Search results for "situ studio"

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Laser Mies at the Planetarium

The Farnsworth House will get an x-ray makeover for the Chicago Architecture Biennial
All eyes will be on Plano, Illinois, the small town nearly 60 miles west of the city that’s home to the Miesian masterpiece Farnsworth House, for the upcoming Chicago Architecture Biennial. Artists Iker Gil and Luftwerk duo, Petra Bachmaier and Sean Gallero, are teaming up to shed new light on the pioneering international style house, lining its underlying geometries with beams of neon laser light. The laser installation, Geometry of Light, will be open to the public from October 11th to 13th for an evening walk-through like no other.  Fitted out for a tech- and social media-savvy audience, the neon-saturated installation is sure to bring attention to the Fox River site, as the home will become the next in a series of architectural icons to get the Luftwerk treatment. In 2011, the collective brought a prototype of Geometry of Light to Frank Lloyd Wright’s Fallingwater for its 75th anniversary. That installation was named INsite, and the artists collaborated with video designer Liviu Pasare and composer Owen Clayton Condon to create an audiovisual study of the house. INsite focused on outlining the building's geometric components and the experience of moving through the lines of the space. An INsite-style study was also conducted independently for the Farnsworth house in 2014 However, the latest iteration of Luftwerk’s fluorescent vision debuted this past February as Geometry of Light was applied to another famous Mies project, the Barcelona Pavilion. Both the Pavilion and the Farnsworth House, with their open, overtly modernist massings, appear to be viewed through an x-ray after Luftwerk's illumination, exposing the bones of the building from a fresh new perspective. The 2019 Farnsworth exhibit will also be enhanced by sound, as a “minimalist” soundtrack will be pumped through the home in sync with the visuals.  The installation is a notable part of a wave of recent publicity for the Farnsworth House, as effort mounts to attract attention towards its preservation. Situated on the Fox River floodplain, the property of the modernist monument has been inundated by water several times since 2013, and a debate has erupted amongst preservationists and the home’s current owner over whether to protect the house or to take more drastic measures: relocation. Even though the house sits on stilts, the swampy site presents structural dangers and the stilts may not prove high enough as the flooding is predicted to worsen.  “Such are the choices in an era when disastrous '100-year floods' seem to occur every few years,” a spokesperson for The National Trust for Historic Preservation, who have owned and operated the structure since 2003, told the Chicago Tribune. The group even suggested the installation of hydraulic jacks programmed to physically elevate the base of the house when floodwaters rise.  Though the Mies-designed home is about an hour-and-a-half drive from the Chicago Biennial's core, Luftwerk’s eye-catching installation is sure to saturate the social media airwaves come this fall.
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Ready for the Troop

Johnson Favaro reimagines Beverly Hills' La Cienega Park
La Cienega Park and Recreation Center in Beverly Hills, California, is slated for a transformational new master plan by Culver City–based architecture firm Johnson Favaro. Unfolding over the next several years, the 17-acre park will gain a brand new indoor recreation and tennis center, aquatics center, community space, pre-school, as well as 12 acres of sports fields and open green spaces. Opened in 1925, the original park design was novel as it incorporated a water treatment plant with an open public green space. The plant, which was the first on the West Coast to offer municipally-softened water to the community, was designed in a Hacienda architectural style, but fell out of use as larger regional water systems took over the Beverly Hills requirements. But while the plant was discontinued, the park remained very much alive. In 1986, landscape architect Patrick Hirsch proposed a redesign of the park to shift its land use from the majority open space of the original layout to a more “active” layout that included the organized sports fields that were in demand at the time for the surrounding community. The new elements planned by Johnson Favaro continue this trend towards a more “active” parkland, as customized spaces will become more and more important for after-school activities, community gathering, and the arts. Architecture is a main focus of the master plan, with the architects at Johnson Favaro designing two new indoor facilities for the site. A 30,000-square-foot recreation center will house 3 basketball courts, 16 tennis courts (8 indoor, 8 outdoor situated on the facility’s roof), and encompass the indoor sections of the aquatic center. The 25,000-square-foot community center will accommodate multipurpose rooms, art and dance studios, classrooms for educational programming, as well as a teen center. An advanced stormwater retention system will also be installed below the park and new structures, facilitating drainage and limiting runoff. Cars will also be accommodated with two above- and below-grade parking structures located on either side of the boulevard, with space for 600 vehicles. However, the park is set to be accessible via public transit as well, with entrances within walking distance from the purple line of the LA Metro currently under construction. Construction is set to begin as early as 2021 and is expected to be completed by 2023.
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Pop Architecture

