Search results for "wharf"

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Waterfront Woes

Perkins Eastman sued by The Wharf’s general contractor in D.C.
Clark Construction Group, the general contractor responsible for realizing the $2.5 billion The Wharf in Washington, D.C., is suing project architect Perkins Eastman over claims of seriously flawed design documents. As first reported by Bisnow, the contractors are seeking $5 million in damages after the recent completion of the project’s first phase, claiming that issues and omissions in the drawings necessitated numerous on-site fixes. The Wharf, a massive mixed-use development spread across a mile-long stretch of D.C.'s southwestern (and formerly industrial) waterfront, opened the doors of its first phase back in October of last year. After completely replacing the existing seawall and promenade, 1.2 million square feet of office space, hotel rooms, retail, luxury and affordable residential units, a marina, and waterfront parks rose on the Perkins Eastman-master planned site. A two-story underground parking garage also runs the length of the development. When complete, The Wharf will encompass 3.2 million square feet in total. According to the complaint levied by Clark Construction, Perkins Eastman either submitted incorrect details in their design documents or omitted portions of their drawings and failed to respond to inquiries in a timely fashion. The suit alleges that the architects misplaced structural columns, designed exterior retail doors that were unable to open, placed concrete beams too low to achieve the correct clearance, and made mistakes in coordination that resulted in slabs being too thick to install already-purchased doors. Even the coordination of structural rebar and foundation piles are cited as having contained significant errors, and Clark Construction claims they were forced to take on material losses as the result of correcting the defects in the field. Clark Construction is suing for a breach of written contract, professional negligence, and negligent misrepresentation as a result. Because of the project’s tight timeline, “The errors and omissions complained of herein did not arise and were not known, knowable, discovered, discoverable, appreciated, or appreciable until various points within the past three years,” the lawsuit claims. “It remains possible and likely that errors and omissions will continue to arise and become known, discovered, and appreciated in the future as discovery in this matter proceeds including, without limitation, expert discovery.” The second phase of The Wharf is scheduled to break ground later this year, and finish construction in 2022. Perkins Eastman declined to comment.
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Capitol Cluster

The Wharf, D.C.’s massive waterfront development, is now open
The Wharf–a $2 billion new development on a former industrial stretch of the D.C. waterfront–has finally opened. The developers are Madison Marquette and PN Hoffman, and the master architect and planner is Perkins Eastman. Previously the site was a mile-long stretch of boat storage, industrial space, and some back-door barbecue joints. At its northern end, it also includes the oldest fish market in the United States. Before the Wharf could be built, the existing seawall and promenade were torn up and replaced by an underground, two-story parking garage spanning the length of the development. The garages connect from below into an array of luxury residential structures with ground-level commercial space–restaurants, yoga studios, and other amenities. Last week all of these opened to the public–in total, 1.2 million square feet of mixed-use space including office structures, luxury and affordable residential space, a marina, and waterfront parks. The fish market was the only structure preserved as-is. The Anthem, a new 6,000-person theatre venue, is a cornerstone development of the Wharf. Designed by New York-based Rockwell Group, the venue is essentially a concrete volume hedged in by two L-shaped residential structures. The Anthem has a warehouse-like interior and two levels of balconies split into smaller, drawer-like extrusions. Massive steel panels flank the stage, laser cut and illuminated with the pattern of two enormous curtains drawn back, resembling the velvet drapery of Baroque theaters. The space is managed by a 30-year old staple organization in D.C. entertainment–the 9:30 Club–to whom the Wharf reached out in the initial stages. The building’s board-form concrete paneling and industrial facade are intended as a nod to the Club’s famed punk-laden lineups. In the lobby, one can look up through an installation of floating cymbals to four rectangular skylights three floors up. If you look closely, the skylights ripple with water–the underbelly of a pool for a residential structure stacked above. A key design challenge for the Anthem was its siting between two residential structures. To address the noise issue, Rockwell spent several million dollars designing a multi-layered sound barrier between the structures, which are reportedly so effective that amplified concerts are inaudible from the interiors of apartments less than a hundred feet away. Supposedly, a resident could sleep soundly while Dave Grohl shredded away on opening night. The Anthem's neighboring structures include designs by FOX Architects, Kohn Pedersen Fox, Perkins Eastman, Parcel 3A, Cunningham Quill Architects, BBG_BBGM, Handel Architects, WDG Architecture, Studio MB, SmithGroup JJR, MTFA Architecture, SK&I, and Moffatt & Nichol. Only Phase One has opened. Phase Two will add an additional 1.2 million square feet to the overall site footprint, mostly extending south. The roster of new structures will include designs by firms such as SHoP Architects, Rafael Viñoly, Morris Adjmi Architects, Hollwich Kushner (HWKN), ODA, WDG Architecture, and Michael Van Valkenburgh Associates (MVVA). The expansion will include increased office and residential space, an additional pier and marina, as well as increased park space. Phase One is notably without much public greenery. The construction of Phase Two is slated to begin in 2018, with a projected opening of 2021.
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Herzog & de Meuron Design for London’s Canary Wharf Towers Revealed
British architects Allies and Morrison have submitted their planning applications for the 22-acre mixed-use development for London's Canary Wharf. Swiss firm Herzog & de Meuron has designed a 56-story tower that will account for some of the 3,100 residential units planned for the project. London-based Stanton-Williams is responsible for the other two apartment buildings to be included in the new neighborhood, known as "Wood Wharf." The master-plan also incorporates extensive office space, over 100 shops, and some 39,000 square feet of public space. The Stanton-Williams contributions to the development are dwarfed by Herzog & de Meuron's tall, cylindrical structure. Staggered balconies wrap the facade in a pattern that shifts repeatedly as it progresses vertically.  The buildings are situated among curvaceous green expanses that butt up against surrounding waterways. The office buildings, designed by Allies and Morrison themselves, will attempt to court creative media, technology, and telecommunications companies to the newly minted neighborhood. This unveiling only constitutes phase one of the development. A two-form entry primary school, multipurpose sports hall, and a healthcare facility  are all meant to be incorporated into the neighborhood as the project advances.  Efforts will be made to ensure ease of connectivity to the city's public transportation system for Wood Wharf inhabitants. Bus routes have been added and the installation of ever-popular bike rental stations is expected. Pending approval, construction on the plan will begin next year with a tentative completion date of 2017. In doing so it will join their latest addition to the Tate Modern as Herzog & de Meuron projects underway in the capital city.
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Atlantic Wharf Rain Curtain: Bluworld
Fabrikator Brought to you by: 

