Miami’s vibrant nightlife scene was the design inspiration behind the modular tennis complex that hosted this year’s Miami Open. Fans, players, and sponsors at the top tournament were surprised this spring with a colorful new campus located in and around Hard Rock Stadium in Miami Gardens, Florida. Under the direction of Miami Dolphins' owner and Hudson Yards developer Stephen Ross, the Detroit-based ROSSETTI created an out-of-the-box solution for the annual tennis championship that was highly-stylized yet saved tons of money. Instead of building a new, standalone tennis stadium, the design team decided to integrate a mix of temporary and permanent structures into the overall plan, across a total of 26 acres. “During a time when new stadiums cost a billion dollars, we designed a solution that uses the existing venue while creating an entirely fresh experience,” said Matt Rossetti, president of ROSSETTI, in a statement. “This design solution equates to a fraction of the embodied energy of a brand-new stadium and is a low-impact solution for the Miami environment. At the same time, we are creating an ‘international tennis festival’ that embodies the essence of Miami and delights fans.” Centered around six themed “neighborhoods,” the food and entertainment areas within the tennis campus were broken down into hospitality concepts that promoted different experiences for fans. These activation zones were set up as public squares that flanked the centralized Dolphin Plaza, a palm-tree lined pathway with fountains and greenery that linked the new outdoor courts to the larger stadium next door. New infrastructure included the 5,000-seat, demountable Grandstand, and the 13,8000-seat, temporary Stadium Court, which as the name suggests, was inside Hard Rock Stadium. In order to provide a more intimate viewing experience in that venue, a 47,200-square-foot confetti scrim was hung from its upper deck. Additionally, 18 practice courts, 12 exterior tournament courts, and 24 demountable cabana suites inside the stadium were built for the two-week competition. Because this year’s March tournament was the first time the Miami Open was held at this location, ROSSETTI crafted the entire architectural set-up to be built securely and taken down swiftly. The firm partnered with Thornton Tomasetti on the structural engineering and stadium design expert Seating Solutions on the stadium components. Renewable materials such as recycled glass countertops, decorative bamboo paneling, and interlocking wood decking were used throughout the site, and some of the structural products were repurposed after the event. Much like ROSSETTI's recently revamped USTA Billie Jean King National Tennis Center in New York, elevating the energy efficiency and enhancing the spectator experience of the Miami Open were at the heart of the project. Both the semi-permanent and temporary elements of the complex are slated to return for the 2020 tournament.
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A Year in Sports (Architecture)
Let's kick it: Here are the top sports architecture stories of 2018
Is the United States becoming more serious about soccer? We think we have evidence to say that it is. AN’s most popular sports stories of 2018 center around the world’s greatest sport, telling us that this year’s uptick of soccer-related architecture news signals a newfound appreciation for the game in our country. Read on for several developments you should pay attention to, and other stories about why sustainable stadium design is also on the rise. David Beckham’s Miami soccer village reveals Arquitectonica’s designs Miami is set to receive its first Major League Soccer (MLS) team, backed by soccer superstar David Beckham who plans to build a 73-acre campus for the city called “Miami Freedom Park.” Arquitectonica revealed new renderings of the sports village, complete with a sweeping, 25,000-seat soccer stadium. In November, local residents voted to approve the project and its projected location on the city-owned Melreese Country Club golf course, meaning Beckham’s vision is one step closer to breaking ground. Nashville’s new $2 million soccer stadium takes shape In December 2016, MLS announced a major club expansion to four U.S. cities including Nashville, Tennessee. Though the southern city wasn’t sure it’d be awarded a new team, plans for a multimillion-dollar stadium project had been in the works for over a year. This February, HOK released its first renderings of the new stadium, which will be constructed inside the Fairgrounds, home of the Tennessee State Fair. Selecting the central site was a contentious process throughout 2017 when a lawsuit was filed citing the city had violated its charter by proposing the project on public grounds. 2026 World Cup preview: Which U.S. cities will host? As Qatar preps for the 2022 World Cup, the United States is on deck to host the 2026 games alongside Canada and Mexico. That’s exciting news for a country whose national team rarely makes it into the World Cup lineup—the joint bid automatically ensures us a spot. But what’s not yet official are the 10 cities that will host events. We know that 60 of the 80 planned matches will be played in the U.S., including those from the quarterfinals onwards, but currently, 17 cities are still in the running. Which top towns, along with their state-of-the-art stadiums (which are an integral part of the individual bid), will make the cut? We’ve listed all the contenders here from Atlanta’s new Mercedes Benz Stadium by HOK (host of the 2019 Super Bowl) to the classic Rose Bowl in Los Angeles. Naturally-ventilated Louis Armstrong Stadium debuts at US Open Ahead of this September’s US Open, the USTA Billie Jean King National Tennis Center finished a five-year, $600 million renovation project of its campus in Flushing, Queens, New York. The massive update included the