Björk enlists Arup engineers to design musical chamber for her latest tour
When I visited Arup’s New York offices, I was taken from the sunlit open areas on the fifth floor, down some stairs, through dark corridors, and into a windowless room with painted dark walls. There was a projector screen, someone by a computer, and a person in all black sitting off to the side. In the center of the room was a black leather swivel chair, semi-orb shaped and raised high. I was invited to sit. I said that the whole thing felt ominous, like I was being interrogated, but given that I was the interrogator in this situation, maybe it should’ve felt more like I was some B-movie villain, looking over some empire through digital screens. But this was no evil lair—this room was Arup's SoundLab, one of many across the firm's global offices, each varying in design but all with identical sound systems and sonic experiences. “Basically, you are currently sitting in a room that uses what's known as an Ambisonic sound system,” explained Raj Patel, the person in all black and a global leader of acoustics. "What the Ambisonic sound system does is it allows you to simulate sound in three dimensions. There's also a measurement technique that allows you to go and measure an existing space, capture its acoustics in three dimensions, and play it back here." It was in rooms like these that experiments were done to create a new sort of architectonic instrument in the form of a reverberation chamber for none other than Icelandic superstar Björk. “[Björk] often described two different voices that she uses for singing,” explained Arup associate and acoustic designer Shane Myrbeck, who had Skyped in from San Francisco to join the meeting. “One is the one she uses on stage, that's through the microphone, through the PA, and that's a specific emotion for her. And then there's the other voice that she uses when she's singing by herself or in a nice acoustic room.” She wanted to bring this latter experience to the stages she’ll be performing at as she travels on her Cornucopia tour, which is organized a bit like a series of theatrical residencies and began with sold-out shows at The Shed earlier this May. While Arup and Björk had been in conversation at multiple points over the past few years, the reverberation chamber was imagined just last year and was designed and built in under six months. “She was very focused on it sounding right first,” Myrbeck recounted. “We often work with architects, so there's a form to study or a palette of forms to study. In this case, our initial question, was ‘Okay, what do you want it to look like?’ And she was like, ‘Don't think of it that way. It needs to sound good first.’” Myrbeck said, “She wanted it to be as reverberant as possible…We kept using words like chapel or alluding to the cathedral-type sound.” However, cathedrals derive their distinctive sound in large part from their sheer volume, something that obviously couldn’t easily be toured across the world and mounted on any given stage. Still, “there are some precedents out there in the world,” explained Myrbeck. “Before they had digital reverbs, they would literally just have these concrete rooms in the basement and put a loudspeaker down there and just send the sound down to these chambers and record that. That was the old reverb effect. And those are pretty small rooms.” Another reference was the large-scale sculpture Tvísöngur, located on Iceland’s east coast. Opened in 2012 and designed by the German artist Lukas Kühne, the installation comprises five large concrete domes that echo the incoming wind at various harmonies. However, both of these examples were made of concrete, an unrealistic material to make a relatively large, but still easily transportable, chamber for stage out of. “[The reverberation chamber] needed to be something that she could tour with,” said Myrbeck. “A lot of the simulations that we did were materials studies.” The team used Rhino models with acoustic software that simulated the known resonances, derived from nearly a century’s worth of data, of different materials, like concrete, acrylic, plaster, and others. Inside these simulated environments the team at Arup used a sample of an isolated vocal track Björk had recorded for them and sent her the various ways it would sound in spaces of various materials and shapes, which she listened to on headphones in her own studio, and later, in a SoundLab. “One of the other things about a small room is that, just due to the size of acoustic waves, you get these very specific resonances in different places,” Myrbeck said. He compared it to the weird sonic effects of singing in your shower. In rooms like the SoundLab, where we met, one of the central design challenges is to minimize those effects in order to create a sort of neutral room that can simulate any space—whether an amphitheater, a train hall, or a small lobby. In the case of designing Björk's reverberation chamber, “it was just about embracing [those resonances] and trying to make them as evocative as possible so that Björk could experiment with those different resonances in the different places that she could stand in the chamber." Rather than eliminating all this sonic unevenness, the goal was to give the singer the power to "activate" it. In the end, Arup and Björk decided on an 16.4-foot-high, just-under 10-foot-wide octagonal structure with flat sides and a vaulted roof of molded plywood. There is one central microphone, while a few others are placed around the top perimeter. The design is modular and can easily be dis- and re-assembled. It also uses common materials: plywood and a plaster composite, about an inch thick, that has a similar density and resonance quality to concrete. These are materials that are easy to repair on the fly (while the roof is molded, the walls are just standard plywood sheets). The automated door and the transparent cutaways are acrylic, about an inch thick, while the floor is plywood and is slightly elevated so that it has its own resonant properties. The reverberation chamber has simple bolted connections that allow it to “be as airtight as possible while still allowing her to breathe freely,” protecting it against acoustic leakage. Björk will even invite inside the shows' flutists, whose own bodies reshape the resonant qualities of the compact chamber. “It's very much an instrument,” Myrbeck said, and serves as a way to literalize emotional shifts in the performance. “I think that one of the exciting things about the design process [with Björk] was her really sophisticated blend of the acoustic and natural and almost ancient tradition—there's not much more ancient than singing; it's one of the oldest forms of expression—and her embracing of the very futuristic, state-of-the-art digital technology," said Myrbeck. "The design process expressed that as well.”
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Weekend edition: Notre Dame, ADUs, LACMA, and more
Missed some of this week’s architecture news, or our tweets and Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Foster + Partners pitches new Notre Dame spire as competition heats up Foster + Partners has floated a glassy replacement for the fire-ravaged Notre Dame Cathedral's roof, including a crystal spire and observation deck. De Blasio cracks down on glass towers as part of Green New Deal In announcing a sweeping Green New Deal for the city, Mayor de Blasio announced that inefficiently-designed glass towers would be banned. LA-Más designs colorful accessory dwelling units for Los Angeles Los Angeles–based firm LA-Más has designed a new "postmodern-plus" accessory dwelling unit to tackle the city's affordable housing crisis. New batch of renderings for Zumthor’s LACMA proposal unveiled Atelier Peter Zumthor released updated renderings of its proposed LACMA replacement that was recently approved by the L.A. County Board of Supervisors.
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Coming Attractions

