Search results for "W Architecture and Landscape Architecture"

Placeholder Alt Text

Survive and Thrive

Akoaki is blending design disciplines in Detroit
Upon their arrival to Detroit, partners Anya Sirota and Jean Louis Farges took four years to understand the complex landscapes and narratives that co-exist within the city. At the time, Detroit was fully entrenched in “ruin porn” and the design interest of the city followed a fascination with degradation or a re-imagination to building new. Cultural assets (like the industrial design of cars and jazz music) once thrived in the city and continue to have national and international range. Often though, the direct impact upon the residents is nonexistent. Akoaki [pronounced ak-o-ak-i] is compelled to research fields of architecture and art and their relationships to equitable redevelopment. By embracing the power of aesthetics and form-making, the couple peels away normative tropes of social practice. Beginning with aspirations to include aesthetics, beauty, and pomp creates pieces that do not comply with age. Often feeling burdened by good taste, Akoaki’s aesthetic quality tries to be bigger and badder. Imaging Detroit Supported by a Research on the City grant from the University of Michigan's Taubman College of Architecture & Urban Planning, Imaging Detroit is, in a nutshell, an international film festival and pop-up agora. The project investigates the many ways Detroit has been portrayed over the last decade, be it film or publications. Sirota and Farges, along with a suite of collaborators, researched the way people construct narratives around the city and responses to those narratives. A major challenge of the project was how to stage an event in this context without contributing to a proliferation of ruin porn and social degradation. The goal was to create true conversation and a positive impact while staging a public debate and open speculation. The 36-hour event transformed Perrien Park into a civic space with screenings, conversations, exhibitions, food, and leisure—a true ephemeral urbanization. Detroit Cultivator In collaboration with the six-acre Oakland Avenue Urban Farm (OAUF), Akoaki is designing a master plan that combines agriculture, culture, business, and ecology to envision a landscape that is both economically and ecologically sustainable. The project required navigating through major issues regarding land ownership, pressure from developers, and water access. After working with the University of Michigan Law School and a team of “moral investors” to secure the land, a business plan was created with volunteers from the University of Michigan Ross School of Business. The plan prioritizes the farm’s productivity to create a source of income and a flexible space for neighborhood entrepreneurs. As a result, the master plan features existing structures that will eventually become public amenity spaces; for example, a shoe-shine parlor will reopen as a multi-tenant commercial space and performance venue. Rather than keeping the farm purely agricultural, Sirota and Farges sought to activate other existing uses through building and site interventions. The project is an experimental urban prototype, though Akoaki is working to ensure the farm can become a permanent fixture in the neighborhood. Jackson, Mississippi Sirota and Farges’s experience working on Detroit Cultivator has set them up to discover a similar food-related project, this time in Mississippi. Supported by a $1 million public art grant from Bloomberg Philanthropies, “Fertile Ground: Inspiring Dialogue about Food Access” brings together architects and artists with chefs, gardeners, food policy experts, and local institutions to facilitate a year of community-engaged interventions. Ultimately, the project aims to establish a nonprofit research lab on food access that will operate on a permanent basis to sustain the momentum that is created. While Mississippi is known for its agriculture, a majority of the food grown in the state leaves, and Jackson is full of “food swamps”—a plethora of fast food options as opposed to fresh food. Rather than return to the “idyllic” past of farming (an image that is not necessarily representationally positive to everyone), Akoaki has formulated a “neo-rural” environment that deserves an aesthetic value and brings together aspirations of the city. Midtown Cultural Center Detroit’s Midtown Cultural Connections organized a year-long competition in an effort to connect Detroit’s most significant cultural institutions. The winning entry includes Akoaki and their assembled team of landscape architects, urban planners, and technology-experts. The announcement of the winning proposal displays how Detroit’s participating institutions and stakeholders carry a willingness in allowing an open-ended framework a chance to succeed. The plan that Akoaki and team are working on will take issues of mobility, environmental sustainability, and stormwater stewardship into consideration. Overall, the project requires a sensitivity to placemaking in order to avoid displaced cultural queues and gentrification. When finished, the project will create a unified, dynamic, and inclusive space that facilitates connections between the Cultural Center and the Midtown neighborhood.
Placeholder Alt Text