buildout of the new Louis Armstrong Stadium, the world’s first naturally ventilated tennis arena with a retractable roof. Designed by Detroit-based firm Rossetti, the 14,000-seat stadium replaces the former Louis Armstrong Stadium, which was demolished after the 2016 championship. The new structure features the same stacked seating style as its predecessor but serves up extra sustainability with the exterior overlapping terracotta louvers that act as horizontal window blinds. New home of the Texas Rangers has a climate-controlling, retractable roof HKS has designed a new 41,000-seat baseball stadium for the Texas Rangers in Arlington, Texas, set to replace the old Globe Life Park in 2020. The aptly named Globe Life Field will be a glass- and brick-clad structure featuring new climate-controlling infrastructure and a retractable roof. HKS’s design for the 1.7 million-square-foot ballpark was inspired by the vernacular style of Texas farmhouse porches. BIG unveils designs for new Oakland A’s stadium featuring a rooftop park Late this November, Bjarke Ingels Group (BIG) and the Oakland Athletics unveiled plans for a new baseball park and mixed-use campus in Oakland, California. Complete with a literally diamond-shaped stadium, the project is being pitched as a double-play for the city. It will feature an open and accessible landscape situated within Oakland’s underutilized Howard Terminal and will also include housing, recreational spots, and a business hub. Gensler and James Corner Field Operations will work alongside BIG to build out the mega-green space by 2021.
Pompidou and Circumstance
Richard Rogers wins the 2019 AIA Gold Medal
Lord Richard Rogers, honorary FAIA, has been awarded the American Institute of Architects (AIA) 2019 Gold Medal, the highest honor the institution offers. In recognizing the English architect's storied career, which spans more than 50 years, the AIA singled out Rogers’s Centre Pompidou in Paris (a collaboration with Renzo Piano), whose massive popularity kickstarted the high-tech style. The cultural complex was praised for its functional transparency and rejection of monumentality, hallmarks of Rogers’s that the AIA notes continued throughout his career. Rogers’s continued commitment to solving social, urban, and environmental issues through design, and his political activism were also praised. His continued impact on the skyline of London and New York, and approach to human-oriented urbanism, were singled out by the jury in particular as well. “He is the quintessential builder, committed to mastering the craft and technology of construction, harnessing it towards efficient buildings, and forging an expressive architectural language,” wrote Moshe Safdie, in a show of support for Rogers’s nomination. “Before it was fashionable, he was an environmentalist, who recognized early in his career the challenges of energy and climate, developing innovative solutions.” “Richard Rogers is a friend, a companion of adventures and life,” wrote Piano, who also supported Rogers’s nomination. “He also happens to be a great architect, and much more than that. He is a planner attracted by the complexity of cities and the fragility of earth; a humanist curious about everything (from art to music, people, communities, and food); an inexhaustible explorer of the world. And there is one more thing he could be: a poet.” Rogers has seen his fair share of awards, including the 2007 Pritzker, a RIBA Gold Medal in 1985, and a RIBA Stirling prize in both 2006 and 2009. The AIA jury was composed of the following members: Kelly M. Hayes-McAlonie, FAIA, Chair, University of Buffalo, Buffalo, New York Dan Hart, FAIA, Parkhill Smith & Cooper, Inc., Midland, Texas Lori Krejci, AIA, Avant Architects, Inc., Omaha, Nebraska Dr. Pamela R. Moran, Albemarle County Public Schools, Charlottesville, Virginia Antoine Predock, FAIA, Antoine Predock Architects, Albuquerque, New Mexico David B. Richards, FAIA, Rossetti, Detroit, Michigan Emily A. Roush-Elliott, AIA, Delta DB, Greenwood, Mississippi Rafael Viñoly, AIA, LMN Architects, Seattle, Washington
The following is a roundtable discussion among three Brazilian and Italian architects and scholars on the legacy of Lina Bo Bardi and the state of preservation of her works in Salvador de Bahia. Giacomo Pirazzoli: An architect and an immigrant, Lina Bo Bardi moved from Italy to Brazil in 1946 to start working in San Paulo. In 1959 she was invited to work in Salvador de Bahia, where she first became acquainted with Afro-Brazilian culture. Among the most relevant works she achieved while there, the Museum of Modern Art (MAM) at the Solar do Unhao—a former transfer point for sugar shipment—was re-designed in a few steps. Intriguingly enough, she declared “this is not a museum” since it had no collection; instead Lina thought it should have been “a center, a movement, a school," at least according to the research begun in 1946 by her husband and partner-in-crime Pietro Maria Bardi. Four years after the Centenário de Lina Bo Bardi (1914-2014): Tempos vivos de uma arquitetura exhibition in Salvador that focused on the conservation of Bo Bardi’s work, the windows at MAM toward the bay have been capped, invasive air conditioning ducts have been installed, and paintings are actually hanging on the walls as in a bourgeois living room, something Bo Bardi refused for years. How would you comment on all of this? Ana Carolina Bierrenbach: In 2015, together with Eduardo Rossetti (University of Brasília), I wrote an article for the architecture magazine RISCO, published on the occasion of the centenary of Lina Bo Bardi you mentioned. In that essay, we put forward some observations that I believe are still true today. We emphasized the fact that Lina finally got recognized in Brazil and abroad, sometimes reaching a level that we could define as idolatry, which we consider even