Atlanta amps up its entertainment industry with 27-acre Pullman Yard development
There’s a blighted train depot east of downtown Atlanta that’s getting the Hollywood treatment. In an upcoming $100 million mixed-use project, the historic Pullman Yard in the Kirkwood neighborhood will transform from a 27-acre underutilized industrial site into a new “creative city” for the entertainment industry. Spearheaded by the site’s new owner, Atomic Entertainment, the plan involves building a series of lofts, co-working spaces, a boutique hotel, retail, restaurants, and an outdoor concert venue to attract startups and other creatives to the east Atlanta site. A new set of renderings of the Pullman Yard masterplan was recently unveiled, featuring designs by Brooklyn-based studio OCX and Raleigh, North Carolina, firm Hobgood Architects. Atomic, led by two Los Angeles-based film producers, aims to turn the 115-year-old former railyard into Atlanta’s newest moviemaking mecca, a pedestrian-centric campus devoted to the city’s $9 billion film and television industry, and its booming music scene. Adam Rosenfelt of Atomic believes the entire project will become a “paradigm for development” going forward. “We’re coming at this from a slightly different perspective as people that work in a collaborative art form,” he said. “This is our first building project, so we’re trying to figure out how to build a mixed-use lot blending the creative and cultural economies of food, entertainment, living, and working, rather than setting up space for the traditional big-box retail economy, which could have easily overtaken this historic area." The site itself is formally known as Pratt-Pullman Yard and encompasses 12 buildings totaling 153,000 square feet. Constructed in 1904 as a sugar and fertilizer processing plant, it eventually developed into a repair facility for railroad sleeper cars, and during World War II, it housed munitions manufacturing. It has most recently served as the backdrop for scenes in futuristic films such as Hunger Games, Divergent, and the critically-acclaimed action movie Baby Driver. In 2009, it was placed on the National Register of Historic Places, though it has suffered from serious neglect for decades. In 2016, it was designated a local landmark. The site’s main facilities, two brick-and-steel, barn-like warehouses, will be renovated under Atomic’s vision as the central architectural focus of the preservation project. The renovation is part of the first phase of construction, now underway, and is led by OCX and local firm Lord Aeck Sargent. The rest of the masterplan, designed in collaboration with Hobgood Architects, includes upgrading other existing structures, constructing new buildings, and integrating a site-specific landscape component by James Corner Field Operations. Karen Tamir, principal-in-charge on the project, said Field Operations may use local relics in new ways to preserve the yard’s industrial roots. They’ll also add a new piece of parkland that stretches from the center of the site to the south as a nod to the old railroad delineation. “There’s also a large swath of woodland to the east of Pullman Yard that we’ll connect via existing trails, so overall there’ll be ample greenery and room for exploration and relaxation,” Tamir said. “We won’t, however, propose many trees for the historic core because traditionally, they weren’t there when the yards were built.” Keeping the site’s existing industrial conditions, while simultaneously promoting a verdant outdoor environment means thinking critically about the logistics of jobs that will take place there. To accommodate pedestrians and trucks coming in and out of the facilities, Luke Willis, principal of OCX, intends to connect all programs on-site via a diagonal axis that cuts through the various building blocks. “This allows us to diversify the building typologies and program use to ultimately contribute to the mixed-use development that Atomic envisions for their creative city.” At the heart of the campus will be the renovated warehouses and a series of soundstages, one of which will be born from an existing 20,000-square-foot steel-clad structure situated near Roger Street, which is the entrance to Pullman Yard, and the rail line leading to downtown Atlanta. Rethinking these historic structures, among other playful design ploys to attract residents and visitors, will make Pullman Yard both a live-work-play destination and a place that not only showcases its former value with pride but also brings new value to the city today, according to Rosenfelt. An official completion date for Pullman Yard has not yet been revealed, but Atomic hopes to finish the renovation projects by the end of 2020.
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Mapping the Amazon

