Miami Beach Chamber of Commerce has awarded George Lindemann the award of Citizen at Large at the inaugural Better Beach Awards. This award was given to Lindemann based on his for his prolific and impactful role in growing, branding and leading the Bass Museum of Art for the past 5 years. As the President of the Board of Directors of the Bass Museum of Art, George Lindemann has not only been one of the few original members of the Board of Directors, but helped grow the board from 3 members to the current 23 current members of the Board creating a diverse and dynamic group of leaders for the Bass Museum of Art. Lindemann also helped conceptualize the current mission statement of the Bass Museum of Art, “we inspire and educate by exploring the connections between our historical collections and contemporary art”.

Along with the City of Miami Beach, George Lindemann’s generous donations and commitment to education, he created the Lindemann Family Creativity Center at the Bass Museum of Art. The Lindemann Family Creativity Center is the home of the museum’s IDEA@thebass program of art classes and workshops. Developed in conjunction with Stanford University’s acclaimed Institute of Design, IDEA classes employ a method of teaching known as Design Thinking, an open-ended method of problem-solving that allows children to brainstorm, work in teams and engage in creative play. The Creativity Center is also the home of the Art Club for Adults, lectures, film screenings, and teacher training workshops. Additional programming includespre-school art classes, after school and weekend art classes (children ages 6 to 12), and experimental programming designed by the museum’s Stanford Fellow and other experts in the field of arts education.

“They owe me not a Pritzker Prize but a Pritzker inclusion ceremony,” Ms. Scott Brown said. “Let’s salute the notion of joint creativity.”

Her remarks prompted two students at Harvard’s Graduate School of Design to start an online petition demanding that the panel that administers architecture’s highest prize revisit that decision.

The petition has now drawn 9,000 signatures, many of them from the world’s most famous architects, including six prior Pritzker winners. And it has reignited long-simmering tensions in the architectural world over whether women have been consistently denied the standing they deserve in a field whose most prestigious award was not given to a woman until 2004, when Zaha Hadid won.

“The progress of recognizing the place and the contribution of women in architecture has been incredibly slow,” said Barry Bergdoll, chief curator of architecture and design at the Museum of Modern Art. “It’s been thought to be boys’ stuff.”

The prize organization has long defended its exclusion of Ms. Scott Brown on the ground that back then it honored only individual architects, a practice that changed in 2001 with the selection of Jacques Herzog and Pierre de Meuron. They are among the architects who have signed the petition, along with fellow Pritzker winners Richard Meier, Ms. Hadid, Wang Shu and Rem Koolhaas, who called the exclusion of Ms. Scott Brown “an embarrassing injustice which it would be great to undo.”

Mr. Venturi, 87, also signed the petition, but Ms. Scott Brown said he was not well and unable to comment. When he won in 1991, she did not attend the award ceremony in protest.

The Pritzker winner is chosen annually by a panel of a half-dozen or so independent jurors. There was one woman on the panel in 1991 and there is one woman on the panel today, Martha Thorne, the Pritzker’s executive director.

“Jurors change over the years, so this presents us with an unusual situation,” Ms. Thorne said of the inclusion request. “The most that I can say at this point is that I will refer this important matter to the current jury at their next meeting.”

The ceremony for this year’s Pritzker winner, Toyo Ito, is to be May 29 at the John F. Kennedy Presidential Library and Museum in Boston. The $100,000 prize, financed by the family that owns the Hyatt hotel chain, has been awarded since 1979.

While about half of architecture students in the United States are women, only a quarter of employees of architecture firms across the country are female, according to 2011 data from the American Institute of Architects. The number is smaller — 17 percent — when counting principals or partners in architecture firms.

Design professionals cite many reasons, including the sense that architecture involves business and construction, which have both been traditionally considered the province of men. And still persistent is the mythology of the architect as a solo male genius — the Howard Roark in Ayn Rand’s “Fountainhead.”

“It’s embedded and the Pritzker Prizes embed it,” said Beverly Willis, an architect who founded the Beverly Willis Architecture Foundation, which supports women in architecture. “They’re totally outdated, they’re totally passé and if they continue trying to isolate the Howard Roark man, they’re totally irrelevant.”