excessive. Her works in São Paulo got appropriate care, as they have already had restoration, or soon they will have. Perhaps this concerns the role of architecture in São Paulo, which has a more widespread attention among local people, unlike what happens here in Salvador where perhaps people do not recognize how important architecture can be. Back to Bo Bardi’s buildings in Salvador. It seems to me that the situation is complicated at MAM; now it seems that the sculpture garden and the cinema are about to be reopened. A few days ago, we saw that the roof has been completely rebuilt, while the pier is in a very precarious state. Certainly MAM has for a long time had a crucial role for the city, but, unfortunately, this doesn’t seem to be true any longer. Nivaldo Vieira de Andrade Junior: I agree that in São Paulo the work of Lina Bo Bardi is better preserved than in Salvador, perhaps because in São Paulo four of her buildings have been listed by IPHAN, the Brazilian institution that protects cultural heritage. One more proof of this better care for her work in São Paulo is the recent reconstruction of her original display at the Museu de Arte de São Paulo (MASP), as well as the ongoing conservation projects both at MASP and at the Glass House, where the Bardi couple used to live and is today the headquarters of the Instituto Bardi-Casa de Vidro. It is also important to note that both conservation projects are under a particularly qualified supervision, being supported by the Getty Foundation under the Keeping It Modern program. Moreover, in Salvador, it is not just about the actually disruptive changes on Bo Bardi's display design at MAM that you previously mentioned. It is also worth noticing the largely oversized ducts of the air conditioning system actually installed within Gregorio de Mattos Theater, where a polycarbonate "box" with a metal structure at the upper floor leads to a full misperception of the helical concrete staircase, including its red central pillar. GP: Let’s go on to consider another case in Salvador, the 2014 intervention on the Casa do Benin, a peculiar culture-crossing bridge connecting Africa and Brazil. There, the woven straw with which Bo Bardi covered the columns has been eliminated. Also, galvanized open channels for lighting purpose have been added apparently at random, sharing nothing with the pre-existing red painted ducts. The exhibition curated by Pierre Verger and designed by Bo Bardi has also been altered to include works of dubious value. Finally, the large palms in the external area have been replaced with small potted ones. I believe that in various places on the planet, this supposed maintenance intervention would not be accepted, given the outcome. Of course I agree that these works need to be listed by IPHAN. In addition, I believe that in order to intervene on Lina's works, so rich in intercultural references, appropriate scientific support is needed, at least to provide research materials. In this sense both Docomomo and Instituto Bardi-Casa de Vidro should play a role, somehow consolidating the work of the Getty Foundation’s “Keeping It Modern" program. ACB: Actually, I believe these interventions demonstrate a lack of proper understanding of Lina's work. Her design choices, from the more specific ones, such as the superimposition of woven straw on the columns of the Casa do Benin, to other more generic ones, such as the use of the thin-armed mortar walls developed by the architect João Filgueiras Lima at Ladeira da Misericórdia, respond not only to aesthetic issues, but also to technical and strategic ones. They are linked to the knowledge that Bo Bardi had about the role that architecture can play both within the city and in citizens' lives. Unfortunately, this kind of knowledge was not considered for the interventions we have mentioned here in Salvador. I believe that there is a lack of delicacy in these interventions, that neither properly conserve the existing buildings nor propose quality insertions. Both issues are needed to keep the buildings alive, which was an essential matter for Bo Bardi. NVA: Yes, the intervention carried out by the Municipality of Salvador at the Casa do Benin is definitely arguable, but at least it allows tourists and natives to visit the Casa. However, Bo Bardi's works at the Ladeira da Misericordia complex are in a dire state. Restaurante do Coaty, arguably her masterpiece in Salvador, has been closed for several years and, as a result, it is deteriorating. Next door "ruin of the three arches," as Lina called it, has serious infiltration problems, while the other three properties are barely used. Access to the Ladeira has even been forbidden by the Municipality, which blocked it off with gates after having turned it the exit route for its adjacent offices. The last time when it was possible to visit those works without special permission was two years ago, thanks to an installation created by artist Joãozito. This also demonstrates the Municipality of Salvador's lack of recognition of Lina Bo Bardi, particularly when considering her own architecture from a worldwide perspective, despite the relevance of the Ladeira da Misericordia among the Italian-Brazilian architect's works. Giacomo Pirazzoli teaches architectural design at DiDA-Department of Architecture, University of Florence, Italy. He is a 2017–2019 CAPES recipient at FAU-UPM School of Architecture, Mackenzie University, San Paulo, Brazil. Ana Carolina Bierrenbach teaches architectural design at FAU-UFBA, School of Architecture, Bahia Federal University, Brazil. She is a member of DoCoMoMo-Bahia. Nivaldo Vieira de Andrade Junior teaches architectural design at FAU-UFBA, School of Architecture, Bahia Federal University, Brazil. He is the president of IAB-Brazilian Institute of Architects. The article is available in Italian in Il Giornale dell’Architettura.