Amazon may have canceled its NYC headquarters, but its footprint is everywhere
For many of the people opposed to Amazon establishing a second headquarters (HQ2) in Queens, New York, casting the company into total exile was never the point. At its heart, opposition lay with the terms of the deal that wooed the company—its massive tax incentives, the process that had created the deal (without input or oversight from the New York City Council or local communities), and the dramatic impact such a real estate development project would have on the city's working class, especially by aggravating its gentrification and displacement crises. Facing a groundswell of local opposition, Amazon announced that it had canceled its plans for a new Queens campus on February 14, just three months after announcing its selection. While HQ2's optics and scale made it a legible enemy to rally against, Amazon's less splashy development projects have already become part of the fabric of many cities, including New York. Taking inventory of Amazon’s existing physical footprint in the city, one begins to perceive a shadow infrastructure at work which reshapes urban environments more through privatized logistics and information systems than through campus construction. In Manhattan, Amazon’s physical presence might best be recognized in retail. It was at the company’s 34th Street bookstore that protestors demonstrated on Cyber Monday following the HQ2 announcement. Indeed, like HQ2, the company’s retail stores serve as useful rallying points. But inside the same Midtown Manhattan building that hosts the bookstore sits a more explicit locus of Amazon’s presence: a 50,000-square-foot warehouse and distribution center for the company’s Prime Now delivery service. It might be helpful to state here what Amazon actually is: a logistics company misrepresented as a retail company misrepresented as a tech company. Over time, the types of products the company sells have expanded beyond books and bassinets into less obviously tangible commodities like data (via Amazon Web Services), labor (via Amazon Mechanical Turk), and “content” (via Twitch and Amazon Studios productions). Ultimately the company’s appeal isn’t so much in the stuff it provides but the efficiency with which it provides stuff. Computation is obviously an important part of running a logistics operation, but Amazon’s logistical ends are frequently obscured by the hype around its technical prowess. And while Amazon is increasingly in the game of making actual things, a lot of them are commodities that, in the long run, enable the movement of other commodities: Amazon Echos aren’t just nice speakers, they’re a means of streamlining the online shopping experience into verbal commands and gathering hundreds of thousands of data points. Producing award-winning films and TV shows gives the company a patina of cultural respectability, but streaming them on Amazon Prime gets more people on Amazon and, in theory, buying things using Amazon Prime accounts. Amazon’s logistical foundation is most blatantly visible in the company's nearly 900 warehouses located around the world. Currently, the company has one fulfillment center (FC) in New York City. The 855,000-square-foot site in Staten Island opened in fall 2018 and had already earned Amazon $18 million in tax credits from the state of New York before the HQ2 deal was announced. Additionally, a month before the HQ2 announcement, Amazon had also signed a ten-year lease for a new fulfillment center in Woodside, Queens. The same day that Amazon vice president Brian Huseman testified before the New York City Council about HQ2, Staten Island warehouse employees and organizers from the Retail, Wholesale, and Department Store Union (RWDSU) announced a plan to form a union at the Staten Island FC, citing exhausting and unsafe working conditions better optimized for warehouse robots than employees. These conditions are far from unique to Staten Island—stories about the grueling pace, unhealthy environment, and precarity of contract workers at fulfillment centers have been reported regularly as far back as 2011. And yet, when the Staten Island FC was first announced in 2017, a small handful of media outlets made note of this record. Unions and community leaders weren’t galvanized against the Staten island FC the way they were by HQ2 or the way they had been when Wal-Mart attempted to come to New York in 2011. In some ways, the HQ2 debacle gave new life and momentum to an organized labor challenge previously hidden in plain sight (or at least in the outer boroughs). Of course, Amazon’s logistics spaces aren’t solely confined to far-flung corners of the New York metro area: There are two Prime Now distribution hubs in New York, one in Brooklyn and the other at the previously mentioned Midtown Manhattan location. Same-day delivery service Prime Now originated from that Midtown warehouse in 2014 and spawned Amazon Flex, an app-based platform for freelance delivery drivers to distribute Prime Now packages. (Ironically, one of the reasons Amazon has been able to become so effectively entrenched in the city is because of this kind of contingent labor force—any car in New York City can become an Amazon Flex delivery vehicle, any apartment a Mechanical Turker workplace.) The art of logistics also depends in part on the art of marketing. To support that marketing endeavor, Amazon has a 40,000-square-foot photo studio in a former glass manufacturing plant in Williamsburg that produces tens of thousands of images for Amazon Fashion, the company's online apparel venture. The company's forays into fashion, while less publicized, may also position it to become one of the largest retailers of clothing in the world. New York is also home to 260 Amazon Lockers: pickup and package return sites for select products typically located in 7-Elevens and other bodega-like environments. Like Prime Now, the Lockers streamline and automate a process that would normally involve lines at the post office. First appearing in New York in 2011, the 