Go For The (Rhein)gold

ODA's towering Rheingold complex is a self-contained village
In Bushwick, Brooklyn, on the site of the former Rheingold Brewery, New York-based ODA has designed a mammoth apartment building that takes up an entire city block, totaling nearly 500,000 square feet. The seven-story, 500-unit building features two staggered volumes in which a core of dark gray corrugated metal seems to rise up out of a lighter gray shell, with the apartment units arranged around two internal courtyards. One of the complex’s defining elements is its ombré-hued grid of recessed windows and balconies. This cascading arrangement of color and form gives the facade a level of depth and texture while reducing the building’s vertical presence at the street level and allowing more light to reach the interior courtyards. “Due to the repetitiveness of the grid, we eroded it to create this form, adding and subtracting areas,” said Francesco Asaro, project manager at ODA. The interlocking patterns are also subtle nods to the imperfections of the site since some corners don’t meet at 90-degree angles. Three window and door systems from Reynaers Aluminum are used in the project. For the residential windows and balconies, the custom-extruded aluminum frames of Reynaers’s SlimLine 38 system were fitted with 1-1/16 insulated glass by manufacturer Blue Star Glass and selected in four hues that ranged from red to yellow and arranged in an interlocking pattern. The Reynaers window system meets the sound transmission requirements for the area and was preferred by the project’s window installers, said Asaro. Since nearly every unit has a balcony, it was also important for the window system to be well-insulated and energy-efficient. The SL 38 is engineered with contiguous mullions to be able to hold multiple panes of glass within a single frame and tilts open for easy maintenance. The Rheingold boasts numerous amenities, including 70,000 square feet of outdoor space, art studios, a darkroom, and a theater. The amenity spaces of the building feature a fixed-glass Reynaers Concept System 77 (CS 77) of windows and doors framed in a gray hue, while the storefront windows and facades in the building’s commercial spaces relied on the heavier-duty Concept Wall 50 (CW 50) system, which can hold up to 1,500 pounds of glass panes. Location: Brooklyn, NY Architect: ODA Interior designer: Durukan Design Landscape architect: Gunn Landscape Architecture Facade consultants: Simpson Gumpertz & Heger Inc. Structural engineer: Titan Engineers PC MEP engineer: MG Engineering D.P.C. Geotechnical engineer: URS Corporation (now AECOM) Windows and doors: Reynaers Aluminum Glass manufacturer: Blue Star Glass Composite facade panels: Petrarch Panels Corrugated metal facade panels: United Panel Technologies
Placeholder Alt Text

What Can Art Do?

Forensic Architecture sets a high bar at the Whitney Biennial
“While my company and the museum have distinct missions, both are important contributors to our society,” said Whitney Museum of American Art vice chairman Warren B. Kanders. This statement, salvaged from a letter leaked by ARTnews in December, sets the tone as the opening visual for Forensic Architecture’s installation at the Whitney Biennial—a 15-minute video delivering the collective's most recent foray into artificial intelligence, titled Triple Chaser. The London-based architecture and science research group chose to respond to the Kanders tear gas and munitions scandal not with a withdrawal from the biennial, but with the creation of a work of art-as-social justice tool, a submission that infiltrates the subject of derision’s own institution. Their video, created in collaboration with director Laura Poitras and Praxis Films, is narrated by David Byrne cooly explaining how FA approached the training of a computer program to track and recognize images of “Triple Chaser” tear gas canisters and subsequently reduce the amount of human labor needed to do so. The program is trained to recognize the canisters, so named for the way they break into three distinct pieces after being fired, and not become used to identifying just the degraded landscapes they usually occur in. Forensic Architecture’s website, as well as the video, comments that “Whereas the export of military equipment from the US is a matter of public record, the sale and export of tear gas is not.” The analyzed images act as proof of their use, and therefore sale, to over 14 countries including US border states -- and these canisters are just one of the many munitions manufactured by Defense Technology, a subsidiary of the Safariland Group -- Kanders is the founder, chairman, and chief executive. Byrne’s narration clearly and objectively describes the group’s methods in creating a piece of artificial intelligence, accompanied by visuals and music that are at once pragmatic as well as sensually arresting. Viewers are prompted before one section of the video with a seizure warning, as a series of bold geometric backgrounds used to train the program appear, the compositions flashing at rapid speed on screen, a kaleidoscope of color and stimulation. The tear gas cans are highlighted and boxed in bright pinks, yellows and blues that act as sharp contrasts against the dusty, barren landscapes of the war zones they are scattered in. Whole sections of the video are also set to the symphonic music of Richard Strauss, Kander’s personal choice for the Aspen Music Festival section named for him after a multi-million dollar donation. The haunting strings and dramatic woodwind crescendos are fitting for the eerie images they amplify. This video is an overtly collaborative work, and FA reached out to other artists and activists working in zones of political unrest, where the canisters are common, to fill out their image banks. The video shows one video submission of a rusted canister from an artists colony in Israel, one that Byrne introduces as “one of the most heavily gassed artist's colonies in the world.” In FA’s data-driven way, their video encompasses why a cultural institution like the Whitney cannot have, in the opinion of many, a man like Kanders on a board that should be protecting, not attacking, artists and their voices. Forensic Architecture as a firm, a lab, a collective, is inherently interdisciplinary, regularly overstepping traditional boundaries between professions and genres. Their “artwork” is serving a similar focus as well. Is this video just as much “art” as the Arroyo paintings in the same gallery? Politics have always been a subject of art, artists and creative output, but the contemporary climate seems to be showing artists as not only creating political works, but exposing politics and its maneuvering as art inherent in its existence -- politics create culture, and other elements of culture are responding to what politicians and votes are “creating.” But is “Triple Chaser” a work of art, or a work of journalism, or of anthropological research? A reorganization and alt-method of displaying data, the inclusion of Forensic Architecture at the Whitney Biennial sets a possible precedent for contemporary art, one that may be hyper-specific to current events, relevant due to an Internet-age concept of timeliness.
Placeholder Alt Text