An 80-foot waterfall highlights the atrium of a new mixed-use development in Boston.

Atlantic Wharf is one of the newest additions to Boston’s changing downtown waterfront area. Located on the edge of Fort Point Channel, the one million-square-foot mixed-use center incorporates a series of restored and renovated structures built there more than 100 years ago. Beneath a new 31-story office tower, an 80-foot-high glass atrium encloses the original 19th-century street grid, creating a grand entrance to the tower from Congress Street. As a nod to the site’s history and Boston Harbor views, the building’s translucent glass screen wall is designed with a canted top resembling a sail. Working with developer Boston Properties, architect Childs Bertman Tseckares Inc. envisioned another nod to the site’s maritime past in the atrium. Custom water feature design and fabrication company Bluworld was brought on board to create a feature that would span the height and width of the space.
  • Fabricator Bluworld
  • Designers Childs Bertman Tseckares Inc., Bluworld
  • Location Boston, Massachusetts
  • Status Complete
  • Materials Mylar, water, stainless steel
  • Process Custom water feature integration
The atrium’s size was the primary challenge. “The client wanted something to go as high as it possibly could,” said Rob Morton, Bluworld’s director of sales. “A rain curtain gives you that freedom because it doesn’t have a bulky frame or heavy glass panels,” which add significantly to cost, maintenance, and structural concerts. The team determined they would install three rain curtains spaced across nearly 50 feet, each one falling the full 80-foot atrium height. The company has extensive experience building rain curtains—a design in which water streams down Mylar strands arranged in various configurations—but this was the tallest they had designed by 20 feet. Morton believes it is the tallest such design in the world. Bluworld began by building the mechanical equipment that would carry water to weirs, or reservoirs, suspended above each rain curtain. The team located an atrium similar to that of the Wharf’s in another Boston building and installed a test reservoir, spending about a week making adjustments to the types of pumping and filtration equipment necessary to handle the rain curtain’s height. Once the final pump and filtration equipment had been manufactured in Bluworld’s Orlando facilities, it was crated and shipped to Atlantic Wharf. The team welded the curtain’s upper weirs directly to the atrium’s structural steel canopy; no additional structural reinforcement was needed. A below-grade mechanical space houses the rain curtain’s equipment as well as its “brains,” a patented control called a Blubox. The touchscreen panel operates the water feature’s maintenance; each week its timer shuts off the flow of water before draining, filtering, flushing, and refilling the weirs. Nearly invisible 1/8-inch-diameter Mylar strands suspended from each overhead reservoir give the feature its curtain-like quality. They create enough surface tension for individual droplets released from the reservoir to travel the full drop to the atrium floor. As the droplets bead together or fall in spurts, the sheet of water takes on an infinitely random series of patterns. Streams are collected in three lower concrete troughs lines with stainless steel reservoirs filled with river stones. A video of the completed installation is available here.
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Beggars *can* be choosers

