Search results for "Agence Ter"
Lauded as a "modern day Machu Picchu" by judges, Irish firm Grafton Architects has won the inaugural RIBA International Prize for their Universidad de Ingeniería y Tecnología (University of Engineering and Technology, known as "UTEC") building in Peru. The Dublin-based practice saw off competition from Zaha Hadid Architects, Foster+Partners, David Chipperfield, Nicholas Grimshaw, Shigeru Ban, and this year's RIBA Stirling Prize winner Caruso St John.
"Grafton Architects have created an innovative new model for a university campus that is highly responsive to its local environment and community," said RIBA president Jane Duncan. "The concept of a ‘vertical campus’ defies convention, as does the mix of open and enclosed spaces, but both are key to the success of this building visually and spatially."
The Dublin firm worked alongside local studio Shell Arquitectos on the design for UTEC, which echoes South American brutalist vernacular and the dramatic topography of the site. Contrary to its external aesthetic, the building is home to a myriad of open and visually connected spaces (especially circulatory ones) that work in tandem with the site's climate. In fact, the only closed spaces are classrooms, offices, laboratories, lecture theaters, seminar rooms, and toilets. As a result, campus social life can take place in the open air, encased by terracing yet on display to those passing through. UTEC officially opened in April 2015 and, according to RIBA, it is the "culmination of years of spatial and formal experimentation by Grafton Architects."
RIBA's "International Prize" is the first from the architectural body that is open to any qualified architect in the world. This year's jury saw esteemed architects Richard Rogers and Kunlé Adeyemi form a five member strong judging panel. According to RIBA, the new prize is "awarded to the most transformative building of the year which demonstrates visionary, innovative thinking, excellence of execution, and makes a distinct contribution to its users and to its physical context."
UTEC was selected as the winner of the 2016 RIBA International Prize from the following outstanding shortlisted entries:
- Arquipelago Contemporary Arts Centre, Menos é Mais, Arquitectos Associados with João Mendes Ribeiro Arquitecto, Lda
- Heydar Aliyev Centre, Zaha Hadid Architects with DiA Holding
- Museo Jumex, David Chipperfield Architects with Taller Abierto de Arquitectura y Urbanismo (TAAU)
- Stormen Concert Hall, Theatre and Public Library, DRDH Architects
- The Ring of Remembrance, International WWI Memorial of Notre-Dame-de-Lorette, Agence d’architecture Philippe Prost (AAPP)
The awarding jury also made the following (collective) comments:
Sitting on the border of two residential districts in Lima, in section UTEC perches tantalizingly on the edge of a ravine. Seen from across the ravine it is as bold and as pure a statement of the symbiosis between architecture and engineering as could be imagined; a piece of geology imposed on its pivotal site, mirroring the organic curve of the landscape and accommodating itself in the city. To its close neighbours, it is a series of landscaped terraces with clefts, overhangs and grottos, a modern day Machu Picchu. UTEC has been designed to encourage its students to interact in a unique way with the building. The vertical structure provides open circulation and meeting spaces in a succession of platforms that compose the ‘frame’ of the building; teaching rooms, laboratories and offices are enclosed, inserted into and suspended from the exposed concrete structure. The frame is a device providing shade, a place of rich spatial exuberance and a platform from which to view the life of the city. The entire life of this vertical campus is on full display to the people of Lima. UTEC is the culmination of years of experimentation by Grafton Architects. In this building they show the mastery of their craft, gifting Lima with a bold yet considerate contribution to the city and a visionary, world-class building.