Though the US Open has been hosted at its current complex for 50 years, the tournament itself has been going on since 1881, meaning there’s a rich backstory about where and how America’s Grand Slam has evolved. This year marked a new chapter in the tournament's history as the new Louis Armstrong Stadium opened for play, ending a five-year renovation project of the site's currently facilities. Here’s a brief history lesson in the architectural layout and legacy of the world-renowned United States Open Tennis Championships. Luckily for tennis lovers, all of these spaces are still playable today. International Tennis Hall of Fame, Newport, Rhode Island Perhaps the oldest and most prominent tennis facility in the United States, this ancestral home of the US Open welcomes players from all over the world to its historic grass courts and Victorian-style clubhouse. Formerly named the Newport Casino, the facility was designed by McKim, Mead & White in 1880 and was the center of the city’s society in its heyday. Upon opening, it hosted the first U.S. National Men’s Singles Championship in 1881. When the tournament outgrew its Newport location in 1914, it was relocated to the West Side Tennis Club in Forest Hills, New York, eventually evolving into what we know today as the US Open. When the site was in danger of demolition in the 1950s, it was repositioned as the International Hall of Fame and later became a National Historic Landmark in 1987, preserving a shining example of American shingle-style architecture. West Side Tennis Club, Forest Hills, New York This 125-year-old tennis club was founded not long after the Newport Casino opened in Rhode Island. Established in 1892 in its original Upper West Side location, the club built out its current facilities in Forest Hills in order to accommodate its growing membership. The grounds were set within Forest Hills Gardens, a 175-acre community designed by Frederick Law Olmsted, Jr. Overlooking the courts is a stunning Tudor-style clubhouse built to complement the surrounding Georgian and Tudor homes. The United States Lawn Tennis Association National Championship moved the tournament to the West Side Tennis Club in 1915, where it continued every year until 1977. Today, the club boasts 38 tennis courts of varying surfaces including grass, hard, red clay, and Har-Tru, as well the 13,000-seat Forest Hills Stadium, the country’s first arena featuring a concrete facade. Today, the stadium hosts a celebrated summer music series along with other arts events. A junior Olympic-size swimming pool and paddle tennis courts are also included on site. USTA Billie Jean King National Tennis Center, Flushing, New York Located three miles north of the West Side Tennis Club, this 46.5-acre complex has been the current home of the US Open since 1978. It was initially called the USTA National Tennis Center but was later rededicated in 2006 to women’s tennis champion Billie Jean King. The campus is set within Flushing Meadows–Corona Park and today features 33 courts including three mega-arenas: Arthur Ashe Stadium, Louis Armstrong Stadium, and the Grandstand. The latter two structures exclusively held the Open matches until Ashe was built in 1977. After rain delays majorly halted play during from 2008 to 2012, the USTA created a master plan to rebrand and solidify the entire complex ahead of the tournament’s 50th anniversary in 2018. This $600 million overhaul included demolishing the 54-year-old Armstrong Stadium, which was originally constructed as the Singer Bowl for the 1964-65 World’s Fair. A new, 14,000-seat structure was built from scratch in its place, opening this summer just in time for play. The multi-year renovation project, led by Detroit-based firm ROSSETTI, also included a new show court for the 8,000-seat Grandstand featuring a translucent skin that wraps around the facility. Most notably, two new PTFE retractable roofs now top Armstrong and the 23,771-seat Ashe Stadium where the major matches are held. The flexible roofing systems, which can open and close in five to seven minutes, now allow games to go on rain or shine.