2018 Best of Design Awards winners for Unbuilt – Cultural
2018 Best of Design Awards for Unbuilt – Cultural: Beggar’s Wharf Arts Complex Designer: Ten to One Location: Rockland, Maine The Beggar’s Wharf Arts Complex is at the heart of a redevelopment design vision commissioned by Rockland City Planning to revitalize the coastal Maine town’s brownfield waterfront district. Ten to One conceived of a mixed-use program that incorporates a museum, studios, educational facilities, live-work housing, commercial spaces, and a marina. At the core of the proposal, a main museum structure is set to seamlessly blend into the streetscape outside. This main building will be clad in a mushroom-shaped skin composed of cedar wood fins. A series of flexible galleries will unfurl upward through a public procession of theaters, terraces, cafes, and markets. The historic Bicknell Factory Building will be reclaimed as a continuation of the museum and house additional exhibition and event spaces. Honorable Mention Project name: NXTHVN Designer: Deborah Berke Partners Location: New Haven, Connecticut
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Meet the Queens

Announcing the winners of the 2018 AN Best of Design Awards
The 2018 AN Best of Design Awards was our most exceptional yet. After expanding the contest to a whopping 45 categories and opening the competition to all of North America (including Canada and Mexico), we received more than 800 submissions, which made the judging more difficult than ever. An impressive range of projects came from firms big and small all over the continent. While we were surprised by the quantity of submissions, we were not surprised by the quality of the work put forth by architects and designers both familiar and new. There were some telling trends in this year’s submissions. First, our drawing categories received more and better entries than ever before. This resurgence in drawing, both analog and digital, seems to mirror what we see in the field: moving away from hi-fi digital photorealism toward more personal drawings utilizing a variety of techniques. See pages 70 and 71 for this year’s winners. It was also a good year for exhibition design, which you can see on page 22. For our Building of the Year award, our esteemed jury was fiercely divided between two exemplary but very different projects. The final debate came down to SCHAUM/SHIEH’s Transart Foundation—a private gallery across from the Menil campus in Houston—and NADAAA’s Daniels Faculty of Architecture, Landscape, and Design at the University of Toronto. SCHAUM/SHIEH’s relatively small but mighty building employs punched-through balconies and a blurred program to utilize the space to maximum effect. Meanwhile, NADAAA’s extension and renovation of a 19th-century neo-Gothic building includes dramatic, complex lunettes that let in Aalto-esque light. In the end, the jury chose the scrappy Houston project, but the decision really could have gone either way. The panel members were also enamored with the quotidian allure of the Saxum Vineyards Equipment Barn in Paso Robles, California, by Clayton + Little Architects. See this year’s winner and finalists starting on page 14. Our jury this year was incredible as always, with a very talented group (see opposite page) who engaged in spirited discussion and refined the way we look at architecture. It is always good to get more people involved in the conversation, and we are always shifting our views on what is relevant and interesting. We hope you enjoy learning more about this year’s winners and honorable mentions, and we look forward to hearing from you next year as we keep searching for the best architecture and design in North America! —William Menking and Matt Shaw We will be updating this list over the next few days with winner and honorable mention profiles. To see the complete feature, don't miss our 2018 Best of Design Awards Annual issue, out now! 2018 AN Best of Design Awards Building of the Year Winner Transart Foundation SCHAUM/SHIEH Houston Finalists Daniels Building NADAAA Toronto Saxum Vineyard Equipment Bard Clayton + Little Paso Robles, California Public Winner Schomburg Center for Research in Black Culture Marble Fairbanks New York Honorable Mentions Banc of California Stadium Gensler Los Angeles River’s Edge Pavilion Alley Poyner Macchietto Architecture Council Bluffs, Iowa Urban Design Winner Triboro Corridor Only If and One Architecture & Urbanism New York: Brooklyn, Queens, Bronx Honorable Mentions Los Angeles River Gateway AECOM Los Angeles North Branch Framework Plan for the Chicago River Adrian Smith + Gordon Gill Architecture Chicago Cultural