“Landscape Architecture as Necessity” conference at USC aims to “counter the onslaught of politically-correct eco-speak”
Museum of the 20th Century
Star-studded list of international architects compete for new Berlin museum
- 3XN Architects, Copenhagen, Denmark with Henrik Jorgenson Landskab, Copenhagen, Denmark
- Aires Mateus e Associados, Lisbon, Portugal with PROAP Lda, Lisbon
- Beatriz Elena Alés + Zaera, Castelló, Spain
- Arga16, Berlin, Germany with Anne Wex Berlin, Germany
- Barkow Leibinger GmbH, Berlin, Germany with Professor Gabriele Kiefer, Berlin, Germany
- BAROZZI / VEIGA GmbH, Barcelona, Spain with antón & Ghiggi landschaftsarchitektur GmbH, Zurich, Switzerland
- Behnisch Architekten, Stuttgart, Germany
- Bruno Fioretti Marquez Architekten, Berlin, Germany with Capatti staubach Landscape Architects, Berlin, Germany
- David Chipperfield Architects, Berlin, Germany with Wirtz International NV, Schoten
- CHOE Hackh / CUTE ARCHITECTS, Frankfurt am Main, Germany with Park Design, Kejoo Park, Seoul, South Korea
- Christ & Gantenbein Architects, Basel, Switzerland with Fontana Landschaftsarchitektur GmbH, Basel
- Cukrowicz nachbaur ARCHITEKTEN ZT GMBH, Bregenz, Austria with Studio Volcano, Landschaftsarchitektur GmbH, Zurich
- Pedro Domingos arquitectos unip. Ida + Pedro Matos Gameiro arquitecto Ida Lisbon, Portugal with Baldios arquitectos paisagistas, Ida Lisbon, Portugal
- Dost architecture Schaffhausen, Switzerland with Boesch landscape architecture Schaffhausen, Switzerland
- Max Dudler architect, Berlin, Germany with Planorama Landscape Architecture, Berlin
- Sou Fujimoto Architects, Tokyo, Japan with Latz + Partner, Kranzberg, Germany
- Gmp International GmbH, Berlin, Germany
- Grüntuch Ernst planning GmbH, Berlin, Germany with Sinai Society of Landscape Architects mbH, Berlin, Germany
- Zaha Hadid Limited (Zaha Hadid Architects), London, United Kingdom with GREAT.MAX. Ltd., Edinburgh, United Kingdom
- HASCHER JEHLE architecture, design and consulting Hascher Jehle GmbH, Berlin, Germany with Weidinger Landschaftsarchitekten, Berlin, Germany
- Heinle, Wischer und Partner, Freie Architekten Berlin, Germany with Prof. Heinz W. Hallmann Landscape Architect Aachen, Germany
- Herzog & De Meuron, Basel, Switzerland with Vogt Landscape architects, Zurich / Berlin
- Florian Hoogen Architect BDA Mönchengladbach, Germany with hermanns landscape architecture / environmental planning Schwalmtal, Germany
- Lacaton & VASSAL ARCHITECTS, Paris, France with CYRILLE MARLIN, Pau, France
- Lundgaard & Tranberg Arkitekter A / S, Copenhagen, Denmark with SCHØNHERR A / S, Copenhagen
- Mangado Y ASOCIADOS SL, Pamplona, Spain with TOWNSHEND LANDSCAPE ARCHITECTS LIMITED, London, United Kingdom
- Josep Lluis Mateo - MAP Arquitectos, Barcelona, Spain with D'ici là paysages & territoires, Paris, France
- Office for Metropolitan Architecture (OMA); Rotterdam, Netherlands with Inside Outside, Amsterdam
- Dominique Perrault Architecture, Paris, France with Agence Louis Benech, Paris, France
- REX Architecture PC, New York, USA with Marti-Baron + Miething, Paris, France
- Sauerbruch Hutton Architects, Berlin, Germany with Gustafson Porter, London
- Schulz and Schulz Architekten GmbH, Leipzig, Petra and Paul Kahlfeldt Architekten, Berlin with POLA Landscape Architects, Berlin, Germany
- Kazuyo Sejima + Ryue Nishizawa / SANAA, Tokyo, Japan with Bureau Bas Smets, Brussels, Belgium
- Shenzhen Huahui Design Co., Ltd. Nanshan (Shenzhen), China with Beijing Chuangyi Best Landscape Design Co. Ltd. Beijing, China
- Snøhetta architects, Oslo, Norway
- SO - IL Ltd, New York, USA with Stoss Landscape Urbanism, Boston, USA
- Staab Architekten GmbH, Berlin, Germany with Levin Monsigny, Berlin
- TOPOTEK 1, Berlin, Germany and Pordenone, Italy with TOPOTEK 1 Berlin, Germany
- Emilio Tuñón Arquitectos, Madrid, Spain, Tunon & Ruckstuhl GmbH Architects SIA, Rüschlikon, Switzerland with Benavides Laperche, Madrid, Spain
- UNStudio, Amsterdam, Netherlands, Wenzel + Wenzel Freie Architekten, Berlin, Germany with Ramboll Studio Dreiseitl GmbH, Ueberlingen, Germany
- ARGE Weyell Zipse architect / architect horns Basel, Switzerland with James Melsom landscape architect BSLA, Basel, Switzerland
- Riken Yamamoto & Field Shop Co., Ltd., Yokohama, Japan, Holzer Kobler Architects Berlin GmbH, Berlin, Germany, Holzer Kobler Architects GmbH, Zurich,
- Switzerland with vetschpartner Landschaftsarchitekten AG, Zurich, Switzerland
Finalists chosen for Detroit’s Midtown cultural campus redesign
Detroit Institute of Arts selects eight finalists for Midtown cultural campus competition
A Landmark No More
AC Martin and Onni group to demolish William Pereira-designed L.A. Times building in Los Angeles
Swimming Pool Tower
CallisonRTKL proposes Jenga-shaped tower for Downtown L.A.