Turning The Tide

The first phase of DS+R's linear London park is now open to the public
The first phase of The Tide, London’s version of the High Line, officially opened to the public on Friday. Designed by Diller Scofidio + Renfro (DS+R) in collaboration with London-based firm Neiheiser Argyros, the inaugural section of the linear park marks one-fifth of the overall three-mile-long landscape coming to the banks of the River Thames. As an outdoor cultural destination set in the city’s burgeoning creative district, Greenwich Peninsula, The Tide features what Kerri Sibson, director of the local development office, calls a “bold 3D landscape” that’s perfect for enjoying nature and absorbing art. “The Tide brings to London an unrivaled outdoor experience in the city,” Sibson said in a statement. “Most importantly, it’s a place for everyone.” When fully finished, the elevated and at-grade park will weave through and connect the seven different neighborhoods being constructed as part of the 150-acre Greenwich Peninsula district. This new urban enclave will boast architecture by Santiago Calatrava, C.F. Moeller, SOM, and SelgasCano, among others, and is currently being marketed as London’s emerging art and design community. The Tide is just one element that’s slated to attract future residents to the Peninsula over the next two decades as it is built. The mega-plan includes adding 15,000 new homes, nearly 4,000 affordable housing units, 13,000 new jobs, two new schools, and 48 acres of public green space to the formerly industrial zone—a move prompted by the area’s recent regeneration sparked by enhanced transit connections to downtown London. Though this level of development is substantially larger than what DS+R’s High Line has inspired in New York’s Chelsea, The Tide is actually a project that’s been envisioned ahead of future growth in the district, and of course, it’s being done from scratch. Unlike DS+R's seminal urban park project, the British iteration will be built in tandem with the buildings that will rise above and around it, while still making nature, art, and city views the focal point of the landscape. And it won’t necessarily be a tourist destination either, according to the architects, who have envisioned it as a source of respite for locals with ample programming for meditation, running, and waking. The first section of The Tide features curvaceous walkways that mirror the ebb and flow of the river, as well as terraces, and overlooks, all which are supported by 28 angular steel stems. Some parts of the park’s initial viewpoints feature support structures as tall as 29 feet high. The paths themselves also stand out with a striped pattern that doubles as a wayfinding tool, guiding visitors from one section to the next. Giant sculptures by Damien Hirst and Allen Jones already populate the introductory segment  The Tide’s above-ground routes act as canopies covering the plazas below, which DS+R used asphalt and granite Portuguese paving stones to surface. Edinburgh-based landscape studio GROSS.MAX designed a textured vision for the park’s many elevated and sunken gardens, of which phase one includes native birch and pine, waterside trees, seasonable bulbs, ornamental grasses, and sections of groundcover. All of the open spaces above, below, and within the park, including the jetty garden and a picnic area that boasts an 88-foot-long communal table, were intended to invite incoming locals to experience the city from the waterfront and create community through it. These activation areas make up a network for recreation, culture, and wellness. Benjamin Gilmartin, partner-in-charge of the project at DS+R, said The Tide aims to “embed a new public realm into the daily rhythms of Greenwich Peninsula” as it grows.  “Diverse programming along the way will act as islands that welcome the surges of commuters, visitors, cyclists, and runners,” Gilmartin said in a statement, “while also providing intimate places for pause contemplation, conversation, and people watching.”
Placeholder Alt Text