Ms. Scott Brown is one of the rare female architects to have achieved prominence.

“Denise Scott Brown is sort of like architecture’s grandmother,” said Arielle Assouline-Lichten, a Harvard design student who started the petition with Caroline James. “Almost all architecture students have studied her in school. Everyone grew up with her as the female professional who’s always been around and never really gets the recognition.”

Ms. Scott Brown, who was born in Zambia, met Mr. Venturi in 1960 at the University of Pennsylvania, where they were on the faculty and began working together. They married in 1967. She joined his firm that same year.

“Some people said, ‘She married the boss and thought she could get ahead,’ “ Ms. Scott Brown said in a telephone interview from her home in Philadelphia. “But if anyone was the boss, I was. We really were colleagues and we taught together. It was a very, very wonderful collaboration for both of us.”

Since 1960, she and Mr. Venturi have teamed up on buildings like the Sainsbury Wing of the National Gallery in London and Franklin Court, a museum and memorial to Benjamin Franklin in Independence National Historical Park in Philadelphia. They have run a practice together — Venturi, Scott Brown & Associates in Philadelphia, now VSBA — written books together, taught classes together and jointly developed groundbreaking theories about architecture and planning.

“You can’t separate them,” Mr. Bergdoll said. “It’s one of those great partnerships.”

The couple is known in large part for upending Modernism by embracing the vernacular of neon signs and kitsch as legitimate design. Their work with a class of Yale architecture students in Las Vegas in 1968 — examining casinos, parking lots and fast-food restaurants — resulted in their 1972 book, “Learning From Las Vegas” (written with Steven Izenour), which became an influential design treatise and helped usher in the period known as postmodernism.

Ms. Scott Brown said she was moved by the recent outpouring of support. “There needs to be some kind of corrective action,” she said. “Let’s not say corrective — let’s say inclusive.”

Several design school deans have signed, including Mohsen Mostafavi at Harvard, Sarah Whiting at Rice and Jennifer Wolch at the University of California at Berkeley.

“The initiative on the part of the students is something that I really value,” Mr. Mostafavi said. “I hope they will be this proactive when it comes to their own futures.”

Robert A. M. Stern, the dean of Yale’s Architecture School, said he declined to sign the petition because he objected to its use of the word “demand,” but that he backed it in principle. “It would be wonderful for the Pritzker committee to review the situation and to offer her the prize,” Mr. Stern said. “The nature of the collaboration was so intense on every level.”

Architects say the Pritzker is unlikely to reverse its decision, in part because several members of the jury at that time are no longer living, including Ada Louise Huxtable, J. Carter Brown and Giovanni Agnelli.

The Web site ArchDaily on April 1 posited the counterargument that Mr. Venturi was awarded the Pritzker based on projects completed before Ms. Scott Brown joined the firm, like the Vanna Venturi House (1964). Yet the award citation directly acknowledged Ms. Scott Brown’s contributions.

“His understanding of the urban context of architecture, complemented by his talented partner, Denise Scott Brown, with whom he has collaborated on both more writings and built works, has resulted in changing the course of architecture in this century,” the citation said, “allowing architects and consumers the freedom to accept inconsistencies in form and pattern, to enjoy popular taste.”

For Ms. Scott Brown, the sting remains fresh. “When we married I suddenly was being told, “Look, let’s just keep this photograph of architects,’ ” she recalled. “I’d say, ‘I am an architect and they’d say, ‘Would you mind moving out of the picture, please?’ “

WASHINGTON -- Americans in coastal areas, particularly on the East and Gulf coasts, will confront challenging questions in the coming years as they determine how to protect millions of people in the face of rising sea levels and more intense storms.

Should cities rebuild the boardwalks in New Jersey shore towns? Should the government discourage people from rebuilding in areas now more vulnerable to flooding? How much would it cost to protect water and sewer systems and subways and electrical substations from being inundated in the next storm?

Leaders from coastal communities along the East Coast gathered in New York City on Wednesday to talk about the consequences of Hurricane Sandy, as well as how they’ll address future sea level rising. The conference was sponsored by the Union of Concerned Scientists, a nonprofit, nonpartisan science advocacy group.

