry Grosman and Babak Bryan was "Fan favorite"

Thanks to Ren and her wonderful blog, Lady of The Arts, I have learned about 'Sukkah City', an international design competition which took place last week in New York to re-imagine Sukkahs, the temporary shelters or dwellings built during the week-long traditional Jewish Festival Of Sukkot to commemorate the homelessness that occurred during their 40 years of wandering in the desert after the Exodus from Egypt.

It's not easy to describe a Sukkah, so I'll let this video by Liz Nord do it for you:

Traditional sukkahs:


624 people from 43 countries entered the competition. The 12 temporary structures that were chosen as the winning designs by a very impressive jury (listed later in this post) were constructed in Union Square Park’s South Plaza and were displayed publicly on September 19th and 20th (one of them, P.YGROS.C, collapsed immediately after construction). Here are the 12 winning concepts.

Gathering by Dale Suttle, So Sugita, Ginna Nguyen:

LOG by Kyle May and Scott Abrahams:

Blo Puff by Bittertang:

P.YGROS.C / passive hygroscopic curls by THEVERYMANY / Marc Fornes with Jared Laucks:

In Tension by SO-IL:

Sukkah of the Signs by Ronald Rael, Virginia San Fratello:

Star Cocoon by Volkan Alkanoglu:

Single Thread by Matter Practice:

Shim Sukkah by tinder, tinker:

Repetition meets Difference | Stability meets Volatileness by Matthias Karc:

Time/Timeless by Peter Sagar:

Fractured Bubble by Henry Grosman and Babak Bryan:

See all of the impressive entrants from 43 countries here.

Reality Disappoints?
While the concept of Sukkah City is fresh and exciting, some of the more common criticisms of the event were that the discrepancy between the impressive renderings and actual built structures were fairly great-- the completed buildings were disappointing when compared with the imagined concepts.

The Gathering Sukkah as imagined and as realized:


"Log" was one of the few designs that remained faithful to the original rendering:


The blog Human's Scribbles has great good side-by-side comparisons of the renderings with the completed structures.



The two day display culminated with Mayor Bloomberg announcing “Fractured Bubble,” a design created by Henry Grosman and Babak Bryan of Long Island City, Queens, as the “People’s Choice” winner:



The following photos from the event are courtesy of Benjamin Norman for the New York Times, who published this article on the event:

above: a panoramic view of the event

above: peeking inside the Shim Sukkah

above: the Blo Puff sukkah, a far cry from the original rendering

The process and results of the competition, along with construction documentation and critical essays, will be published in the forthcoming book "Sukkah City: Radically Temporary Architecture for the Next Three Thousand Years."

The jury consisted of these impressive designers, illustrators, architects and writers:
* Michael Arad
* Ron Arad
* Rick Bell
* Allan Chochinov
* Matias Corea
* Paul Goldberger
* Steven Heller
* Natalie Jeremijenko
* Maira Kalman
* Geoff Manaugh
* Thom Mayne
* Thomas de Monchaux
* Ada Tolla
* Adam Yarinsky

Next year, Sukkah City will expand from New York City to cities all around the world. If your community would like to be part of Sukkah City 2011, please contact them at sukkahcity@gmail.com.

To learn who was behind this, the sponsors and more, visit Sukkah City.

ArchiTech's Future Perfect: Mid-Century Modern Design Drawings

above: Henry P. Glass, Wacker Plaza Lobby - View From Entrance
Pencil on tracing paper, 1955, 16 x 21 inches

ArchiTech is a historically comprehensive commercial gallery of architectural art, in Chicago's River North gallery district. Their recent show, Future Perfect: Mid-Century Modern Design Drawings opened January 9 and ends this weekend on May 30, 2009.



The majority of the works in the exhibition are those of late Chicagoan architect and designer, Henry P. Glass (for which the gallery also serves as the representative of the estate) but the show also includes a few works by Vincent Raney, Bertrand Goldberg and R.G. Martelet.

David Jameson, the gallery owner, describes the exhibit as follows:

Mid 20th Century Modernism's most flamboyant designers. Industrial and architectural drawings from post-war to post-moon landing.

Utopian visions were nothing new to America's architects and designers after World War II. However, triggered by an explosion of affordable real estate and hopeful consumerism, manufacturers of the post-war era followed an entirely different design approach. This new philosophy of sensuous shapes envisioned furniture, lamps and radios as almost living beings that could run out to the buyers' car.

Henry P. Glass was perfectly suited to this new visual language. Freed from his Nazi prison camp, he began his design career in America with drawings that practically walked off the paper and into production.

Television and tourism helped transform the new reality away from wartime into the future and that's where we wanted to live. Bertrand Goldberg created theaters, hospitals and apartment buildings that could have come from colonies on the Moon.

In the era when a man's vehicle could resemble his rocket ship to get there, Ron Martelet drew speedboats that could transform into their own transport trailers. His Jet-Skis of the 60s looked to be straight out of "Goldfinger."

What began as atomic nightmares transformed into space age dreams in "Techni"-colors that were no longer army drab but instead, pink, aqua and hues never before classified. Mid-Century Modernism was something completely different.

Here are some drawings from the gallery exhibit. Please click on the images to enlarge:


above: Henry P. Glass, Kling Studios Lobby
Pencil on tracing paper, 1946, 18 x 23 inches

above: Henry P. Glass, Kling Studios Director's Office
Pencil on tracing paper, 1946, 18 x 23 inches

above: Henry P. Glass, Hotel Flamboyant Typical Cottage,
Graphite on Paper, 1949, 21 x 42 inches

above: Henry P. Glass, Hotel Flamboyant
dimensions unknown

above: Henry P. Glass, Design for Hairpin Chair
Pastel and ink on toned paper, Circa 1940s, 9 1/2 x 15 inches

above: Henry P. Glass, DH1 Laminated Plywood Chair
Prismacolor on paper collage, 1966, 10 1/4 x 12 inches

above: 1958 Chair, Graphite on tracing paper, 1958
11 1/2 x 8 1/2 inches

above: Henry P. Glass, Night Table Lamp
Graphite on tracing paper, Circa 1949, 16 x 13 inches

above: Henry P. Glass, Desk Lamp
Graphite on tracing paper, Circa 1949, 16 x 13 inches

above: Henry P. Glass, Swingline Desk and Armchair
Pastel and colored pencil on tracing paper, 1949, 16 x 13 inches

above: Henry P. Glass, Eastern Knitters Sales Room
Watercolor and collage on toned paper with shaped mat, 1946, 20 1/2 x 30 inches

above: Vincent Raney, Detail of Theatre for Los Banos
Pencil on drafting linen, 1947, 15 x 16 inches

above: R.G. Martelet, Detail of Design B (Boat/Trailer Combination)
Prismacolor and chalk on toned paper, 1961, 16 x 30 inches

above: Bertrand Goldberg, Architect; Henry Gould, Delineator, San Diego Theater, La Jolla Marker on artist's board, 1969, 12 1/2 x 17 1/2 inches

click here to see more of David's notes on the Exhibition:


above: ArchiTech Gallery Owner David Jameson, photo by Jay King

ArchiTech Gallery
730 North Franklin Street
suite 200
Chicago, IL, USA
60654