6-foot-tall locker units can range between 6 and 15 feet wide, with the individual lockers in each unit capable of holding packages no larger than 19 x 12 x 14 inches (roughly larger than a shoebox). While early reports indicated that store owners received a small monthly stipend for hosting the lockers, the main sell for store owners is the possibility of luring in more foot traffic. But a 2013 Bloomberg article noted that smaller businesses were frustrated by the limited returns from installing the lockers and increased power bills (lockers use a digital passcode system, requiring electricity and connectivity). There is an irony in the fact that for almost a decade before the HQ2 debacle, small businesses have been ceding physical space to Amazon only to be stuck with monolithic storage spaces serving little direct benefit. Following its acquisition of Whole Foods in 2017, Amazon installed Lockers in all of the supermarket’s locations in the city. Whole Foods was already associated with gentrification and had an anti-union CEO before the Amazon acquisition; if anything, Amazon upped the ante by attempting to bring Whole Foods more in line with Amazon’s logistics-first approach. Reports that Amazon has plans to open a new grocery chain suggest that early speculation about the Whole Foods acquisition was correct: Amazon wasn’t interested in Whole Foods in order to sell produce so much as to gain access to the grocery company’s rich trove of retail data, which Amazon could use to jump-start its own grocery operations. A data-driven approach has been at the core of Amazon’s logistics empire: The company was one of the first to use recommendation algorithms to show consumers other products they might also like, and Prime Now relies extensively on purchasing data to determine what items to stock in hub warehouses. It’s unsurprising, then, that the most profitable wing of Amazon’s empire is Amazon Web Services (AWS), its cloud computing platform. AWS’s physical footprint in New York City is relatively small, with a handful of data centers within city limits. Its most visible presence may be the AWS Loft in Soho, which opened in 2015, part of a small network of similar spots in San Francisco, Tokyo, Johannesburg, and Tel Aviv.  Part coworking space for startups that use AWS and part training center for AWS products and services, the Loft inhabits a kind of in-between space between data services and marketing. The space is free for AWS users and is full of comfy seating and amenities like free coffee and snacks—ironic considering Amazon's reputation for being absent of the kinds of perks expected at tech companies. Belying its small spatial footprint, AWS is a major part of the city’s networked operations. The New York City Department of Transportation and the New York Public Library are both presented as model case studies of successful AWS customers, and AWS has signed contracts with multiple city agencies, including the Departments of Education and Sanitation and the City Council as far back as 2014. AWS is also a major vendor to municipal, state, and federal agencies—and, increasingly, has come under scrutiny for its multimillion-dollar contracts with data mining company Palantir Technologies, which works with U.S. Immigration and Customs Enforcement (ICE) to track and deport migrants, and for peddling its face recognition technology to police departments across the country. Some of the criticism of Amazon's campus deal with NYC came from New York City Council members, apparently unaware their office was paying Amazon for hosting web support. To be fair, New York City’s AWS contracts (including the City Council’s) are a fraction of the kind of revenue Amazon is vying for in federal defense contracts. And at this point, AWS is the industry standard upon which most of the internet runs. The situation reflects the depth to which Amazon has insinuated itself as a fundamental infrastructure provider. New York may have dodged a gentrification bullet with HQ2, but as with so much of Big Tech, Amazon’s impact on cities might look more like death by a thousand paper cuts. A new campus might be more visible than the hidden machinery of a city increasingly reliant on delivery-based services, but both impact local economies, residents, and living conditions. Amazon’s long-standing logistics regime also inspires an infinitude of Amazon-inspired niche delivery startups familiar to New Yorkers as a pastel monoscape of subway ads hawking mattresses, house cleaning services, and roommates, to name just a few, along with the precarious jobs that are their defining characteristic. There have been continued efforts in New York to challenge Amazon’s frictionless logistics regime since the HQ2 withdrawal. Pending City Council legislation banning cashless retail would affect far more businesses than just Amazon’s brick-and-mortar operations (which have automatic app-based checkout), but it would certainly stymie any expansion of its physical retail footprint. State Senator Jessica Ramos has joined labor leaders in calling for a fair union vote at the future Woodside fulfillment center. These sorts of initiatives are often more drawn out and less galvanizing than those to halt a major campus development. But they’re crucial to a larger strategy for making the tech-enabled systems of inequality in cities visible. In 2019, the premise that the digital and physical worlds are mysteriously separate realms has been effectively killed by the tech industry’s measurable impact on urban life, from real estate prices to energy consumption. Comprehending the full impact of companies like Amazon on cities and seeing beyond their efforts to obscure or embellish their presence (glamour shots of data centers, anyone?) requires a full examination of these infrastructures outside of the companies' preferred terms. By demanding public accountability, New York's elected officials and community groups may have demonstrated the beginnings of just how to do that.
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Best In Show