"What we really got a glimpse at was our collective future," said Joe Vietri, who heads coastal and storm risk management for the U.S. Army Corps of Engineers and is heading up a comprehensive study of Sandy.

Rising sea levels caused primarily by global warming could worsen the effects of storms such as Sandy, particularly when it comes to storm surge. Since 1992, satellites have observed a 2.25-inch rise in global sea levels.

Just before Sandy, sea surface temperatures were about 5 degrees Fahrenheit above the 30-year average for the time of year. Scientists who studied the storm determined that about 1 degree was likely a direct result of global warming.

With every degree Fahrenheit rise in temperature, the atmosphere can hold 4 percent more moisture. As a result, Sandy was able to pull in more moisture, fueling a stronger storm and magnifying the amount of rainfall by as much as 5 percent to 10 percent compared with conditions more than 40 years ago.

Coupled with higher overall sea levels, the intense storm meant more water surging onshore and penetrating farther inland. The storm’s effects prompted officials in Wilmington, N.C., to look at its vulnerabilities if seas rise up to one meter by the end of the century.

"People are listening, people are ready to take some actions," said Phil Prete, a senior environmental planner for the city.

The officials spent less time discussing the cause of rapid sea level rise: how to slow the carbon emissions that are heating up the Earth and warming the oceans. Many public officials in coastal communities instead are focusing on what they say are the consequences of global warming.

They have no choice, said Kristin Jacobs, mayor of Broward County, Fla., where extreme tides during Hurricane Sandy washed out portions of Fort Lauderdale’s iconic beachfront highway.

"Almost all of us are living in very low-lying areas," she said. "There are many lessons in South Florida already learned from multiple hurricanes. We have learned from those hurricanes, we have learned to plan for the future, and we’ve learned that this is our new normal."

The causes are also a settled question in Hoboken, N.J., where an estimated 500 million gallons of Hudson River water inundated the town and stayed for nearly 10 days, said Stephen Marks, Hoboken’s assistant business administrator. He called on the federal government and states to take a leadership role in addressing climate change, particularly in communities that are vulnerable to its effects.

"The debate about climate change is essentially over," Marks said. "Hurricane Sandy settled that for, I would say, a majority of the residents in our city."

But coastal populations are particularly vulnerable, and growing. The National Oceanic and Atmospheric Administration last month issued a report showing that already crowded U.S. coastal areas will see population grow from 123 million people in 2010 to nearly 134 million people by 2020. That puts millions more people at risk from storms such as Sandy.

People may be aware of the consequences of climate change, but it hasn’t seemed to have stopped anyone from moving to the beach – or hurt property values, said Vietri, of the Army Corps of Engineers. He noted that communities suffered far less damage if there were sand dunes or other protective measures, such as substantial setbacks for homes.

"You still have communities rebuilding almost exactly where they were prior to the storm coming," Vietri said. "You continue to have a situation where we have a tremendous population density living in high-hazard areas."

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“Its heart is in the right time as well as the right place,” Herbert Muschamp wrote in his architecture review in The New York Times, calling the museum’s sculptural bronze facade “already a Midtown icon.”

Now, a mere 12 years later, the building is going to be demolished.

In its place the adjacent Museum of Modern Art, which bought the building in 2011, will put up an expansion, which will connect to a new tower with floors for the Modern on the other side of the former museum. And the folk museum building, designed by Tod Williams and Billie Tsien, will take a dubious place in history as having had one of the shortest lives of an architecturally ambitious project in Manhattan.

“It’s very rare that a building that recent comes down, especially a building that was such a major design and that got so much publicity when it opened for its design — mostly very positive,” said Andrew S. Dolkart, the director of Columbia University’s historic preservation program. “The building is so solid looking on the street, and then it becomes a disposable artifact. It’s unusual and it’s tragic because it’s a notable work of 21st century architecture by noteworthy architects who haven’t done that much work in the city, and it’s a beautiful work with the look of a handcrafted facade.”

MoMA officials said the building’s design did not fit their plans because the opaque facade is not in keeping with the glass aesthetic of the rest of the museum. The former folk museum is also set back farther than MoMA’s other properties, and the floors would not line up.

