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    ‘Trump is a wrecking ball’: behind the president’s $200m plan to build a White House ballroom

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    “Sir, why are you up on the roof?”The question was shouted by a reporter on Tuesday as Donald Trump scaled new heights at the White House. The US president explained that he was scoping out a new ballroom and boasted: “Just another way to spend my money for this country.”It emerged last week that Trump, who made his money in the New York construction industry, intends to build an enormous $200m ballroom for hosting official receptions, one of the biggest projects at the White House in more than a century.This will be just the latest step in a radical architectural overhaul intent on making the 225-year-old executive mansion less redolent of stuffy Washington and more evocative of Mar-a-Lago, his gaudy palace in Palm Beach, Florida.Trump has revamped the Oval Office by splashing the room in gold, from the stars surrounding the presidential seal on the ceiling to gold statues on the fireplace to the mantel itself. He crowded its walls with numerous portraits, while just outside the office is a framed photo of Trump’s mugshot as featured on the cover of a New York tabloid newspaper.View image in fullscreenOutside, Trump has erected a pair of towering flagpoles that fly the Stars and Stripes and paved over a grassy patch of the Rose Garden, and, he told NBC News, he intends to replace what he said was a “terribly” remodeled bathroom in the Lincoln Bedroom with one that is closer in style to the 19th century.But his most ambitious architectural gambit will be the new ballroom, which officials say he and unspecified donors will pay for, designed to host grand state dinners, given in honour of foreign leaders visiting Washington. Until now, these were generally done by erecting a huge tent on the White House grounds.“When it rains or snows, it’s a disaster,” Trump said in his NBC interview, bemoaning how the tents are stationed “a football field away from the White House”.View image in fullscreenWhereas the East Room, currently the biggest room in the White House, can accommodate about 200 people, the new structure will span more than 8,000 sq metres (90,000 sq ft) and have space to seat 650 people. Work will begin in September and is expected to be completed before the end of Trump’s second term, in January 2029.A model of the ballroom presented by the government shows it will be a white building with tall windows reminiscent of the main White House edifice. It will replace the East Wing, which usually houses the offices of the first lady, and it remains unclear where they will be relocated.View image in fullscreenTrump told reporters last week: “They’ve wanted a ballroom at the White House for more than 150 years, but there’s never been a president that was good at ballrooms. I’m good at building things and we’re going to build quickly and on time. It’ll be beautiful, top, top of the line.”He added: “It’ll be near it but not touching it and pays total respect to the existing building, which I’m the biggest fan of. It’s my favourite. It’s my favourite place. I love it.”skip past newsletter promotionafter newsletter promotionDemocrats are sceptical, however. Chuck Schumer, the party’s minority leader in the Senate, told a press briefing: “Listen, I’m happy to eat my cheeseburger at my desk. I don’t need a $200m ballroom to eat it in. OK?”Others regard Trump’s transformation of the White House as a dark metaphor for his approach to US democracy. Mona Charen, policy editor of the Bulwark website, wrote this week: “Trump is a walking wrecking ball of law, tradition, civility, manners, and morals. Many visitors to the nation’s capital won’t know or understand much of that damage.“But starting now with the paving of the Rose Garden, and coming soon with the construction of a garish ballroom, they will see a physical representation of a low and shameful time. The once graceful executive mansion will be transformed into something tasteless and embarrassing. It will be both awful and fitting.”The ballroom is shaping up to be one of the most significant projects to break ground at 1600 Pennsylvania Avenue since renovation and expansion works undertaken by Theodore Roosevelt at the start of the 20th century. Harry Truman also oversaw sweeping construction work between 1948 and 1952, including gutting the main building and adding the Truman Balcony.View image in fullscreenTruman drew his share of criticism at the time. Stewart McLaurin, president of the White House Historical Association, wrote in a recent essay published on LinkedIn: “Preservationists mourned the loss of original interiors, while media outlets questioned the project’s cost during post-war economic recovery.”Subsequent presidents have overseen facelifts, refreshes and renovations. Anita McBride, who was chief of staff to first lady Laura Bush, recalled on Wednesday: “Mrs Bush transformed every single room in the residence. The largest restoration of any room in the White House is the Lincoln Bedroom, done under her tenure. She helped to oversee the the redo of the White House theatre; the way that she designed it is the way it still looks to this day.”McBride acknowledged that Trump, a longtime property developer, is more engaged in remodelling the White House than many of his predecessors. “He’s certainly paying attention to things at the White House that he feels would be improvements for the occupants, not just him but those that come after him. Maybe it’s his background that lends itself to having a keen eye to enhancements.“This is the largest transformation we have seen since the Truman renovation when it needed improvement and to be structurally sound. President Truman took such criticism for wanting to add the balcony and you cannot imagine the White House without that balcony now.” More