AIASF Awards highlight game-changing Bay Area designs

The American Institute of Architects, San Francisco chapter (AIASF) has announced the award recipients of its 2019 AIASF Design Awards program. This year, the group is honoring projects located throughout the San Francisco Bay Area as well as in other parts of the country in architecture and interior design categories with special awards highlighting projects that excel in historic preservation, community infrastructure, urban transformation, and other areas. 

Included in the list of winners this year are Aidlin Darling Design's In Situ restaurant at the San Francisco Museum of Modern Art, Saint Mary's Student Chapel by Mark Cavagnero Associates, and the Rain installation in Washington, D.C., by Thurlow Small Architecture + NIO architecten, among many others.

The 2019 AIASF Design Awards program was juried in New York City in partnership with the AIA New York. The jury deciding the awards program includes Katherine Chia of Desai Chia Architecture, Stefan Knust of Ennead Architects, Jason Long of OMA, Susan T. Rodriguez, and Kim Yao of Architecture Research Office.

See below for a full list of winners:

Architecture

Honor Monterey Conference Center Skidmore, Owings & Merrill LLP

Ridge House Mork Ulnes Architects

Roseland University Prep Aidlin Darling Design

Saint Mary's Student Chapel Mark Cavagnero Associates

Merit

The Amador Apartments jones | haydu

Tree House Aidlin Darling Design

Citation

Kua Bay Walker Warner Architects

SoMA Residence, Artist Gallery + Studio Dumican Mosey Architects

The O'Donohue Family Stanford Educational Farm CAW Architects

University of California, Merced, Pavilion at Little Lake Skidmore, Owings & Merrill

Interior Architecture

Merit In Situ Aidlin Darling Design

Citation

Confidential Financial Services Firm Gensler

Studio Dental II Montalba Architects

El Pípila Schwartz and Architecture

Commendations

Commendation for Historic Preservation

Lodge at the Presidio Architectural Resources Group

Commendation for Urban Design

Hunters Point Shoreline envelope A+D

Commendation for Social Responsibility

El Pípila Schwartz and Architecture

Special Commendation for Commitment to Community Spaces

901 Fairfax Avenue Paulett Taggart Architects + David Baker Architects

Special Commendation for Sustainable Community Infrastructure

Half Moon Bay Library Noll & Tam Architects

Special Commendation for Urban Infrastructure Enhancement

Rain Thurlow Small + NIO architecten Special Commendation for Urban Transformation 1100 Ocean Avenue Supportive Family and Transitional-Aged Youth Housing Herman Coliver Locus Architecture
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Her Philly

Maintaining the footprint of female architects in Philadelphia
Architect Elizabeth Hirsh Fleisher designed a dynamic, midcentury modern pavilion in South Philadelphia that’s now under threat of demolition as the city gets ready to renovate the surrounding park. Inga Saffron, the architecture critic of the Philadelphia Inquirer, called out the building’s potential destruction last week in an article about its importance in the city’s cultural preservation landscape. She noted the pavilion’s likeness to the LOVE Park Welcome Center, the beloved “flying saucer” that’s currently under restoration with plans to become a restaurant this spring. Both circular structures were opened in 1960, Saffron noted, along with a wave of round buildings that shaped the country’s design style of that decade. Though the small pavilion doesn’t sit directly in downtown Philadephia (it’s in Columbus Square) and wasn’t the most iconic building in Hirsh Fleisher’s portfolio, it’s still a symbol of her enduring legacy in a place that’s overwhelmingly built by men.  From Anne Tyng to Harriet Pattison, Georgina Pope Yeatman, Denise Scott Brown, and Minerva Parker Nichols, the list of female architects in Philadelphia isn’t very long, but the projects they backed in the city are memorable. At the helm of some of the city’s most impressive 20th-century projects was Hirsh Fleisher, Philadelphia’s first female licensed architect. She was responsible for the Parkway House, a postwar luxury apartment complex that she designed with her partner, Gabriel Roth, in 1953. Situated alongside Century Park near the Rodin Museum, the 14-story megaproject features a distinct mountain shape. It’s been there so long it’s nearly synonymous with that area of downtown Philadelphia. Though the Columbus Square pavilion is minuscule in comparison to Parkway House, Saffron argued the 35-foot-wide park structure could live a second life as a yoga studio or café. The city plans to remove it and expand the adjacent dog park in its place. What’s just as pressing as the little building’s demolition is the fact it could potentially be the second project by Hirsh Fleisher to see the wrecking ball. In 2014, her Queen Lane Apartments, a post-war public housing project, was demolished by the Philadelphia Housing Authority to make way for a series of low-lying affordable housing units. That building started suffering serious structural problems only decades after its completion, but the Columbus Square pavilion is forcefully sound; it’s largely built from stone. In a time where projects by prominent female architects are more appreciated than ever, there’s much attention being paid to those that are being taken down by redevelopment and in some cases, capitalism. Last month, JP Morgan Chase filed for the demolition of its headquarters in New York, the Natalie Griffin de Blois–designed Union Carbide Building. The site, 270 Park Avenue, will feature a replacement structure by Foster + Partners Bringing down Griffin de Blois’s 52-story Manhattan tower—whether you believe it should live on or not—distinctly diminishes the already-small footprint that female architects made on New York during the 1900s. Getting rid of Hirsh Fleisher’s tiny building would do the same in Philadelphia. Luckily, today there is a slew of women-powered practices that are following in her footsteps, such as OLIN, the landscape studio, as well as KSS Architects, a multidisciplinary firm also based out of Princeton, New Jersey. While many Philadelphia firms have significantly more men in leadership positions compared to women, the women are there. Award-winning practice Interface Studio Architects (ISA), along with DIGSAU, EwingCole, and KieranTimberlake have women in top-ranking positions or more women than men on staff.
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High Desert Test Sites