Winner Transart Foundation SCHAUM/SHIEH Houston Honorable Mentions Magazzino Italian Art MQ Architecture Cold Spring, New York The ICA Watershed Anmahian Winton Architects Boston Exhibition Design Winner Arakawa and Madeline Gins: Eternal Gradient Norman Kelley New York Honorable Mentions Living in America: Frank Lloyd Wright, Harlem, and Modern Housing Leong Leong and Project Projects New York Visionaire: AMAZE Rafael de Cárdenas / Architecture at Large and Sahra Motalebi New York Facades Winner Amazon Spheres NBBJ Vitro Architectural Glass Seattle Honorable Mentions The Emma and Georgina Bloomberg Center at Cornell Tech Morphosis PPG New York Museum Garage WORKac, J. Mayer H., Nicolas Buffe, Clavel Arquitectos, and K/R Miami Small Spaces Winner Sol Coffee Mobile Espresso Bar Hyperlocal Workshop Longmont, Colorado Honorable Mentions Cabin on a Rock I-Kanda Architects White Mountains region, New Hampshire Birdhut Studio North Windermere, British Columbia Infrastructure Winner Confluence Park Lake|Flato Architects and Matsys San Antonio Honorable Mentions Rainbow Bridge SPF:architects Long Beach, California Los Angeles Union Station Metro Bike Hub Architectural Resources Group Los Angeles Commercial — Office Winner NVIDIA Headquarters Gensler Santa Clara, California Honorable Mention C3 Gensler Arktura Culver City, California Commercial — Retail Winner FLEX LEVER Architecture Portland, Oregon Honorable Mention COS Chicago Oak Street COS in-house architectural team Chicago Commercial — Hospitality Winner Saxum Vineyard Equipment Barn Clayton & Little Paso Robles, California Honorable Mention Brightline Rockwell Group Florida: Miami, West Palm Beach, Fort Lauderdale, Orlando Green Building Winner Orchid Educational Pavilion FGP Atelier Oaxaca, Mexico Honorable Mention R.W. Kern Center Bruner/Cott Architects Amherst, Massachusetts Interior — Workplace Winner Expensify Headquarters ZGF Architects Pure+FreeForm Portland, Oregon Honorable Mentions CANOPY Jackson Square M-PROJECTS San Francisco Dollar Shave Club Headquarters Rapt Studio Marina del Rey, California Interior — Institutional Winner Brooklyn Aozora Gakuen Inaba Williams Brooklyn, New York Honorable Mention Jackie and Harold Spielman Children’s Library, Port Washington Public Library Lee H. Skolnick Architecture + Design Partnership Port Washington, New York Interior — Retail Winner Jack Erwin Flagship Store MILLIØNS New York Honorable Mention Valextra Bal Harbour Shops Aranda\Lasch Miami Interior — Hospitality Winner Hunan Slurp New Practice Studio New York Honorable Mentions City of Saints, Bryant Park Only If New York Sant Ambroeus Coffee Bar at Hanley Bonetti/Kozerski Architecture New York Interior — Healthcare Winner NYDG Integral Health & Wellness Brandon Haw Architecture New York Honorable Mention Studio Dental II Montalba Architects San Francisco Healthcare Winner Phoenix Biomedical Sciences Partnership Building, University of Arizona CO Architects Phoenix Honorable Mention Zuckerberg San Francisco General Hospital and Trauma Center Fong & Chan Architects San Francisco Interior — Residential Winner 15th St Mork Ulnes Architects San Francisco Honorable Mentions Fort Greene Place Matter of Architecture Brooklyn, New York Little House. Big City Office of Architecture Brooklyn, New York Residential — Single Unit Winner Terreno House Fernanda Canales Mexico Federal State, Mexico Honorable Mentions Sky House Julia Jamrozik and Coryn Kempster Stoney Lake, Ontario V-Plan Studio B Architects Aspen, Colorado Residential — Multi Unit Winner St. Thomas / Ninth OJT New Orleans Honorable Mentions Tolsá 61 CPDA Arquitectos Mexico City Elysian Fields Warren Techentin Architecture Los Angeles Landscape — Residential Winner Folding Planes Garden Colwell Shelor Landscape Architecture Paradise Valley, Arizona Honorable Mentions Greenwich Village Townhouse Garden XS Space New York Landscape — Public Winner Hunter’s Point South Waterfront Park SWA/BALSLEY and WEISS/MANFREDI with Arup Queens, New York Honorable Mentions Naval Cemetery Memorial Landscape Marvel Architects and NBWLA Brooklyn, New York Ghost Cabin SHED Architecture & Design Seattle Education Winner Daniels Building NADAAA Toronto Honorable Mentions UCSB San Joaquin Student Housing Lorcan O’Herlihy Architects Santa Barbara, California Sherman and Joyce Bowie Scott Hall at Carnegie Mellon University OFFICE 52 Architecture Pittsburgh Lighting — Outdoor Winner Spectra, Coachella NEWSUBSTANCE Indio, California Honorable Mention National Holocaust Monument Focus Lighting Studio Libeskind Ottawa Lighting — Indoor Winner The Lobster Club at the Seagram Building L’Observatoire International