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      Nathan Silver, Who Chronicled a Vanished New York, Dies at 89

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      An architect, he wrote in his book “Lost New York” about the many buildings that were destroyed before passage of the city’s landmarks preservation law.Nathan Silver, an architect whose elegiac 1967 book, “Lost New York,” offered a history lesson about the many buildings that were demolished before the city passed a landmarks preservation law that might have offered protection from the wrecking ball, died on May 19 in London. He was 89.His brother, Robert, who is also an architect, said that he died in a hospital after a fall and subsequent surgery to repair a torn knee ligament.Mr. Silver’s book — an outgrowth of an exhibition that he curated in 1964 while he was teaching at Columbia University’s architecture school — was an indispensable photographic guide to what had vanished over many decades. It was published as the city’s long-percolating preservation movement was working to prevent other worthy structures from being destroyed.“By 1963, it seemed urgent to make some sort of plea for architectural preservation in New York City,” he wrote. “It had been announced that Pennsylvania Station would be razed, a final solution seemed likely for the 39th Street Metropolitan Opera” — it was destroyed in 1967 — “and the commercial buildings of Worth Street were being pounded into landfill for a parking lot.”He added, “While cities must adapt if they are to remain responsive to the needs and wishes of their inhabitants, they need not change in a heedless and suicidal fashion.”He found images in archives of “first-rate architecture” that no longer existed, including a post office near City Hall; Madison Square Garden, at Madison Avenue and 26th Street; the art collector Richard Canfield’s gambling house, on 44th Street near Fifth Avenue; the 47-story Singer Tower, at Broadway and Liberty Street; the Produce Exchange, at Beaver Street and Bowling Green; and the Ziegfeld Theater, at 54th Street and Sixth Avenue.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Breuer Building Gets Landmark Status Before Sotheby’s Moves In

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      The modernist former home of the Whitney Museum of American Art had its interior designated for protection by the Landmarks Preservation Commission.The modernist Breuer building, formerly home to the Whitney Museum of American Art and purchased by Sotheby’s auction house in 2023, on Tuesday had much of its interior designated as a landmark by the New York City Landmarks Preservation Commission.The designation, which was voted on Tuesday morning, will protect much of the building on Madison Avenue from any changes that had concerned preservationists as the building undergoes a renovation by the Pritzker-winning architects Herzog & de Meuron. The museum’s galleries were not included as part of the designation. The designation protects parts of the lower level facing Madison Avenue, as well as the first-floor lobby, coat check, vestibules and the main stairwell from the lower level through the fifth floor.“We would have preferred the galleries were included in the designation,” said Liz Waytkus, the executive director of Docomomo US, an organization dedicated to preserving modern architecture which filed the request with the Preservation Commission seeking interior landmark status for the Breuer. “But we’ve spoken to Sotheby’s and they have assured us they are treating all gallery surfaces as if they are designated and using a light hand in their restoration.”The 1966 building by Marcel Breuer has become an important symbol of Brutalist architecture, with its concrete grid ceilings and its inverted stepped pyramid exterior.The structure most recently housed the Frick Collection and served as an exhibition space for the Metropolitan Museum of Art’s modern and contemporary collection. The renovated building will contain Sotheby’s sales room, as well as exhibition and dining spaces. Work is expected to be completed by this fall.Herzog & de Meuron — known for projects such as Tate Modern in London, the de Young Museum in San Francisco and the Park Avenue Armory in New York — has made a specialty of adaptive reuse, or transforming existing structures. The firm, based in Basel, Switzerland, is working with PBDW Architects, a New York firm, on the design.“We fully endorse the landmark designation, as reflected in our initial plans for the building,” said Steve Wrightson, Sotheby’s global head of real estate, in a statement. “We look forward to welcoming the public back and honoring the Breuer’s enduring legacy as we usher in a new chapter.” More

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      A Stunning New Pool in Central Park Helps Heal Old Wounds