Global architecture firm CallisonRTKL has unveiled plans for what could turn out to be one of Los Angeles’s most striking new towers.
The project, dubbed 5th and Hill, would be located on an L-shaped lot surrounding the Pershing Square Building located beside Pershing Square park. Though still in the early planning stages, the tower could potentially climb as high as 57-stories and, according to a rendering released by the firm, will feature cantilevered, glass-bottomed swimming pools projecting from the building’s envelope.
That existing Pershing Square Building, originally built in 1924 by architecture firm Curlet & Beelman as an office building, was updated in 2008 by Jeffrey Fish and his JMF Development Company, the same developer behind the new CallisonRTKL tower. The developer added two floors to the structure during that renovation, adding space to accommodate a restaurant called Perch that affords patrons stunning views of the Downtown Los Angeles skyline. The new tower would extend the Perch “sky lobby” laterally, with the new tower articulated around the restaurant area as it rises above. The area between the “sky lobby” and the ground floor will be designed as to bring light into the center of the new building’s site, with a released rendering for the project showing stepped and alternating volumes studded with greenery and structural members.
As presented in documents filed with the city, the proposed tower could potentially take one of two forms. The preferred scheme entails a 57-story tower with 142 condominiums and 25,000-square feet of commercial space. The second option is two stories shorter and contains 100 condominiums, 200 hotel rooms, and 27,500-square feet of commercial space, overall.
In a press release celebrating the unveiling of the project, Fish cited Southern California’s domestic architectural history as inspiration, stating that the project is “inspired by iconic California mid-century architecture, [and] re-imagines California homes in a sleek, vertical tower. The same principles of celebrating California’s beautiful climate, and seamlessly connecting indoor and outdoor spaces, permeate the building’s design.”
The release of the proposal comes as the areas immediately around Pershing Square gear up for increased development and public interest in anticipation of the troubled park’s $50-million redevelopment by French landscape architecture firm Agence Ter.
Pershing Square, a 150-year old park at the center of Downtown Los Angeles, is currently slated to be demolished in lieu of a more pedestrian-friendly iteration by French landscape architects Agence Ter. Although the current park has seen more yesterdays than tomorrows, it managed to draw an unusual number of visitors this August for Liquid Shard, a temporary sculpture installation that enlivened the forlorn park.
The installation is the result of a collaborative public art project among Architectural Association Visiting School Los Angeles (AAVSLA) summer program directors Eulalia Moran and Devin Gharakhanian, their students, and L.A.-based artist Patrick Shearn of Poetic Kinetics. Moran and Gharakhanian led a design class for visiting international students aimed at tackling music festival installation pieces, in which students were asked to design an installation for a music festival of their choosing. After the initial design studio, a prototype was chosen, fabricated, and installed by the students in Pershing Square. Gharakhanian said: “We intentionally chose a hyper-deactivated space in L.A.—no one goes there and it isn’t functioning the way it’s supposed to. But this project is a good example of art meeting architecture to have a positive impact on the city. Liquid Shard went viral and now there’s interest from other cities that are looking for similar types of public art. It’s important that municipalities and politicians are seeing that there is power behind art and architecture.”