New York Honorable Mention Midtown Professional Education Center, Weill Cornell Medicine Cline Bettridge Bernstein Lighting Design New York Restoration & Preservation Winner 100 Barclay DXA Studio New York Honorable Mentions Hotel Henry at the Richardson Olmsted Campus Deborah Berke Partners Buffalo, New York Using Digital Innovation to Preserve Taliesin West Leica Geosystems, Multivista, and Matterport Scottsdale, Arizona Building Renovation Winner 1217 Main Street 5G Studio Collaborative Dallas Honorable Mention 1824 Sophie Wright Place studioWTA New Orleans Adaptive Reuse Winner San Francisco Art Institute at Fort Mason Leddy Maytum Stacy Architects San Francisco Honorable Mentions Empire Stores S9 Architecture, STUDIO V, and Perkins Eastman Brooklyn, New York Cristo Rey St. Martin College Prep JGMA Waukegan, Illinois Temporary Installation Winner Trickster studio:indigenous Sheboygan, Wisconsin Honorable Mentions Blue Marble Circus DESIGN EARTH Boston 85 Broad Street Ground Mural FXCollaborative New York New Materials Winner Cyclopean Cannibalism Matter Design Seoul, South Korea Honorable Mentions One Thousand Museum Zaha Hadid Architects and ODP Architects Miami Clastic Order T+E+A+M San Francisco Digital Fabrication Winner 260 Kent COOKFOX Architects Brooklyn, New York Honorable Mentions A.V. Bath House Facilities Design Group Custer, Michigan MARS Pavilion Form Found Design Los Angeles Representation — Digital Winner Fake Earths: A Planetary Theater Play NEMESTUDIO Honorable Mention Cosmorama DESIGN EARTH Representation — Analog Winner Public Sediment for Alameda Creek SCAPE California: Fremont, Newark, and Union City Honorable Mentions Adidas P.O.D. Plexus Standard Set the Objective SAW // Spiegel Aihara Workshop Young Architects Award Winner Runaway SPORTS Santa Barbara, California Honorable Mentions Noodle Soup office ca Lake Forest, Illinois Malleable Monuments The Open Workshop San Francisco Student Work Winner mise-en-sand Jonah Merris, University of California, Berkeley Honorable Mentions Cloud Fabuland Eleonora Orlandi, SCI-Arc Real Fake James Skarzenski, University of California, Berkeley Research Winner Stalled! JSA Honorable Mentions Marine Education Center Lake|Flato Architects Ocean Springs,Mississippi After Bottles; Second Lives ANAcycle design + writing studio/Rensselaer Polytechnic Institute Brooklyn, New York and Troy, New York Unbuilt — Residential Winner Brooklyn Senior Affordable Housing Only If Brooklyn, New York Honorable Mentions 150 Central Park South penthouse SPAN Architecture New York Courtyard House Inaba Williams Santa Monica, California Unbuilt — Urban Winner Whitmore Community Food Hub Complex University of Arkansas Community Design Center Wahiawa, Hawaii Honorable Mentions The Hydroelectric Canal Paul Lukez Architecture Boston Brooklyn Navy Yard Master Plan WXY Brooklyn, New York Unbuilt — Interior Winner Children’s Institute DSH // architecture Long Beach, California Honorable Mention Holdroom of the Future Corgan Unbuilt — Commercial Winner Uber Sky Tower Pickard Chilton Los Angeles Honorable Mention Nansha Scholar’s Tower Synthesis Design + Architecture and SCUT Architectural Design & Research Institute Nansha, China Unbuilt — Cultural Winner Beggar’s Wharf Arts Complex Ten to One Rockland, Maine Honorable Mention NXTHVN Deborah Berke Partners New Haven, Connecticut Unbuilt — Education Winner Arizona State University Interdisciplinary Science and Technology Building 7 Studio Ma Tempe, Arizona Honorable Mentions Bedford Stuyvesant Community Innovation Campus Ten to One Brooklyn, New York 80 Flatbush Public Schools Architecture Research Office Brooklyn, New York Unbuilt — Green Winner 6 Industrial Way Office Park Touloukian Touloukian Salem, New Hampshire Honorable Mention Cooling Tower for Chicago Spire site Greyscale Architecture Chicago Unbuilt — Public Winner The American Construct Christopher Myefski American West Honorable Mentions Urban Canopy Buro Koray Duman New York Anacostia Water Tower Höweler + Yoon Architecture Washington, D.C. Unbuilt — Landscape Winner Greers Ferry Water Garden University of Arkansas Community Design Center Heber Springs, Arkansas Honorable Mention Murchison Rogers Park Surroundings El Paso, Texas A special thanks to our 2018 AN Best of Design Awards Jury! Tei Carpenter Founder, Agency—Agency Andrés Jaque Founder, Office for Political Innovation William Menking Editor-in-Chief, The Architect’s Newspaper Pratik Raval Associate Director, Transsolar Jesse Reiser Principal, Reiser + Umemoto Matt Shaw Executive Editor, The Architect’s Newspaper
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SCAPING up to Boston