Another arts festival returns to the Southern California desert
It’s getting rather busy in California’s High Desert these days. With an ever-expanding set of art-related events, programs, and biennials taking place across the region, High Desert Test Sites (HDTS), a long-running artist showcase in the area, has announced its 2020 return. The event, titled HDTS2020 and conceived of as a “free-roving” art exposition, aims to revisit a 1972 slideshow lecture given by American land artist Robert Smithson titled Hotel Palenque via a series of new public artworks and events. The lecture, given by Smithson to his students at the University of Utah after a trip through Mexico in 1969, centers on an “eccentrically built hotel…simultaneously undergoing decay and renovation” that Smithson encountered while on his travels. Smithson considered the hotel a “de-architecturalized” space that existed both as a ruin and a site of reconstruction in keeping with the artist’s interests in fragmented landscapes and simultaneous states of being. The work, according to the Guggenheim website, was developed in tandem with a photographic series titled Yucatan Mirror Displacements (1–9) that Smithson created by photographing dispersed sites that had been augmented with the installation of 12-inch, square-shaped mirrors. For the 2020 run, HDTS has brought on guest curator Iwona Blazwick from the Whitechapel Gallery in London. The series will feature the work of eight artists, including Alice Channer, Gerald Clarke, Jr., Dineo Seshee Bopape, Erkan Özgen, Dana Sherwood, Paloma Varga Weisz, and Rachel Whiteread. Smithson will also be included in the showcase, which will focus on creating “a poetic narrative on the geometry of ruin, the entropic play of nature, and the ghosts of cultures both ancient and modern.” The artists are slated to create or place their works across the High Desert region, both in urbanized areas and within the desert landscapes. HDTS, a non-profit organization founded by artist Andrea Zittel, Los Angeles gallerist Shaun Caley Regen, and others in 2003, aims to “support immersive experiences and exchanges between artists, critical thinkers, and general audiences—challenging all to expand their definition of art to take on new areas of relevancy,” according to Zittel’s website. HDTS2020 will include a public discussion titled Desert as Situation on April 7 hosted by the Palm Springs Art Museum (PSAM) and moderated by Brooke Hodge, director of architecture and design at PSAM. The exhibition series itself runs from April 18 through May 9, 2020.
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Fancy Footwork

Designers imagine a metal bridge connecting Hudson Yards to Midtown New York
Last month, Metals in Construction magazine and the Steel Institute of New York gathered at TheTimesCenter in New York City to announce the winner and five finalists for their 2019 Design Challenge, titled “Create A New Urban Pathway.” The competition asked architects, planners, and engineers to design a pedestrian bridge that connects the forthcoming Moynihan Train Hall, situated across Eighth Avenue from Penn Station, with Chelsea’s Hudson Yards, the city’s largest private real estate development, the first phase of which opens this week. The pathway between the Moynihan Train Hall and Hudson Yards would serve as an anchor for the rising development of Manhattan’s Far West Side, which is expected to receive roughly 100,000 pedestrians traveling between the two destinations each day. With midtown’s upcoming surge of foot traffic, the design challenge sought to think of ways to make pedestrian travel more safe, efficient, and appealing to city dwellers, particularly through the construction of floating promenades—elevated, landscaped walkways that not only reduce inner-city congestion, but also prove beneficial to the health and overall well-being of citizens. Judges and participants of the competition looked for inspiration from the immensely popular High Line—the now iconic urban pathway that, in 2014, dramatically transformed from an abandoned railway into a picturesque walkway. Metals in Construction magazine awarded a $15,000 grand prize to the winning team from New York–based DXA Studio. The team’s proposal, titled “The Midtown Viaduct,” was chosen from a group of 45 qualifying entries and was praised by the panel of four judges for its structural practicality and streamlined design, which would offer city dwellers a new and exciting urban experience. The Midtown Viaduct is composed of interlaced steel plate work, drawing from the industrial components of the High Line and the steel of the original Penn Station, to create a winding and dynamic walkway that would connect the two destinations and give pedestrians a recreational space to stride. “[The Midtown Viaduct] employs forward-thinking approaches to form, fabrication, assembly, and urban solutions that mitigate/synthesize the complex forces of contemporary cities,” wrote the team from DXA Studio. While DXA studio's pedestrian bridge will probably never materialize in real life, the proposal serves as an innovative approach to topics concerning the livability and walkability of cities. Metals in Construction magazine will be holding another design competition next year, themed “Create A New Urban Identity,” which will challenge participants to reimagine the skin of an existing building in New York City. More details about the competition will be announced in September 2019.
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Ceramically Inclined