Venti Views

The Starbucks Visitor Center at Hacienda Alsacia accents the natural landscape
Perched in the verdant hills outside San José, Costa Rica, sits a coffee lover's dream: Starbucks’s Hacienda Alsacia, an experiential visitor center devoted to the caffeinated beverage. Visitors can learn about harvesting and roasting processes, a variety of brewing techniques—and, of course, sip some of the company’s signature drink. The 46,000-square-foot hacienda is the public gateway to Starbucks’s surrounding research-focused coffee farm, where the java giant tests new growing techniques and develops better farming strategies that are then shared with growers around the world. Designed by Starbucks’s in-house team, led by David Daniels, AIA, the hacienda is meant to be more than just a variation of the chain’s typical stores. “Everything needed to be authentic, everything needed to be contextual, and everything needed to be driven by creating a space for community,” Daniels said. Those principles led Daniels and his team to design a low-slung structure with exposed steel columns and roof trusses, polished concrete floors, and a wood-lined ceiling that gently peeks over a generously proportioned cafe overlooking the rolling hillside. Because the team wanted to connect visitors to the spectacular site as closely as possible, they opted for a glazed operable wall system from LaCantina Doors to line more than 60 feet of one of the grand room’s long sides. The team chose the company’s aluminum system in a bronze anodized color because LaCantina's doors were reliably available from a local provider, Bella Vida. Further, Adrián Jiron-Beirute of Jirón-Beirute Arquitectura, who led the local team, felt that they offered the right balance of design and durability for the rustic setting. Operability is crucial for this wall because, while the coffee farm enjoys an agreeably balmy climate most of the time, the mountain weather can occasionally be pretty punishing. Jiron-Beirute said, “During the dry season we have lots of sun, but it gets very windy; and during the rainy season we have sun during the mornings and a lot of rain in the afternoons.” The operable glass wall ensures that no matter the weather, the only mud inside is the kind being peacefully sipped from a cup. Location: Outside San José, Costa Rica Architect: Starbucks Global Creative Wall system: LaCantina Doors General contractor and project manager: Ventajas Mundiales Architecture construction drawings + coordinator of the consulting team: Jirón-Beirute Arquitectura Structural engineer: BA Ingeniería Hydraulic and electric engineer: Circuito Landscape design: PPAR Lighting design: Lumina Lighting Design
Placeholder Alt Text

Go Long

Barry Bergdoll showcases a new wave of modern architecture on Long Island
The “North Fork” of Long Island, from the town of Riverhead to Orient Point at the eastern tip, is one of the most varied and beautiful landscapes in the New York region. A peninsula jutting out into Long Island Sound, it is the last place where one can still find open space devoted to farming, alongside fresh and saltwater inlets, bays, and ponds in the state. It also has a unique regional style of cedar shingled “Cape” homes and handsome pine potato barns that date back to the 18th century. But North Fork is also home to a handful of modernist post-World War II summer homes, that have remained largely unknown in comparison to those in the Hamptons, it’s more glamorous neighbor across the Peconic Bay. Now, thanks to Columbia Art History Professor and ex-MoMA architecture curator Barry Bergdoll, the story of modern architecture on the peninsula will be better known. Somehow Bergdoll found the time last year to stage A New Wave of Modern Architecture, a small but alluring exhibition on the region’s post-war modern architectural history. Now, the exhibit has moved six miles east to the Oysterponds Historical Society in Orient, New York, and Bergdoll has added to the show’s survey of contemporary housing and expanded our understanding of the region’s architectural uniqueness. He begins with the area’s fascinating early history of artists who gathered around the legendary art dealer, Betty Parsons, who came to the area in the 1950s. Parsons commissioned the architect-slash-sculptor Tony Smith to build a guest house and studio above the Long Island Sound. He designed a pavilion fronting the sound out of large railroad ties. He then designed and built a house for Abstract Expressionist painter Theodoros Stamos in 1951. For Stamos, Bergdoll writes, “Smith designed a dramatically innovative variant on the American timber frame house, elevating a single-story space sandwiched between two trusses, one upside down to create a large open floor plan. Elevated off the ground, the house’s living space afforded sweeping views over Long Island Sound from its bluff-top site.” Finally, he points to the double pavilion house Charles Moore designed for Simone Swan in 1975, a few houses away from Parson’s home, as an influence to newer designs. This second exhibition highlights a number of new houses, including a modest but beautiful wood-shingled Peconic bayside house by Toshiko Mori, and a TTC passive house designed by Wayne Turett on a back lot in Greenport, New York. But Bergdoll’s most insightful addition to the show is his description of what makes the area’s modern houses unique. He points to the North Fork’s environmentally sensitive farm and wetland landscape as an influence in the innovative new houses being constructed “with structural openness” and elevated platforms capable of capturing views of the landscape. This modest little show identifies a singular new style evolving just a few hours east of New York. The exhibit is open to the public Wednesdays through Sundays, 2:00 pm to 5:00 pm, as well as Saturdays from 11:00 am through 5:00 pm. Admission is free.
Placeholder Alt Text