Boston taps SCAPE for a resilient harbor vision
The city of Boston has unveiled a new vision for protecting the city’s 47 miles of shoreline and has used New York’s SCAPE Landscape Architecture to visualize the vision plan. The plan, "Resilient Boston Harbor," was presented yesterday by Mayor Martin J. Walsh before the Greater Boston Chamber of Commerce. It builds off of the Climate Ready Boston 2070 flood maps and existing district-level plans, coastal resilience neighborhood studies, and the work done under the Imagine Boston 2030 initiative. The ultimate goal is to reinforce Boston’s public spaces, buildings, and infrastructure against the encroach of rising sea levels, the strengthening of storms that climate change will bring, as well as heat waves, drought, and worsening blizzards. With Boston’s population approaching 700,000 for the first time since the 1960s, catastrophic flooding would affect more residents than ever. “We’re not just planning for the next storm we’ll face, we’re planning for the storms the next generation will face,” said Mayor Walsh. “A resilient, climate-ready Boston Harbor presents an opportunity to protect Boston, connect Boston, and enhance Boston, now and for the future. As we enter a new era in our Harbor’s history, Boston can show the world that resilience is not only the ability to survive adversity, but to emerge even stronger than before. That’s the promise of a Resilient Boston.” To meet that ambitious goal, the city has broken down its plan into separate chunks for each neighborhood. The final goal involves opening up public access to the waterfront by raising portions of the coastal landscape, installing strategic flood walls, elevating infrastructure, and flood-proofing buildings, representing a synthesis and consolodation of the prior resiliency work done in the city. In East Boston and Charlestown, Wood Island and Belle Isle will be reinforced to prevent the loss of Boston’s only remaining salt marsh, and the most important transportation corridors will be elevated. The Schrafft Center waterfront will also be redeveloped to incorporate elevated parks and boosted economically by the addition of new mixed-use buildings. In South Boston and Fort Point, Fort Point Channel is currently a major floodway that will need to be redesigned, and a string of parks, dubbed the “Emerald Necklace,” will sop up excess floodwater along Columbia Road. In North End and Downtown, the Harborwalk and Long Wharf are slated for renovations, and the city is planning to kick off a Climate Ready Downtown study to pinpoint further optimizations. Similarly, Boston will launch Climate Ready Dorchester to study improvements to the Dorchester Waterfront. A redesign of Morrissey Boulevard to buffer it against flooding, and the opening of the waterfront along Columbia Point, have already been singled out as potential strategies. The cost won’t be cheap, but Mayor Walsh rationalized the expense as preventative. “In East Boston, we could invest $160 million in resilience or we could do nothing, and expect damages of $480 million," Walsh told the Chamber. "In Charlestown, we could invest $50 million now or pay over $200 million later. In South Boston, we could invest $1 billion or we could pay $19 billion in citywide damages, when Fort Point Channel and Dorchester Bay meet and flood the heart of our city. “We either invest now, or else we pay a much bigger price later. And we’ll pay that price in more than dollars. We’ll pay it in jobs lost, small businesses that never recover, homes destroyed, and families displaced.” The city will start by investing millions at each of the above sites and ten percent of all future capital funding towards resiliency initiatives. Still, the north-of-a-billion-dollar estimates will require funding from Massachusetts, the federal government, and private, non-profit, and philanthropic organizations. Besides hitting the goals outlined in Resilient Boston Harbor, the city is also committed to going completely carbon neutral by 2030.
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Homerun

