Search results for "Morphosis"
Emerging Voices 2019
FreelandBuck draws on representation for spatial effects
Emerging Voices 2019
Colloqate instrumentalizes design as a tool for social justice
Emerging Voices 2019
SCHAUM/SHIEH experiments with architectural tools to produce surprising spaces at every scale
For SCHAUM/SHIEH, the city is not a mere backdrop for designing buildings. Instead, it is a source of productive potential and a platform for theoretical and built experimentation that has informed the firm’s relationship to design from its founding in 2010.
The studio’s founding partners, Rosalyne Shieh and Troy Schaum, first explored this interest in speculative projects for Detroit and the Taiwanese port city of Kaohsiung. Their early urban proposals for Detroit led to an installation at the 2012 Venice Architecture Biennale of a room that was also a staircase and public seating, one of many prototype structures they envisioned could infill the spaces between vacant homes in the city. This design, part of a larger project called “Sponge Urbanism,” challenged the divide between domestic and public space and confronted the broader narrative about vacancy in Detroit.
This intersection of urbanism, form, and identity is something that the studio has carried into its commissioned work, especially for cultural institutions and spaces with hybrid programs. These include the Judd Foundation’s buildings in Marfa, Texas; White Oak Music Hall in Houston; and most recently, the Transart Foundation, also in Houston.
While its Judd Foundation work is an exercise in restraint, aimed at preserving and restoring the artist Donald Judd’s vision for more than a dozen buildings in Marfa, projects like White Oak show how the designers play with form, massing, and landscape to create a distinctive destination for Houston’s music lovers and a new open space for the city as a whole. The main two-story concert hall, which contains multiple stages for different types of music and audience sizes, is part of a larger 7-acre complex which includes a lawn for outdoor performances and an open-air pavilion and bar, converted from an existing shed on the site.
Across the studio's diverse range of projects, abstract representation and diagrammatic processes are essential tools to generate concepts and collaborate with partners and clients. But, as Schaum explained, “We always like to come back to where that kind of set-making and pattern-making starts to break down and question its own set of possibilities, where the sets open up new possibilities for inhabitation rather than where they complete themselves in perfect studies of pattern or complex assemblages.”
This is evident in SCHAUM/SHIEH’s Transart Foundation (a 2018 AN Best of Design Awards Building of the Year). The project includes two structures comprising a private residence, art studio, and exhibition space, and is located across from the Menil Collection within a largely residential neighborhood.
Transart's white stucco facades, with their thick massing, look substantial, but are peeled away at the edges and corners, giving the overall appearance of lightness, like curled paper. The sculptural massing of the main building, juxtaposed against its relatively compact size— closer to a large house than a museum—also makes the foundation appear more monumental than it is, demonstrating the way SCHAUM/SHIEH works with scale to blur the lines between private and public space. This exercise in form and material produces unexpected moments and transitions that serve the multi-functional art space well.
But ultimately, the practice is most interested in its ongoing dialogue with the broader world. As Shieh explained, “I want the buildings that we make to belong to the world, and not to architecture. We don’t necessarily put them out there in a way that we hope that they tell architecture what they are, but that they somehow produce some kind of surprise.”
Clarity is key for popular Portland-based firm Waechter Architecture
For SCHAUM/SHIEH, the city is not a mere backdrop for designing buildings. Instead, it is a source of productive potential and a platform for theoretical and built experimentation that has informed the firm’s relationship to design from its founding in 2010.Colloqate Design, a multidisciplinary, New Orleans–based “nonprofit design justice practice” founded in 2017 by Bryan Lee Jr.—Sue Mobley came on in 2018—with the goal of “building power through the design of public, civic, and cultural spaces,” is setting a different path relative to other design offices. … “We want to be the most radical design firm out there,” Lee said, “and we need to build buildings to do that.” FreelandBuck builds drawings. Not in the traditional sense of constructing what’s represented by a drawing set, but in the sense that its architecture directly evokes carefully constructed perspectives and painstakingly hand-drawn renderings. “We think about drawing at the scale of architectural space,” says partner Brennan Buck, “as an end product, not a means to build.”
From Toronto to the World
UUfie plays with architecture’s place in nature around the world
Despite being just ten years old, UUfie has snagged commissions in high-profile locations around the world that any practice would envy. Few firms of a comparable size have worked in three continents, and UUfie’s founders are aware of the benefits of having worked around the world; they credit their global experience with bringing “more cultural awareness and diversity in thinking” to their practice.
The firm was founded in 2009 by Irene Gardpoit and Eiri Ota in Tokyo, where the two met while Ota was working at Jun Aoki & Associates and Gardpoit at Arata Isozaki & Associates. Their firm’s first project was a residential commission from a local family in Tokyo—where Paris-born Ota grew up—and there the practice grew for a few years before moving to Toronto in 2013. Gardpoit is a native of the Canadian city and said that the move was a fresh opportunity for the firm.