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      For more than a century and a half, Central Park has been a leafy barometer of New York’s shifting fortunes. Projecting the city’s vast ambitions and ideals in the 19th century, it morphed into a Hooverville during the Depression, becoming a beehive of ball fields and “Be-Ins” during the 1960s.A decade later it was a lawless dust bowl, the poster child for urban decline. “An unattended Frankenstein,” one city parks commissioner called it.Restoring Central Park’s glory has been a labor of decades, its maintenance an endless task. But the $160 million Davis Center, opening to the public Saturday, is a culmination of sorts.The Davis Center, under construction, with the pavilion tucked underneath the hill to the left and the pool covered by artificial turf for the spring season.Todd Heisler/The New York TimesIt’s a spectacular new swimming pool, skating rink and pavilion on six remade acres at the Harlem end of the park — the most dramatic change in years to Frederick Law Olmsted and Calvert Vaux’s pastoral masterpiece of the 1850s.This northern stretch of the park was shamefully neglected when the city was at its nadir and it became the site of a brutal attack that led to one of the more horrendous miscarriages of racial justice in New York’s history.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Chinese Architect Liu Jiakun Wins Pritzker Prize

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      Liu, known for understated structures that respond to their surroundings, has been awarded the profession’s highest honor.At 17, Liu Jiakun was sent to labor in the countryside as part of China’s “re-education” efforts during the Cultural Revolution.“I didn’t see a clear future for me — a lot of things were quite meaningless,” Liu said through a translator (his son, Martin) in a recent phone interview from his office in Chengdu, China. “I thought at the time that life was inconsequential.”Eventually, Liu, now 68, found meaning in architecture, a pursuit that has earned him the profession’s highest honor: the Pritzker Prize.Having founded his own practice, Jiakun Architects, in his native Chengdu in 1999, Liu has built more than 30 projects in China — including academic buildings, cultural institutions and civic spaces. He also designed the inaugural Serpentine Pavilion Beijing in 2018 and has been featured in Venice Biennales.His work is not flashy or full of flourishes. Instead, the architect said, he aims to honor existing conditions, to use local materials that are “regular, contemporary, cheap and local” and to elevate the human spirit.“Through an outstanding body of work of deep coherence and constant quality, Liu Jiakun imagines and constructs new worlds, free from any aesthetic or stylistic constraint,” the jury said in its citation announcing the award on Tuesday. “Instead of a style, he has developed a strategy that never relies on a recurring method but rather on evaluating the specific characteristics and requirements of each project differently. That is to say, Liu Jiakun takes present realities and handles them to the point of offering a whole new scenario of daily life.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Met Museum Unveils Design for New Modern Wing

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      The architect Frida Escobedo has drawn on her Mexican heritage in reimagining the galleries for Modern and contemporary art.The metaphor of weaving has informed Frida Escobedo’s design for the Metropolitan Museum of Art’s long-awaited new wing for Modern and contemporary art, which was unveiled on Tuesday.It is present in the architectural screen of limestone lattice that wraps the new wing’s exterior on the museum’s southwest corner, creating a diaphanous surface that will change as the sun moves through it during the day. It is present in the placement of windows, offering glimpses of the city and the park. And it is present in the way that the new wing will connect to the adjacent galleries, emphasizing the connectivity between different regions, disciplines and civilizations.“How can we start understanding the rhythm and the cadence that the museum has?” Escobedo said in a recent joint interview with Max Hollein, the museum’s director, in his Met office.“The challenge was to weave these connections with the existing museum and adjacent wings and also to make connections with the park in a very subtle way,” she continued. The current campus “is very complex — it looks like a medieval town with plazas and towns and squares and little alleys, where you can get lost, which could be fascinating, but also very disorienting.”The architect Frida Escobedo and Max Hollein, director of the Met, looking over a model of the new Tang Wing for Modern and contemporary art that Escobedo is designing.Vincent Tullo for The New York TimesAt a time when museums all over the world are rethinking how they present art for a modern audience, Escobedo’s design marks a significant step forward for the long-delayed Met project. It also represents a do-over; a previous design by the architect David Chipperfield, who was selected for the job in 2015, was jettisoned after ballooning in cost to as much as $800 million.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Storm King to Begin 2025 With Nora Lawrence as Executive Director