Snarkitecture swings for the fences with All-Star Game installation
The 2018 Major League Baseball All-Star Game in Washington, D.C. may have already passed, but the MLB Assembly, a weeklong collection of art, architecture, fashion, and food projects centered around baseball, is worth revisiting. New York-based Snarkitecture contributed to the Assembly, which ran from July 13 through July 16, with their Field installation. Visitors to the Wharf’s District Pier were greeted with a rising forest of baseball bats supported on white plinths and arranged into four diamonds that referenced the layout of a baseball field. At the beginning of Field’s four-day installation, 1,100 baseball bats were mingled with 200 billets, or unfinished raw wood cylinders. A woodturner was stationed in a booth behind the installation and using a lathe, they converted the billets into fresh bats. The project was envisioned as an interactive exhibition, where visitors would enter the rising arrangement of baseball bats and uncover the performance on the other side. Field was constantly evolving and on the last day of the exhibition, the billets had all been swapped out for finished bats. Field was not the only immersive Snarkitecture installation available to those in D.C. Fun House, the sprawling 10-year retrospective of the firm’s work, is on display in the lobby of the National Building Museum for the rest of the summer, and the same sense of spontaneity brought to Field permeates that show.
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World of Whimsy

Postmodernism comes back to life in vivid color at the Soane Museum in London
A new exhibition devoted to postmodern British architecture is designed to spark a revival of interest in the movement. The exhibition titled The Return of the Past: Postmodernism in British Architecture is now showing at Sir John Soane’s Museum in London through August 26. The exhibition will display a selection of important works by some of the country’s most prominent architects such as Terry Farrell, CZWG, Sir Jeremy and Fenella Dixon, John Outram, and James Stirling. Their works emerged as part of the postmodern movement, which was a reaction against the confining modernist style used in designing many British towns and cities at the time. Postmodernist architecture generally emphasized the reconnection of architecture to the past through “ornament, materials, form or typology,” according to a statement from the Soane Museum. The SIS building designed by Terry Farrell houses the headquarters of Britain’s foreign intelligence agency Secret Intelligence Service MI6. Located on the bank of the River Thames in central London, the cascading building looks like a fortress, finished with a cream-colored facade and green-tinted windows. Another highlight is a project for 200 Queen Victoria Street for Rosehaugh-Stanhope Developers by John Outram. Although unbuilt, its signature image, featuring oversized Greco-Roman columns, chinoiserie posts, mosaic patterns, turbine flourishes, and fantastical additions make it a shining example of the movement's style. CZWG’s work is also celebrated in the exhibition. Cascades is a twenty-story apartment building located on the Isle of Dogs in London. Its design offered an alternative appearance to the high rise typology. According to CWZG, the “Pharaonic references” signify the high-reaching ambition of the construction, making it a postmodernist centerpiece. China Wharf is also a significant piece by the same firm. The building combines functionalism and aesthetics. The scalloped wall “is used to twist windows, both towards the rising sun and away from the neighbors directly across the courtyard,” according to the designers. As part of a regeneration scheme for the London Docklands, the building includes a pastiche of stylistic references such as naval and pagoda motifs. “Postmodern architecture in Britain is frequently written-off as an expression of 1980s Thatcherism and still little understood. We conceived this exhibition to set the record straight and reveal this period as one of such amazing creativity and innovation that can hold its own with any moment in British architecture history,” said Owen Hopkins, Senior Curator at Soane. “Full of color, ingenuity, and exuberance, the exhibition will also show the serious intellectual basis that underlay a movement whose legacy still shapes how we create and understand architecture today.” The organizers of the exhibition hope to renew attention to postmodern buildings in the U.K. Later this year, Historic England, the public body that looks after England’s historic environment, will launch a project to assess postmodern buildings for listing.
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Welding Bells