(Popular)ous Pitch

Here's what you need to know about the stadium hosting the World Cup finale
This Sunday, all eyes will be on the pitch of the Parc Olympic Lyonnais (Parc OL) for the final match of the 2019 FIFA Women’s World Cup. The United States and its yet-to-be-determined competitor will go head to head in the French town of Lyon for the much-anticipated game, and while most will hope to see soccer star Megan Rapinoe back on the field, the impressive stadium architecture will also be back on full display for one last time. Designed by Populous and Paris-based firm Naço Architecture in 2016, the low-lying Parc OL, a.k.a Groupama Stadium, is a 578,000-square-foot arena holding nearly 60,000 seats. Its most distinctive feature—a turtle-shaped shell covered in white fabric—shines in the midday sun and is illuminated from within during nighttime play. The four-story concrete, glass, and steel venue actually boasts the nickname “Stade des Lumières” or Stadium of Lights, due to this. In addition, the undulating canopy was designed to mimic the rolling hills and forests found in Lyon, and its support columns look like tree branches, according to Populous principal Gary Reeves in conversation with Interior Design.   Built just ahead of the 2016 European Championships, the $468 million stadium has quickly become one of the top sporting venues in all of France. It was one of nine stadiums selected to be a part of this summer’s FIFA Women’s World Cup, and as the largest venue on the list by far, it was slated to host nine matches total, including last Monday's semifinal and the upcoming final.  One of the most compelling reasons so many matches have been scheduled in Lyon is because of the town’s bigtime football history. Several major French professional players have come out of the 500,000-strong city, which sits southeast of the country’s core. Parc OL is also home to the Olympique Lyonnais, the Ligue 1 football club—hence the red- and blue-blocked colors of the bowl. Its women’s team is currently on a 13-year winning streak in the national league, and they’ve won the UEFA Women’s Champion’s League six times since 2011.  But World Cup-level soccer isn’t the only pro sport the city excels in. Rugby is also huge, as is volleyball, basketball, and ice hockey. In other words, there are plenty of other large-scale sporting venues scattered throughout the city. While Lyon’s massive sports scene attracts throngs of local and visiting spectators, Parc OL was built outside the heart of the city to the east, away from many other venues. It’s situated next to a commuter highway and is largely surrounded by residential neighborhoods and farmland in the commune of Décines-Charpieu. In order to keep noise from seeping outside the stadium and into the adjacent community during gameplay, Populous designed the space with a large, open bowl that traps the sound of chants going from the north to the south stands. Since Olympique Lyonnais home fans are known to be noisy, the fabric roof also reduces sound reflection Other carefully-designed attractions inside Parc OL include a series of lounges on the outer edges of the stadium sectioned off with double-height glazing. Food and beverages areas are also located here. The Salon des Lumières, one the arena’s seven larger dining options, was intentionally designed with a very sleek, French style that fuses the club’s identity in a seamless fashion. Creating subtle nods to the brand on the venue’s interior was important, according to Naço Architecture founder Marcelo Joulia. The design team integrated this, and a handful of other fan-centric elements such as 110 executive suits, multiple meeting rooms, banquet halls, and bars to get more people out to the stadium. According to Elizabeth Miglierina, an associate architect in Populous's London office, another driver for interest in the stadium is the fact that the pitch is nearly visible from the podium. She wrote in an interview that the protective roof canopy allows for a more dynamic experience in the communal spaces at Parc OL. The spectator concourses were designed by Miglierina and her team to also allow for varying views of the field and the distant French Alps. Some of those spaces are cathedral-like in feel, with triple-height ceilings and work by global street artists adorning the walls as part of Park OL’s Offside Gallery. The gallery is open even on non-match days.  Like the stadium’s public spaces, the green car park that surrounds the structure also doubles as a place for congregation and play when matches aren’t going on. Populous worked with French group AIA Associés on the durable landscape. For real-time aerial views of the venue, watch the final match of the 2019 FIFA Women's World Cup this Sunday at 11 a.m. EST. 
Placeholder Alt Text

Zoo-tiful

Ross Barney Architects debuts Lincoln Park Zoo's new visitor center
Gadzooks: Ross Barney Architects has unleashed a new pavilion with a visitor center at Chicago's Lincoln Park Zoo. In plan, the structure resembles two 'Js' knit together by a steel canopy of cantilevered frames that hang together to provide structural support and shade the ground with a leafy pattern. Officially, the 9,500-square-foot building is known as the Searle Visitor Center and it opened to the public on November 15, 2018. Between the Js, zoo-goers may enjoy a bouldered courtyard designed by hometown landscape architects Jacobs/Ryan Associates. Offices encircle the space; elsewhere, the program includes a membership lounge and an information center. The info center's patterned walls retract to open the zoo up to the crowds in the visitor center. At the entrance, the gate's patterning was designed specifically to keep out rogue humans who might try to enter the zoo when the animals throw parties at night it's closed. Besides the architecture, the best part about the Searle Visitor Center (and the rest of the zoo) is that it's free to visit. Zoos and cool buildings aren't necessarily a natural association, but they should be. In Detroit, Albert Kahn Associates in 2016 completed a penguin house that's shaped like a glacier, while at the Bronx Zoo, Morris Ketchum, Jr. & Associates' modernist World of Darkness (built 1969, but now shuttered) offered a windowless circular cast concrete enclosure to observe nocturnal creatures. In London, the ramped up Penguin Pool is a modern icon but a less than ideal environment for its inhabitants, and may be torn down sooner rather than later.
Placeholder Alt Text