Serving Up Sustainability
New naturally-ventilated Louis Armstrong Stadium debuts at US Open
Today tennis takes over the world’s stage with the start of the 2018 US Open. Now in its 50th year, the tournament will play out within the newly renovated USTA Billie Jean King National Tennis Center in Flushing, Queens. The five-year, $600-million project is now finished with the opening of the site’s final project: the Louis Armstrong Stadium, the world's first naturally ventilated tennis arena with a retractable roof. Over the next two weeks, hundreds of thousands of fans will descend upon the city to watch the final Grand Slam of the year, and while the tennis champions themselves are the real stars of the show, the stadium architecture will be prominently on display. The highly-anticipated renovation marks the end of the site’s fraught history with deteriorating courts and rain delays messing up major events. Designed by Detroit-based firm Rossetti, the new 14,000-seat Louis Armstrong Stadium evokes the feel of the old arena, which the USTA opened in 1978, but includes modern feats of engineering and sustainable design additions that bring it into the 21st century of sports architecture. The stadium boasts 40 percent more seating than its predecessor in two levels of precast concrete bowls and an advanced shading system that’s anchored by a fixed, cantilevered roof deck. Matches can proceed rain or shine thanks to the masterfully-engineered two-piece, moving roof that covers the court. Called a “complex, stackable sun room” by the architects, the retractable roof features 284,000-pound PTFE fabric panels that create a 38,160-square-foot opening after traveling 25 feet per minute in under seven minutes from the stadium’s edge. The transparent, lightweight fabric diffuses a soft light into the arena when closed, transferring 73 percent of the sun’s energy. The sides of the stadium additionally allow breezes to flow through the facility. Rossetti placed 14,250 overlapping terracotta louvers on the north and south sides of the structure that act as horizontal window blinds. The siding material is a nod to the traditional brick buildings found throughout the tennis grounds. Construction began on the new stadium two years ago when the 52-year-old Armstrong arena was demolished after the 2016 championship. Originally built for the 1964 World’s Fair, the structure was much-loved because it gave fans an intimate experience and unbeatable views with sky-high, stacked seating. Louis Armstrong Stadium 2.0, as many are nicknaming it, does the same but with a more porous, contemporary design. Plus, it has a built-in umbrella that ensures consistency of play no matter the weather. To celebrate its opening, Armstrong will hold more matches during the 2018 US Open than its neighboring Arthur Ashe Stadium, an 18,000-seat arena that also received a flexible roofing system during the renovation. Both stadiums will hold two matches at night, but Armstrong will see three during the day while Ashe will host two.
SHoP 'til you Drop
Gensler takes over from SHoP on Cleveland's Quicken Loans Arena redesign
Gensler has replaced New York firm SHoP Architects on the design for the Quicken Loans Arena in Cleveland, Ohio. SHoP had revealed its designs for the Cleveland Cavaliers' basketball stadium, known as "The Q," in December 2016. Work was scheduled to begin on the $140 million project the following year; however, work was delayed for a number of reasons. A spokesperson for Gensler confirmed to AN that Detroit-based stadia specialists Rossetti, who worked with SHoP on the original project, remain involved. Renderings given to AN by Gensler show the arena's overall design is mostly unchanged. Gensler's design team will come mostly from its Washington D.C. office and be spearheaded by Ryan Sickman, who holds the position of Firmwide Sports Practice Area Leader at the firm. Len Komoroski, the Cleveland Cavaliers and Quicken Loans Arena CEO, commented that Gensler was "well-positioned" for the "extensive transformation" of the 24-year-old arena. "Their experience and global foot print are a great match for this project and the image of Cleveland that will be projected around the world from The Q" he continued in a statement, adding: "The project is off to a great start and we look forward to seeing this unique, impactful transformation come to life." Surprisingly, another collaboration between the two firms wasn't on the cards, despite Gensler and SHoP having previously worked together on the Nassau Veterans Memorial Coliseum in Long Island, another stadium revamp. The former was completed almost exactly a year ago today. In 2013, SHoP's design for a New York City F.C. stadium in Flushing Meadows Corona Park was given the boot amid opposition. "I like the idea of a soccer venue in New York City… What I'm not crazy about is the fact that they want to take public park land in the process," said New York City Comptroller John Liu at the time regarding plans to plonk the 25,000-seat stadium on up to 13 acres in the park. After scouting the Bronx, Columbia University and Belmont Park in Nassau County, and failing to secure a stadium site, New York City F.C. is still on the hunt for a home. Despite only being 22 years old, the Quicken Loans Arena is one of the oldest facilities in use on the National Basketball Association circuit. SHoP's design featured a new glazed facade which stretches the stadium’s footprint closer to the street edge. This fenestration reveals an undulating arrangement of what appears to be wood panels which, given their location well inside the facade and north-facing orientation, don’t seem to serve any shading purpose. Aside from aesthetics, entrance and exit gangway areas will witness an increase in space, thus aiding circulation—a necessity considering The Q hosts more than 200 events every year.