From research to practice: Catching up with Jenny Sabin
Being able to translate research finds into practical applications on a construction site is never a sure thing, but having a lab-to-studio pipeline definitely helps. For Jenny Sabin, that means a close integration between her lab at the Cornell College of Architecture, Art, and Planning (AAP), and her eponymous studio in Ithaca, New York. Sabin wears three hats: A teacher with a focus on emerging technologies at Cornell, principal investigator of Cornell’s Sabin Design Lab, and principal of Jenny Sabin Studio. The overlap between the lab and the studio means that Sabin has an incubator for fundamental research that can that can be refined and integrated into real-world projects. When AN last toured the Sabin Design Lab, researchers were hard at work using robot arms for novel 3D printing solutions and were looking at sunflowers for inspiration for designing the next generation of photovoltaics. The projects stemming from fundamental research have been realized in projects ranging from the ethereal canopy over MoMA PS1’s courtyard in 2017 to a refinement of the studio’s woven forms for a traveling Peroni pop-up. Rather than directly referencing nature in the biomimetic sense, Sabin’s projects instead draw inspiration from, and converge with, natural processes and forms. Here are a few examples of what Sabin, her team, and collaborators are working on. PolyBrick Brick and tile have been standardized construction materials for hundreds of years, but Sabin Design Lab’s PolyBrick pushes nonstandard ceramics into the future. The first iteration of PolyBrick imagined an interlocking, component-based “brick” that could twist, turn, and eliminate the need for mortar. PolyBrick 1.0 used additive 3D printing to create hollow, fired, and glazed ceramic blocks that could one day be low-cost brick alternatives that would enable the creation of complex forms. PolyBrick 2.0 took the concept even further by emulating human bone growth, creating porous, curvilinear components that Sabin and her team of researchers and students hope to scale up to wall and pavilion size. PolyBrick 3.0 is even more advanced. The 3D-printed blocks contain microscopic divots and are glazed with DNA hydrogel; the polymer coating can react to a variety of situations. Imagine a bioengineered facade glaze that can change color based on air pollution levels or temperature changes, or a component “stamped” with a unique DNA profile for easy supply chain tracking. Responsive textiles As Sabin notes, knitting is an ancient craft, but one that laid the foundation for the digital age; the punch cards used in early computers were originally designed for looms. As material requirements evolve, so too must the material itself, and Jenny Sabin Studio has been experimenting with lightweight, cellular structures woven into self-supporting forms. Sabin’s most famous such installations are gossamer canopies of digitally knit, tubular structures that absorb, store, and re-emit sunlight at night to illuminate repurposed spool chairs. MoMA PS1’s Lumen for YAP 2017, House of Peroni’s Luster, and the 2016 Beauty-Cooper Hewitt Design Triennial installation PolyThread have all pushed textile science forward. As opposed to rigidly defined stonework or stalwart glass, woven architecture takes on ambiguous forms. As GSAPP’s Christoph Kumpusch pointed out while in conversation with Sabin at the House of Peroni opening in NYC last October, these tensile canopies proudly display their boundary conditions instead of hiding them like more traditional forms. The dangling, sometimes-expanded, sometimes-flaccid fabric cones extrude from the cells of the woven canopy and naturally delineate the programming of the area below. These stalactites create the feeling of wandering through a natural formation and encourage a playful, tactile exploration of the space. Kirigami Origami and kirigami (a form of paper folding that requires cutting) are traditional practices that, like other techniques previously mentioned, have seen a modern resurgence in everything from solar sails to airbags. The Sabin Lab has taken an interest in kirigami, particularly its ability to expand two-dimensional representations into three-dimensional forms. The lab’s transdisciplinary research has blended material science, architecture, and electrical engineering to create rapidly deployable, responsive, and scalable architecture that can unpack at a moment’s notice. Two projects, ColorFolds and UniFolds, were made possible by funding from the National Science Foundation. ColorFolds was realized as a canopy of tessellated “blossoms,” each made from polycarbonate panels covered in dichroic film. The modules open or close in response to the density of the crowd below, creating a shimmering exploration of structural color—3M’s dichroic film produces color by scattering and diffusing light through nanoscale structures rather than using pigments. Visitors below the ColorFolds installation were treated to chromatic, shifting displays of light as the flock-like piece rearranged itself. UniFolds reimagined the Unisphere in Queens’s Flushing Meadow Park as part of the Storefront for Art and Architecture show Souvenirs: New New York Icon, which asked architects and artists to produce objects inspired by New York City icons. The 140-foot-tall, 120-foot-diameter landmarked Unisphere was the centerpiece of the 1964 World’s Fair, and Sabin Design Lab’s UniFolds piece references the utopian aspirations of the sphere and domed architecture more broadly. By using holes, folds, and strategic cuts, Sabin Labs has envisioned a modular dome system that’s quick to unfold and can be replicated at any scale, which is part of the “Interact Locally, Fold Globally,” methodology used to guide both kirigami projects.
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A Pathway to Healing

New 9/11 Memorial is coming to the World Trade Center site
A new monument at the 9/11 Memorial will honor those affected by illness born of the attacks. The Memorial Glade, now under construction at Liberty and West Streets in New York City, will feature a pathway lined with six granite slabs pointing to the sky. Meant to symbolize “strength and determination through adversity,” the stone pieces have been specially crafted to look worn, but not beaten, and native to the surrounding landscape. Designed by Michael Arad and Peter Walker, the architects behind the 9/11 Memorial, the Glade will be situated along the pathway that relief workers trod during the years-long cleanup of Ground Zero. Per the architects’ vision, the stone monoliths flanking the new memorial walkway will weigh between 15 and 17.5 tons each. Each piece will incorporate steel fragments from the original World Trade Center, a design move inspired by kintsugi, the Japanese art of repairing broken pottery with powdered gold, silver, or platinum. The New York Post reported the project will open on May 30, but it has been in planning since 2014 when an advocate for WTC first responders first approached the 9/11 Memorial and Museum with the idea. The Memorial Glade will honor not only first responders but also survivors and downtown residents who suffered or died from life-threatening toxins released during the disaster.  According to 6sqft, an estimated 400,000 people near Ground Zero were exposed to such airborne threats during the recovery and relief period after 9/11. The World Trade Center Health Program, signed into law by President Obama in 2011, has enrolled 73,000 first responders and over 17,000 survivors since its establishment. As part of the Centers for Disease Control and Prevention, the program is responsible for helping victims find treatment for these specific illnesses. Over $4.8 billion in benefits have been given out, reported the Daily News, but the program is slated to expire at the end of 2020.  Construction on the $5 million Memorial Glade started last fall. The project has already received a $500,000 New York State grant, as well as donations from Bloomberg Philanthropies and former Daily Show host Jon Stewart, a member of the museum’s board.