These windows are made for opening

High performance operable walls bring energy savings year round
Equipped with thermal barriers and insulated glass units, these energy-saving doors are made to withstand all seasons.
ah!60 - Performance panoramah! Inspired by Le Corbusier’s Five Points for a New Architecture, this collection offers boundless views through thermally broken external partitions. Like a screen, the sliding solution maximizes the openings in rooms to provide equal levels of lighting and selective views of the surrounding landscape.
AA 3200 Thermal Sliding Door Kawneer With framing and a tracking system outfitted with Kawneer’s IsoPour Thermal Break barrier, these patio doors maintain interior climates to provide energy efficiency. The frame is designed to accommodate insulated glass for improved thermal performance. Meanwhile, the casters, tracks, and fasteners are made of corrosion-resistant stainless steel.
1600 Series 1618 Multi-Slide Door MI Windows This gliding patio door system improves energy efficiency while simultaneously supplying a scenic vantage point. Featuring an insulating warm-edge spacer system, panes of insulated glass on the sliding track seal to the frame to prevent thermal exchange.
External Timber Doors Accoya Accoya wood—sustainably harvested radiata pine that is acetylated to give it hardwood properties—is a durable material that works well in exterior timber frames. The wood is designed to prevent swelling and expansion for at least 50 years. Accoya wood can be used in front doors, bifolding doors, patio doors, and garage doors, among other applications.
AIRE Brombal The appropriately named AIRE glass panel system features extremely thin, thermally broken profiles ranging from 7/8” to 1 and 1/2”. It is available in four metal finishes: galvanized steel, stainless steel, corten steel, and brass.
Placeholder Alt Text