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      The family-run Hudson Valley sculpture park inaugurates its 65th anniversary year with fresh leadership, a $53-million upgrade and new acquisitions.Storm King Art Center, the 500-acre outdoor museum, announced on Tuesday that Nora Lawrence, its artistic director and chief curator, will succeed its president, John P. Stern, as the institution’s leader in January. It also announced a series of commissions and acquisitions, and a solo show by the Brazilian visual artist Sonia Gomes.It is the first time that Storm King — founded in 1960 by Stern’s grandfather, Ralph E. Ogden, and father, H. Peter Stern, in New Windsor, N.Y. — will be stewarded by someone from outside their family.In choosing Storm King’s inaugural executive director, the board decided to forgo a typical search and unanimously select Lawrence, who rose through the ranks over 13 years, starting as an associate curator.From left, the artist Sarah Sze and Lawrence on the grounds of Storm King in 2021.Lila Barth for The New York Times“There is no one more qualified to take the helm than Nora Lawrence, with whom I’ve had the privilege of working closely and whose artistic vision has helped make Storm King the international destination that it is today,” Stern wrote in a statement. He took the reins from his father in 2008 and now, at age 64, will transition to a position as the board’s president and senior adviser; his two sisters also serve on the board of the nonprofit organization.The generational change — Lawrence is 45 — is part of the “transformation from Storm King being a wonderful, family-led organization to becoming increasingly a more public-facing organization in every way,” said Adam D. Weinberg, a Storm King board member, who stepped down as director of the Whitney Museum last year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Notre-Dame Reopens in Paris After a Fire. It’s Astonishing.

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      Benoist de Sinety, former vicar general of Paris, was on his scooter that April evening in 2019, driving across the Pont Neuf toward the Left Bank when he spotted flames in his rearview mirror billowing from under the eaves of Notre-Dame. He cursed, made a U-turn and sped toward the cathedral. Mary Queen of Scots […] More

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      Rebuilding After Fire, Jacob’s Pillow Will Open a New Theater

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      The Doris Duke Theater, more than twice as large as the original and designed for modern technology, will open in July.When the Doris Duke Theater at Jacob’s Pillow, the bucolic dance festival in Becket, Mass., was destroyed by a fire four years ago, the festival’s director, Pamela Tatge, promised that it would be rebuilt.“The theater,” she said at the time, “is an essential component of the ecology of Jacob’s Pillow.”On Wednesday, Jacob’s Pillow announced that its new Doris Duke Theater would reopen on July 9, as part of its coming season. And the initial wave of programming there has been conceived specifically with the space in mind.“We all struggled when we lost the Doris Duke,” Tatge said in an interview. “But we had this moment to think of what we will build and why, and what sort of building we need in the future.”The campus of Jacob’s Pillow has other performances spaces: the large Ted Shawn Theater, and the outdoor Henry J. Leir Stage. The old Doris Duke opened in 1990, with 230 seats and the look of a sleek barn.A $10 million gift from the Doris Duke Charitable Foundation, insurance claims and other gifts paid for the costs of the new theater. Jacob’s Pillow, Tatge said, wanted its new building to be a flexible space with “the ability to support the future of where this field is going.” The organization hired the Dutch architecture firm Mecanoo, and brought on the Choctaw and Cherokee artist Jeffrey Gibson as a consultant, to design a theater, Tatge added, “that was in dialogue with nature.”The result is a building nearly twice the size of the original theater, with a range of 220-400 seats and the ability to also house residencies and other events, perhaps at the same time. It will be equipped with a spatial audio system and specialized cameras for livestreaming and interactive video performances.Tatge said that next summer’s lineup of artists at the Doris Duke Theater was based on “works that could magnify and amplify the flexibility of the space, as well as works that demonstrate the intersection of dance and technology.”The programming includes the world premiere of Andrew Schneider’s “Here,” Shamel Pitts’s “Touch of Red” and Eun-Me Ahn’s “Dragons.” The Taiwanese choreographer and roboticist Huang Yi will make her Pillow debut, as will the Indigenous Sámi choreographer Elle Sofe. Faye Driscoll will return to the festival with her work “Weathering,” from last year, and Schneider and Pitts will create digital-first pieces.In the future, Tatge said, Jacob’s Pillow hopes to commission works that incorporate augmented reality, technology similar to video conferencing and other forms of mixed reality. And they can be developed year-round in the new building.“It will be a maker space,” Tatge said of the Doris Duke Theater. “At a time where there is a crisis of ambition in our country because a lack of resources, the fact that we’re going to be able to support artists — that is something.” More