Despite the weekly announcement of new developments in Detroit, from stadiums to skyscrapers, the city still faces a number of systemic issues that continue to plague its large population of economically disadvantaged residents. One of these issues, the topic of much-heated debate in recent years, is transit. The 2016 election represented a chance for the entire southeast Michigan region to reinvigorate its mass transit system, but a “no” vote sent planners and citizens back to the drawing board in hopes of a second try in 2018. The Regional Transit Master Plan, put forward by the Regional Transit Authority of Southeast Michigan (RTA), was meant to unify mass transit in the four counties surrounding Detroit with $4.7 billion in new investments, raised from a new tax and available state and federal funds. The RTA was founded in 2012 to successfully achieve this, after nearly half a century of other failed authorities. Going back as far as the 1950s, transit has been strictly divided between the mostly white suburbs and the mostly African American Detroit. And while there are many indications that this was a racial issue when the policy was made, today it has become an economic issue that many believe can no longer be ignored. Detroit’s transportation needs are enigmatic in many ways. The city is in the top ten for least car owners per capita, while it does not even chart in per-capita spending on mass transit. While three in five Detroiters work outside of the city, often in low-paying jobs, three in four jobs in the city are filled by workers from the suburbs. This means that Detroit has one of the longest average commuting distances in the country, a bit over ten miles. Many areas of the city don’t have nearly enough jobs, some as low as 100 positions per 1,000 residents. All of this together means that the economies of the suburbs and the city are inextricably linked; reliable mass transit would be an undeniable asset. The Regional Transit Master Plan was designed specifically to address these disparities and provide more comprehensive service to the entire region. Regional bus rapid transit (BRT) routes would run from the suburbs to the city center, new routes would be developed in currently underserved areas, and a regional light rail would stretch from Detroit to Ann Arbor. One of the major aspects of the plan, which was also one of the most debated, was that it would no longer allow individual suburbs to opt out of the transit system. Currently 50 suburbs have no mass transit system, as they have opt- ed out of the Suburban Mobility Authority for Regional Transportation (SMART). This is cited as being one of the main reasons for service gaps in outlying areas. Another is- sue facing opposition was the funding model, which included a new tax that would cost most taxpayers approximately $95 per year over the next 20 years. When the plan came up for vote in the November 2016 election, it was rejected by roughly 20,000 votes, losing 49.5 percent to 50.5 percent. The measure was approved in two of the counties, and came close in a third. Alone, the fourth, Macomb County, was able to sway the outcome. One year on, the RTA is still trying to figure out a path forward with the possibility of another proposal in 2018. Not waiting for that possibility, the suburban transit system, SMART, is launching its own extended BRT system to provide greater links to the city. Detroit has made recent transit headway also. The QLine, a new streetcar that was in the works before the regional plan and which relies partially on private funding, opened in 2017. Currently, discussions have started within the RTA concerning a new proposal. Early ideas have included reducing the area the authority is responsible for. The RTA has noted that roughly 28 percent of the “no” votes in the election came from more rural areas that would be less directly affected by a regional transit system. As the RTA was specifically established to build a regional transit system, enacting a plan is more than just a goal; it is do-or-die for the organization. If no plan is pushed forward, many fear the RTA will go the way of the numerous other regional planning authorities before it. While Detroit’s transit situation may be singular in its dire position, it is not the only metropolitan area that has seen a renewed interest in comprehensive mass transit. This was highlighted in the rush of dozens of cities to bid for Amazon HQ2. In Amazon’s request for proposals, it specifically stated that it was looking for a city with efficient, reliable mass transit. While this did not stop cities like Detroit from apply- ing, many will likely point to it as a reason Detroit will not get the call from Amazon. Even cities like Chicago, with well-established, well-funded mass transit, are looking to the near future for improvements. The 2018–2023 Regional Transit Strategic Plan, put forward by the Regional Transit Authority of the Chicago area, just finished an initial round of public input, and the Chicago Metropolitan Agency for Planning is working on the On to 2050 plan, which includes extensive regional transit guidance. Chicago also happens to be a contender for the Amazon HQ2 project, and transit has been one of its major selling points. The path ahead of the Detroit metropolitan area’s transit future is currently very unclear. Even when suburban and urban agencies were able to come together behind a comprehensive plan, their constituencies thwarted them. While the city itself has enjoyed a recent spotlight surrounding new development, particularly in its downtown, any Detroiter will tell you that the city has a long way to go to match its prosperous past. Many hope that effective transit will also help bring economic opportunity to the many who have never had it.