Open/Work On View

Outpost Office explores the state of architectural education in post-revolution Ukraine
Architecture has faced many challenges in modern Ukraine: shifting narratives around cultural heritage and the legacy of Soviet architecture, predatory developers who willfully ignore planning regulations, a struggling economy, and widespread corruption to name a few. Ukraine’s state institutions of higher education often grapple with badly needed reforms, bloated by outdated bureaucracy and limited resources. But today, only five years after a peaceful revolution came to a tragic end and with war waging at its eastern border, Ukraine’s first independent school of architecture has just completed the inaugural year of its bachelor program in architecture. The newly established Kharkiv School of Architecture (KhSA) and its dedicated community of educators and students are hopeful signs of the bottom-up reforms possible in post-revolution Ukraine. In spite of the frustrating global tug-of-war over its lands, and the sobering societal struggles, a new generation of leaders are being trained to construct Ukraine’s future.  Reformation Calls for reform in post-Soviet Ukraine have been steadily building for many years but became a global focus in 2014 during the “Maidan” movement (now termed the Revolution of Dignity). Although it began in Kyiv as backlash to the former President Yanukovych's decision to reverse an EU agreement, the movement rapidly grew to multi-city protests. The protestors’ grievances grew to include Ukraine’s systematic and widespread corruption, which affects many aspects of daily life, including in higher education. As Lviv-based historian Yaroslav Hrytsak told the Kyiv Post at the time, the revolution was characterized particularly by, “young people who are very educated, people who are active in social media, who are mobile and 90 percent of whom have university degrees, but who don't have futures.” Today, the legacy of the Revolution of Dignity is a young generation that continues to work towards political, social, economic, and educational reforms. For the leaders of the KhSA, the question is how the architects they are training can be not only become responsible practitioners but the reformers Ukraine needs. One of the many positive societal shifts in post-revolution Ukraine is a growing engagement in the built environment. Young activists are leading a charge to save Ukraine’s remaining Soviet modernist architecture from destructive forces, including decommunization laws and aggressive development. Additionally, many architects are returning to Ukraine after training or working abroad and leveraging their experiences to bring visitors and new ideas into the Ukranian architectural community through workshops, forums, and other public programming. A New Model Kharkiv is an industrial city in the northeast corner of Ukraine. The country’s second largest city, Kharkiv was the first capital of the Ukrainian Soviet Socialist Republic before the capital was moved to Kyiv in 1934. In architecture circles, Kharkiv is perhaps best known as the site of Derzhprom, a Metropolis-like complex of constructivist towers interlinked by iconic skyways that made it the largest single structure in the world when completed in 1928.  The KhSA fronts a small square near the confluence of the Lopan and Kharkiv Rivers. Behind its sparkling white Beaux-Arts facade, the activity of the school is intense and frenetic. The lower level galleries are filled with studio spaces and exhibitions. Upstairs, the “big hall” hosts lectures and symposiums on an almost nightly basis. The basement workshop is filled with mock-ups, models, and countless meters of wood. The school rents various lab spaces to a coding academy, a VR company, and other start-ups. The greatest hub of activity is the small office on the lower floor. Inside, the young tutors and directors that run the school day-to-day meet constantly, often planning events and the school’s schedule on a weekly or daily basis. The conversation is intense, vigorous, and constant. No one in the room is over 40.  The KhSA serves a unique population—of its first class of eleven students, ten are women. The students range in age from 18-to-44, many with families and children. Everyone in the first year class is Ukrainian, but the school is in the planning stages of an international master’s program, which they hope to introduce in the coming years to attract students from around the world to study in Ukraine. The KhSA is a new type of architectural education in Ukraine. The school’s statement of purpose is to “prepare a future generation of professional responsible architects and urbanists who will implement spatial changes in Ukraine and will create a quality environment with an emphasis on modern technology solutions, community challenges, and new ideas.” A workshop earlier this summer at the school focused on rehousing some of the nearly 1.5 million internally displaced Ukrainians who have fled the Eastern conflict zone near the Russian border. The school’s founder, Oleg Drozdov, sees training architects to tackle the real-world problems of the Ukrainian context as his young institution’s mandate. Drozdov leverages relationships from his successful practice to identify organizations, municipalities, and projects that could benefit from a relationship with the school.   Open/Work To celebrate the first year of their newly established bachelor's program, program director Kuba Snopek and his colleagues decided to hold a public exhibition and architectural education symposium. Our practice, Outpost Office, was invited to lead a seminar that would work with students to curate, design, and fabricate the exhibition, Open/Work. We quickly discovered that KhSA’s first class was a prolific one. We began by asking the students to collect every single piece of work they had produced and arrange them on the floor of the big hall. Over the next few hours, our students assembled an immense landscape of work, including compositional studies, material experiments, construction details, and modest houses that concluded their studio studies. After a conversation about the work, we asked the students to sweep through the school again, gathering tools, books, posters and any other ephemera that was significant to them. We explained that we were seeking answers to a deceptively simple question: What makes an architecture school?  In many ways, our approach to this seminar and exhibition draws inspiration from previous research work on organizational and material systems of open-air markets and bazaars. Starting in 2014 as a Fulbright Fellow in Ukraine, Ashley became fascinated with architectural logic of organization, tectonics, and display methods found in Ukrainian markets. In 2016 she led “Bizarre Bazaar,” a travel seminar with students from the University of Michigan’s Taubman College to study these environments and make legible their design modalities of organization, governance, and logistics. Like all start-ups, the KhSA works with limited resources. In this spirit, the exhibition utilizes inexpensive materials typical of bazaars and markets in Ukraine—white metal grating, glossy white tiles, and generic LED lights—along with the bazaars’ highly curated organizational approach to display. The white metal grating used as the exhibition’s primary material is also erected by bazaar vendors to densely suspend their goods. Students worked collaboratively to explore organizational methods and detailing more often associated with museum storage than acts of display. Objects in the floating archive are arrayed to produce micro-narratives that celebrated significant accomplishments of their first year. The exhibition not only included student work, but items borrowed from around the school including lecture posters, books, pencils, ✖️ 's (for Ха́рків), pillows, hard hats, woodworking tools, and at least one concrete whale. Ultimately, the exhibition is a moment to reflect on a remarkable milestone before another important "first" arrives... second year.  This project would not have been possible without the supporting institutions that funded our research in Ukraine the last five years, including the Knowlton School of Architecture at the Ohio State University, University of Michigan’s Taubman College of Architecture and Urban Planning, the Fulbright Program, the Center for Urban History of East Central Europe, and the KhSA. 
Placeholder Alt Text