“In Canada, there is a growth in supporting Canadian talent and potential for establishing a vibrant design scene that is broadening its perspective. In Japan, this scene is highly established and appears to lean now toward a retrospective view,” Gardpoit said. “Canada is a culturally diverse country in comparison to Japan. This diversity brings on its challenges, but it is also unique in that it does not necessarily have its own established identity. It allows us to experiment.”
UUfie frequently experiments with architecture’s relationship to nature, a theme that could lend itself to cliché in other hands—UUfie keeps it fresh by staying stylistically flexible and thinking broadly. For the landmark Parisian department store Printemps Haussmann, UUfie was tasked with creating a new vertical circulation space in the retailer’s historic home. The practice took its cue from the building’s Art Nouveau stained glass depictions of plants and flowers, reinterpreting the decorations’ supple arcs and florid colors for the 21st century with a triangulated screen that hovers over a seven-story wall of kaleidoscopic dichroic glass running alongside the building’s escalators. “Colorfulness was the essential part,” Ota said. “It creates interaction as people go up and down the escalator.”
Lake Cottage, a small home in the woods for a large family, has a more direct relationship with nature—it would be hard for it not to, given that it’s in the middle of a Canadian forest. Although the cottage adopts some conventional cabin tropes, like wood siding and an A-frame structure, it cleverly plays with these norms, twisting the retreat into a sleek fun house. It’s a bit difficult to grasp with words—a product of UUfie’s spaces’ subtle complexity—but essentially, the living room is nested inside the building’s frame like a Russian doll, with windows in the main space punched out to those surrounding it so that people in an above loft can peek in on those below. That same loft is lined with abstracted exterior shingles so that the living room “skylights” seem to be looking up at another building’s roof. It’s a funny mind trick that testifies to the firm’s ability to surprise with an economy of means, regardless of locale.
Ignacio Urquiza, Bernardo Quinzaños, and Centro de Colaboración Arquitectónica are an inclusive activist practice
Bernardo Quinzaños, Ignacio Urquiza, and Mexico City–based Centro de Colaboración Arquitectónica (CCA) have over a decade of experience working toward their goal of using architecture as a “tool for change.”
Since its founding in 2008, the partnership has completed over two hundred projects with the help of many interdisciplinary collaborators, including builders, contractors, and nonprofits. The firm, an organization dedicated to the “research, conceptualization, and development of architectural and urban projects,” according to the architects, combines tastefully exuberant buildings with socially driven programming—the goal being to enrich the practice of architecture. With a deep interest in local building traditions and a passion for collaboration between adjacent professionals and craftspeople, Quinzaños and Urquiza pursue building as a social and creative enterprise.
For example, the firm recently completed a new campus for the State of Mexico Boys and Girls Club, an organization for at-risk youth, comprising three spartan educational buildings linked by an arch-covered concrete walkway. Just as the human spine is made up of two dozen vertebrae, the walkway is composed of 24 pairs of intersecting concrete vaults generously proportioned for group conversation. The walkway connects classrooms and spaces for the performing arts and sports programs with a sunken amphitheater and plaza that constitute the center’s beating social heart.
Urquiza explained, “We’ve always had a particular interest in architecture that is precise, yet at the same time has the flexibility of being able to give itself to each space.” He added, “Ambiguity is what gives architecture the freedom to be owned by its users.”
One way the parnership imbues its projects with this desired ambiguity is by creating many different kinds of covered outdoor spaces to establish architecturally focused social condensers.
In their Escuela Bancaria y Comercial Aguascalientes project, for instance, the designers invert the approach taken at the Boys and Girls Club by designing an inwardly focused campus centered on broad internal hallways and exposed single-loaded corridors. A central concrete-lined courtyard is the epicenter of consecutive circulation rings that connect formal classrooms and libraries with public living rooms to help create areas where students’ minds can wander and extended conversations can take place.
In the firm’s more conventional commercial and residential projects, the designers make skillful use of layered spaces to add a human dimension to larger-scale buildings. Casa Moulat, a wedge-shaped residential golf compound north of Mexico City, for example, uses mud-colored concrete walls to frame a pair of long-span openings that dematerialize to form a living room open to the landscape on two sides. At Casa Moulat, landscapes, materials, and buildings come together both physically and conceptually.
As Urquiza sees it, their approach is a pragmatic one: “For us, it’s very important to understand what we have available nearby and use it in a precise manner. Economy of means is a fundamental concept in our practice.”
Starting 2019, Urquiza and Quinzaños will carry on to work in independent offices: Quinzaños will remain as lead of Centro de Colaboración Arquitectónica while Urquiza will continue his practice as Ignacio Urquiza Arquitectos.