D is for Design
Detroit kicks off seventh annual Design Festival
As this dust settles in Chicago after the opening of the second Chicago Architecture Biennial, things are picking up in Detroit for the seventh annual Detroit Design Festival (DDF). This year’s festival runs from September 26 through September 30 in venues all over the city. Named the United States’ only UNESCO City of Design, Detroit has a long history of creative production spanning from design through fabrication and manufacturing. Hosting this year’s event is the Detroit Creative Corridor Center (DC3). DC3 is an economic development organization focused on encouraging and connecting the city’s growing creative community. The center is a partnership between Business Leaders of Michigan and the College for Creative Studies. Every day of the festival is filled with public programming. From studio visits and gallery openings to lectures and workshops, the festival hopes to reach the widest audience possible. Some highlights include Eastern Market After Dark, the Design Village, Light Up Livernois, Hamtramck Design Showcase and Designer Putt Putt. The Design Village will take place at the Ponyride Studio in Corktown, and will present the work of Detroit designers and makers for sale on Friday and Saturday. Light Up Livernois will explore the future of Detroit’s historic fashion district, while Hamtramck Design Showcase, will be a self-guided design tour of the city within a city. Designer Putt Putt is exactly what it sounds like. Inspired by similar events in London and Los Angeles, five designers were selected to design and install fantastical putting greens at Eastern Market. The designers, who were chosen through a competition include Indigo Carr, O2, ROSSETTI, Nick Tilma and Stephan Busscher, and Ciara Lindon. The public will be able to play the course during the Eastern Market After Dark and Light Up Livernois events.
Happy July 4!
America's biggest and best upcoming sports stadiums
There’s nothing more American than sports, so just in time for America's birthday, here’s a look at some of the biggest stadium projects in the works—from the world's most expensive stadium to a celebrity-backed soccer field. Ford Field (Detroit Lions) The Lions’ Ford Field Stadium will be undergoing a $44 million renovation of its interiors in a project led by Detroit-based Rossetti. “Our goal has been to bring the fan experience up to standards and beyond while customizing the design for Detroit,” said Jim Renne, sports principal at Rossetti and lead designer of the original stadium. Banc of California Stadium (Los Angeles Football Club) The 22,000-seat and $250 million stadium for the LAFC is now under construction. Designed by Gensler in a "European-style" arrangement with steeply-raked and sweeping seating areas, the open-air stadium is meant to bring viewers in a closer relationship to the field and players. Oakland Raiders stadium The Oakland Raider's have purchased a 62-acre-site in Las Vegas for their new stadium, which will be designed by Kansas City, Missouri–based Manica Architecture. The stadium, which is expected to cost $77.5 million, will seat up to 65,000 people. The NFL team's move to the new stadium follows two years of drama and they plan to move in 2020, just in time for the start of the season. Quicken Loans Arena (Cleveland Cavaliers) As one of the oldest National Basketball Association (NBA) stadiums in use, the Quicken Loans Arena will get a $140 million refurbishment from SHoP Architects and Rossetti. The new design will see a new glazed facade which stretches the stadium’s footprint closer to the street edge, as well as an increase in space at the entrance and exit gangway areas. “The $140 million transformation, half of which the Cavalier’s will be paying, ensures that this public facility will remain competitive in the future,” Cleveland Mayor Frank Jackson said in a press release. David Beckham's Major League Soccer stadium Soccer star David Beckham is making moves with a Populous-designed, 25-000 seat stadium. What's catching attention, however, is not the celebrity attachment: it's that there won't be parking. Instead, fans are expected to use Metromover, Metrorail, water taxis, ridesharing, and plain-old walking to get to the stadium. LA Rams stadium Once completed in 2019, this stadium will be the world's most expensive, clocking in at a whopping $2.66 billion. Dallas-based HKS designed the new LA Rams stadium with more than 36,000 aluminum panels, which will have 20 million perforations punched into them. The perforations in the metal skin respond to the variable Southern California climate without the need for an HVAC system. This creates an effect of being outside, according to HKS. RFK Stadium In a $500 million vision to revamp the sites around the RFK Memorial Stadium after it's demolished in 2019, Events D.C., the city’s semi-independent convention and sports authority, unveiled plans to build it up with three multi-purpose athletic fields, a 47,000-square-foot food market hall, and a 350,000-square-foot indoor sports complex. “The RFK Stadium Armory-Campus—currently under-utilized—is poised to be transformed into a vibrant place that connects D.C. to the Anacostia River,” OMA partner Jason Long told the Washington Business Journal. Villanova University basketball stadium The university's basketball fans will have a new stadium to cheer on the Wildcats for the 2018-2019 season (in time for March Madness) when the renovation designed by Philadelphia-based EwingCole is completed. There will be a new lobby, concourse, and hall of fame greeting visitors. “It was important to Villanova that we celebrate the uniqueness of The Pavilion while creating an unmatched Division I basketball experience for the players and the fans,” said Bill McCullough, principal of EwingCole’s sports practice, in a prepared statement. The Texas Rangers' new Arlington, Texas ballpark Dallas-based architecture firm HKS has been chosen to design a new ballpark for the Texas Rangers baseball team. The stadium will be constructed as a public-private partnership between the team and the City of Arlington: It will serve as the Rangers’ home field and as a multipurpose arena for high school, college, and international sports. The Portland Timbers' stadium expansion Allied Works Architecture (AWA) has unveiled designs for a $50 million expansion to the 91-year-old soccer stadium in Portland, Oregon’s Providence Park, home to the Portland Timbers and Portland Thorns soccer teams. The stadium expansion, according to information on the AWA website, is conceptually inspired by William Shakespeare’s Globe Theatre in London and will aim to add roughly 4,000 seats to the existing stadium complex.