Mallcore

OMA to convert historic Houston post office into mixed-use bonanza
OMA has revealed plans to convert Houston’s Barbara Jordan Post Office into an office building and mall with a rooftop farm. POST Houston will turn the 57-year-old former post office and warehouse, situated on a sprawling 16-acre site in the Theater District, into a mixed-use venue designed to attract arts and creative tenants to the previously industrial downtown Houston. According to the Houston Chronicle, the concrete-finned structure was designed by Wilson Morris Crain & Anderson and used as a post office until it closed in 2014. The 500,000-square-foot project is predominately devoted to offices (130,000 square feet for regular offices, and 20,000 for coworking), followed by a hotel and a venue (70,000 and 80,000 square feet, respectively). About 60,000 square feet of retail will be complemented by 50,000 square feet of public spaces and a 45,000-square-foot food hall. 45,000 square feet of space for arts and culture activities round out the program. Developer Lovett Commercial will use historic tax credits to convert the building. OMA Partner Jason Long is the lead on the project. On his watch, the roofs of three atria will be hacked off and replaced with ethylene tetrafluoroethylene (ETFE) panels to daylight each of the spaces, while connectivity will be improved with an assortment of staircases up to the roof, that zig-zag around tiered retail on the first and second floors. Each atrium has been named after the shape of its unique stairway; the project will gain "X," "Z," and "O" atriums. More about that roof: It will feature a garden and farm spooled out over a combined 170,000 square feet, bringing the total project to 670,000 square feet. When complete, it will be one of the largest planted rooftops in the world. Restaurants in POST Houston will be able to source fresh vegetables from the garden. Chicago's Hoerr Schaudt is the landscape architect on this part of the project, which was dubbed Skylawn in a press release. Houston's Powers Brown Architecture is the executive architect, while the New York-based MTWTF is handling the wayfinding signage.
Construction on phase one began in 2016 and is expected to finish in 2020.
Placeholder Alt Text

Red Rover Red Rover

Red Regatta brings a sea of color to the Venice lagoon
One of the world’s great liminal conditions is the space between the viewer and the backdrops along the major canals of Venice, Italy. In most spots along the city’s waterfront edge, the view continues across the canals to architectural and historical layers of magnificent facades. It is a contained view of such sublime beauty, that despite the age-old clichés of Venice, it reminds us why we continue to believe in the power of architecture and the city. But, there are wide and expansive vistas out across the open waters of the lagoon that are as equally as captivating. One thinks, for example, of the view from the quarter around the Giardini towards the Lido and San Giorgio Maggiore, or from the Fondamenta Nove towards the Cemetery of San Michele, that opens up to grand vistas that merge the sky and sea; off in the far distance, hints of outer islands add to the beauty of the setting. Now Red Regatta, a series of performances, or “choreographed regattas,” of up to 52 vela al terzo (traditional flat-bottomed sailboats) is being staged in “La Serenissima” by a group of 250 local partners. The event is organized by the Magazzino Italian Art Foundation in New York to highlights the city’s open vistas. Artist Melissa McGill and curator Chiara Spangaro have painted the sails on the boats a bright red color to activate them in the open water of the lagoon. Pageants like Red Regatta are spectacular in the waters of Venice, and this one, its creators believe, staged using only wind-powered sailboats, is intended to “encourage a new appreciation of the interaction of the defining forces of Venice, water, wind art, architecture.” Further, McGill believes that this piece will also “call attention to the forces of climate change, and tourism.” It’s hard to see how this piece will draw prolonged interest in solving these long-suffering issues, but Red Regatta proudly includes Venetians as the performers in the boats, and that’s a great accomplishment for the city in itself. The dates of the special regatta, organized alongside the city’s ongoing art biennale, are as follow: Red Regatta  June 30, 2019, 12:00 p.m. – 2:00 p.m. Route: San Servolo – Poveglia Viewing locations: Riva dei Sette Martiri; Viale Giardini Pubblici; San Servolo Island; Lido’s Lagoon waterfront From McGill: “Navigating the waters between the islands of San Servolo and Poveglia, Red Regatta will weave through the historic landscape and activate the architecture with the choreographed flotilla. Starting between San Servolo and Venice, Red Regatta will move towards Poveglia, in parallel to the Lagoon coast of Lido.” Red Regatta, coinciding with Venice’s Regata Storica September 1, 2019, 12:00 p.m. – 2:00 p.m. Route: Canale della Giudecca – Bacino San Marco – Canal Grande Viewing locations: Fondamenta Zattere; Punta della Dogana; Isola di San Giorgio Maggiore; Piazza San Marco and Riva degli Schiavoni; Fondamenta della Giudecca, side of Canale della Giudecca Canal Grande Red Regatta  September 15, 2019, 2:00 p.m. – 4:00 p.m. Route: Burano – Torcello Viewing locations: Burano waterfront; Torcello waterfront From McGill: “Concurrently with the historic Regata di Burano, which features the centuries-old tradition of the voga alla veneta, Red Regatta will move through the Northern lagoon between Burano and Torcello. Engaging with the landscape of this unique section of Venice with its ancient Roman ruins and distinctive architecture, the vela al terzo fleet will weave through the islands and call attention to the location’s history and traditions.”