“It’s not a comment on the quality of the building or Tod and Billie’s architecture,” Glenn D. Lowry, MoMA’s director said.

Mr. Lowry personally went to the architects’ offices to inform them of the museum’s decision, a gesture that Ms. Tsien said she appreciated.

“We feel really disappointed,” she said in an interview. “There are of course the personal feelings — your buildings are like your children, and this is a particular, for us, beloved small child. But there is also the feeling that it’s a kind of loss for architecture, because it’s a special building, a kind of small building that’s crafted, that’s particular and thoughtful at a time when so many buildings are about bigness.”

The folk art museum, which had once envisioned the building as a stimulus for its growth, ended up selling the property, at 45 West 53d Street, to pay off the $32 million it had borrowed to finance an expansion. It now operates at a smaller site on Lincoln Square, at West 66th Street.

Mr. Lowry said the expansion would complete the MoMA campus, which will ultimately consist of five buildings, four of them on West 53rd Street between Fifth Avenue and the Avenue of the Americas.

Still to be built is an 82-story tower just west of the folk museum that is being developed by Hines, a Houston company, and was designed by the French architect Jean Nouvel. It will include apartments as well as exhibition space for the museum.

When the projects are finished the museum will gain about 10,000 square feet of gallery space at the former folk art site and about 40,000 in the Nouvel building, officials said. The Modern’s second, fourth and fifth floors will line up with those in both buildings. (The second-floor galleries are double height.)

“We’ll have a completely integrated west end to the museum,” Mr. Lowry said. “Floor plates will extend seamlessly.”

Precisely what will be displayed in the new galleries has yet to be determined, but Mr. Lowry said they would include work from the Modern’s “midcentury collections, early Modern collections and temporary exhibitions.”

The cost for the project has not been announced, he said, and fund-raising has yet to begin.

MoMA’s 2004 renovation, designed by the Japanese architect Yoshio Taniguchi, increased the museum’s gallery space to 125,000 square feet, from 85,000 (and the overall size to 630,000 square feet, from 378,000). But the museum still needs more room for exhibitions.

“We have a lot of art that we own that we would like to show,” said Jerry I. Speyer, the real estate developer who is the museum’s chairman. “When we built what exists today we didn’t get as much exhibition space as we really need.”

Ms. Tsien said she and Mr. Williams, her husband, wished the Modern had found a way to reuse what they designed and to realize its value.

“It’s a building that kids study in architecture school,” she said. “They study it as a kind of precedent to understand how buildings are made and to understand the kind of space it is because it is a complex and interesting building in a very small site.”

But, she added, “it doesn’t seem to make sense to second-guess how they might have used it.”

The Modern will interview architects to design the new addition, Mr. Lowry said, and hopes to select one by the end of this year. It expects to have the building demolished by then.

Construction of the Nouvel project is expected to start in 2014, with both new buildings being completed simultaneously in 2017 or 2018, Mr. Lowry said.

The museum has been aggressive about expansion. In 1996 it bought the Dorset Hotel, a 1920s building on West 54th Street, and two adjacent brownstones, using much of the sites for its extensive renovation in 2004.

In 2007 the museum sold its last vacant parcel of land for $125 million to Hines, which decided to develop the Nouvel building and include space for the museum.

Mr. Nouvel originally designed the tower, at 53 West 53d Street, with a spire rising 1,250 feet — matching the top floor of the Empire State Building — and Nicolai Ouroussoff predicted in The Times that it would be “the most exhilarating addition to the skyline in a generation.”

But residents protested the height and the Department of City Planning demanded that Mr. Nouvel cut 200 feet from the top. He did so, and in 2009 the City Council approved plans for a tower that is to rise 1,050 feet.

The museum is deciding what to put at ground level at the former folk art building site — perhaps additional retail or another restaurant, Mr. Lowry said. (Its upscale restaurant, the Dining Room at the Modern, received three stars from Pete Wells in The Times last month.)

“We bought the site,” Mr. Lowry said, “and our responsibility is to use the site intelligently.”

Ms. Tsien said she could not recall another example of such a high-profile architectural project being demolished so soon after it was built. “Museums have opened and closed and buildings have shifted,” she said, “but I don’t know about being torn down.”