Fly Q Detroit
Watch drone footage of the new Detroit QLINE
As service begins on the 3.3-mile stretch of Detroit’s QLINE light rail, riders will be jumping on at 20 new stations designed by Detroit-based ROSSETTI, in collaboration with AECOM. The rail runs into Downtown Detroit along Woodward Avenue between Congress Street and Grand Boulevard. New drone footage released by ROSSETTI lets you see the new station and the QLINE in action as it glides into the heart of the city. "Our goal was to create minimal and elegant structures that were both transparent and durable. We wanted the shelters to be visually identifiable as part of the QLINE rail system," Jon Disbrow, Principal and Architectural Lead at ROSSETTI, explained in a press release. "But simple enough that they would blend into the context of the various locations where they would be placed." The stations are divided into two typologies. The base station type consists of a set of amenities that are shared by all of the stations. Meanwhile, the other is designed to accommodate possible future public space, art, additional setting, bike racks, and other amenities. Each of the 98-foot-long stations is distinguished by a different color of Detroit’s Pewabic tile. In addition to this, each station is also equipped with heating for cold Detroit winters, concrete bench seating, WiFi access, security cameras, emergency phones, and ticket vending machines. The pre-cast concrete used for the stations includes an anti-graffiti admixture, and partitions are constructed out of durable laminated glass. Take a tour of the new rail line with this drone footage (below) of the new stations.
Brought to you with support fromLocated adjacent to the New York State Pavilion—the host of the 1964 World's Fair—the USTA Billie Jean King National Tennis Center hosts the annual US Open Tournament, one of the oldest tennis championships in the world. In an effort to better utilize the sports campus, Detroit-based ROSSETTI developed a master plan to move the Grandstand Stadium to a far corner of the grounds. The relocation expanded USTA's leasable land into Flushing Meadows Corona Park. To mediate between this historic park setting and the tennis campus, ROSSETTI designed a unique exterior skin pattern that metaphorically evokes the translucency of leafy tree canopies and the twisting dynamics of the tennis serve. The material selected, a Teflon-coated fiberglass membrane, polytetrafluoroethylene (PTFE), is typically used for roofing applications but in this case, a woven version allows for a more translucent breathable effect. The facade assembly is composed of 486 panels, totaling over 26,000 square feet, that fasten to a cable structure with parametric geometry. The system was designed with computational solver software to streamline design and constructability, ultimately saving an enormous amount of time and money in the project. Matt Taylor, design lead at ROSSETTI, said that early on in the design process, the team tried to mimic the faceted geometry of the structure, by ultimately ended up with a curvilinear form: "Even though this was a very complex facade, we had to simplify it to a point where it was repeatable, structurally feasible, and that the detailing could be economic enough to stay within budget." Pierre Roberson, a technical designer at ROSSETTI, led the effort to optimize and simplify detailing of the system. He said the structure of the building was not symmetrical but rather based on spline geometry with an infinite number of radii, and that the key to optimizing the facade was about producing a series of modular components that approximated the perimeter shape. Roberson split the spline of the ring beams into 16 equal segments, finding optimal radii for each segment. After optimizing the beam geometry, Roberson used Galapagos, a parametric tool in Grasshopper3d, to find an ideal strut length from over 1,000 of the individual panel supports. This process standardized the length and angle of the facade strut geometry, which allowed the team to provide models for the shop fabricators, who were able to attach connection points to the ring beams at the same angle. Early on in the process, working with PTFE manufacturer Birdair, ROSSETTI mocked up details using PVC pipes and in-house 3d-printed connection components to test and resolve details in full scale. This became a transportable design, presentation, and technical tool that allowed the connection between the PTFE panel and the steel strut to evolve into an elegant functional expression. Taylor said the mockups led to design changes through a collaborative process between the architect and manufacturer. "Birdair was great to work with—they were up to the challenge of this design." The actual fabric shapes were directed by Birdair’s dimensional and formal requirements. For example, a doubly-curved surface geometry is easier to tension than a standard planar surface. Also, by maintaining a specific dimension of 5-by-10 feet avoided the visual clutter of seams running through the panels. "We could have specified a large panel size and worked a secondary seam pattern onto the panels, but we thought this was a much more elegant solution," said Taylor, adding, "there's something really nice about the pedestrian scale of the panels."