Shiny and mesmerizing, the 15,000-square-foot installation is made of holographic mylar connected with monofilament, creating a billowing, fluttering wave of movement that gets caught in every breeze. The sculpture is made up of two such layers, each of which moves independently of the other, suspended between 15 and 115 feet above the square. The work, according to Shearn, is inspired by the so-called swarm behavior that schools of fish and flocks of birds engage in when they move in unison.
Floating In The Breeze
A dazzling, wind-driven sculpture takes over L.A.’s Pershing Square this week
In this issue, we cover a landscape of in-between spaces: divergent urban uses of public realm via Los Angeles’s Great Streets initiative, thoughtfully considered multifamily development in Santa Monica, a fresh batch of transit options in L.A., and a blending of private and public space in Seattle. If this seems like a jumbled mess, that’s because this collection of stories reflects the increasingly contested nature of West Coast urbanism. When considering the region’s pervasive homelessness crisis, increasing unaffordability, and legislative squabbles over development, we see a condition that is rooted at the nexus of two things: where we live and how we get there.
But really, this is old news. The tension between density and mobility has been a driving force in the West’s development since the colonial era, when conquistadors established El Camino Real and set up camps one day’s horse ride apart.
In today’s quest to make the West’s cities more livable, sustainable, and equitable, an effort is underway to give various modes of transportation—walking, cycling, light rail, and ridesharing—equal priority, meaning that single-occupant cars are watching their day in the sun fading in the rearview. If one argument is gaining traction, with large transit expansions planned in Los Angeles, San Francisco, and Seattle over the coming years, it’s a common sense one: that pedestrianized forms of mobility simply make for better cities. Where there is less of a reliance on cars and the space they require, people can live in smaller homes, coexist closer together, talk to one another more often, and have the time to enjoy their neighborhoods.
But only, of course, if they can afford to live in these areas in the first place. Because, simultaneously, the West is enduring a widespread shortage of rental and private homes resulting from decades of gradual downzoning and anti-density legislation that have left the region massively under-built. And whereas Los Angeles was once capable of housing 10 million people under the city’s 1960 zoning regulations, today, it can only accommodate about four million inhabitants and has been built out according to what is currently allowed. The reality is that hundreds of thousands of housing units are needed across the region to meet today’s needs, and the few talented designers who are stepping in to provide thoughtful, equitable distribution and design of those units are hampered by legislation, restrictive ordinances, or threats of litigation. Changes in zoning created this problem, and changes in zoning can help will solve it.
And when planning departments do not step in or act too slowly, state governments will act on their behalf. California’s AB1866, for example, set a new, relatively liberal statewide standard for the implementation of Accessory Dwelling Units, the small, sometimes-detached efficiency suites on otherwise single-family properties that are quietly up-zoning even the wealthiest of neighborhoods. These so-called “in-law” units, already common in working-class areas, help populations grow up and age in place, provide a landing pad for recent immigrants, and allow homeowners to earn rental income through their properties. Though this is a stop-gap solution, it is, at least, a developing front and a site of overall disruption.
Community-oriented designers can also subvert the rules. But too often, community-oriented design is impermanent or doesn’t operate at a scale widespread enough to create lasting change. There is an under-addressed middle market that designers and developers have been too hesitant to embrace. The terminus of the new Expo and the adjacent Tongva Park designed by James Corner Field Operations in Santa Monica, however, are powerfully permanent statements. Though Tongva Park opened almost two years ago, the completion of the Expo terminus and its associated intersection make for a metaphoric moment: a pedestrianized street connecting public transit to a pier over the ocean. This design, bookended by the recently selected minimalist Agence Ter and SALT-designed proposal for PershingSquare in Downtown Los Angeles, creates an east-west urban route, while Gehry Partners’ ongoing community engagement surrounding its working designs for the Los Angeles River has the potential to create an ecologically significant north-south spine.
In this election season, let’s call this slow-burning revolution the Clinton option for urbanism: ignoring calls for barbarism and perfecting the status quo to be, if nothing else, better and available to many more. Right now, that’s the best West Coast cities can hope for, and maybe it’s not so bad.