Visiting UAP, the studio fabricating many of the biggest projects in art and architecture
UAP may not be a household name, but the firm is behind the scenes of many of the biggest projects in public art and architecture. With studios in Brisbane, Shanghai, and New York, UAP works with world-renowned artists and architects like Ai Weiwei, Carsten Höller, and Frank Gehry on highly complicated sculptures and architectural features. Most recently, it manufactured Phillip K. Smith III’s Open Sky with clothing brand COS for Salone del Mobile in Milan. UAP is also overseeing a number of projects in the Hudson Yards mega-development. Started in 1993 by brothers Daniel and Matthew Tobin in Australia, UAP collaborates with artists, architects, developers, and governments to plan and fabricate large-scale projects. However, at their core the Tobins are committed to protecting artists’ voices and maintaining conceptual integrity—dealing with tight deadlines, engineering challenges, and logistical complexities to deliver the creator’s vision in full. In this way, they function as an extension of the artist’s studio, allowing artists to step back from management and go back to doing what they do best: making art. UAP is organized into three sectors: UAP Studio, which produces site-specific artworks and offers curatorial oversight and public art strategy; UAP Factory, which works alongside architects on building projects; and UAP Supply, which offers limited-edition and custom furnishings. While UAP’s business includes working with artists to make their visions materialize, the firm also works with developers and governments to curate and consult on the how, where, and who behind public art. Recently, it has been going even bigger and helping develop master plans and long-term public art strategy for clients such as the Queen’s Wharf in Brisbane. Although handwork, traditional CNC, and cutting-edge fabrication techniques are integral to the practice, UAP is constantly looking for new ways to utilize technology. The team has been introducing virtual reality into its design process and collaborating with manufacturing researchers at Innovative Manufacturing CRC, Queensland University of Technology, and RMIT University to experiment with new robotic manufacturing systems that present a range of new possibilities. With his artist pedigree, founder Daniel has designed monumental projects, including the 197-foot-tall concrete tower Al Fanar (Beacon) in Saudi Arabia (with bureau^proberts) and a National AIDS Monument with the West Hollywood Foundation, to be completed in 2019. It’s this creative sensibility that’s central to UAP. It can help artists because they themselves are no mere fabricators; they’re partners in the creative process with an intimate knowledge of production and a deep investment in creative expression. Good Fences Make Good Neighbors New York This past winter’s blockbuster five-borough public exhibition from Ai Weiwei, Good Fences Make Good Neighbors, showcased the work of UAP in one of its most memorable sculptures: the 40-foot mirrored cage underneath the Washington Square Arch. Made in collaboration with the Public Art Fund, the arch sculpture was one of two that UAP completed for Ai’s project. The subject of many photographs, the sculpture approached serious topics with levity—juxtaposing a passage with a cage, it troubled the constructed notion of borders and highlighted the different ways they restrict, regulate, and permit the movement of differentiated bodies. Nuage, promenade Miami Working with renowned designers (and another fraternal pair) Ronan and Erwan Bouroullec, UAP oversaw the construction of a series of metal and glass canopies in Miami’s design district. Called Nuage, promenade, the pergola is designed to engage with not only the surrounding built environment of Paseo Ponti, but also the natural environment, as native plants will slowly grow around the blue and green structure. SITE Santa Fe, New Mexico UAP worked on every step of the process, from design to fabrication to installation, for an external cladding system for a SHoP Architects expansion to the New Mexico contemporary art space SITE Santa Fe. The layers of folded and perforated aluminum cladding for the two entrances help to unify the extension as a whole and mesh it with the museum and the public space. UAP also worked with SHoP on the interiors of the American Copper Buildings in Manhattan. Wahat Al Karama Abu Dhabi, United Arab Emirates In 2016, UAP worked with British artist Idris Khan to realize the massive memorial park Wahat Al Karama in Abu Dhabi, UAE. The central monument comprises 31 leaning tablets made of aluminum plates recycled from decommissioned armored vehicles. The tablets are inscribed with the names of service members and poems and quotes from Sheikh Zayed bin Sultan Al Nahyan and Sheikh Mohammed bin Zayed Al Nahyan. At one end of the park is the Pavilion of Honor, completed with bureau^proberts. Made of 2,800 aluminum panels encircling seven glass panels by Khan, the meditative space is a quiet interior pause that complements the monolithic structure outside.
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Folly Frenzy

In “Nincompoopolis,” Boris Johnson’s architectural follies mask even bigger failures

For the U.K.’s latest passport design, a page is dedicated to British-Indian artist, Anish Kapoor. This is nothing untoward; Kapoor is a distinguished artist both nationally and on the world stage. On the page are three of his works: Marsyas, Temenos, and the Orbit, the latter of which was designed with the help of equally esteemed British engineer, Cecil Balmond.

At 377 feet, the Orbit is Britain’s tallest sculpture. A press release for its 2014 re-opening proudly proclaims that the ArcelorMittal Orbit—to call it its official name after Indian steel giant Lakshmi Mittal—“originated in 2009 when [former] London Mayor Boris Johnson launched a competition to design a sculpture for the Olympic Park.”

The term sculpture is perhaps too kind, since the Orbit looks like Kapoor and Balmond both sneezed while trying to wrest control of the mouse with Rhino running on the computer. Today, despite adding a slide, it costs the taxpayer $13,100 a week to keep running. The omnipresent Orbit looms over the London 2012 Olympic site in the London borough of Newham and now the work—an inescapable reminder of Johnson’s eagerness to create an icon—will follow Britons around the globe.

Though a picture is sometimes worth a thousand words, thankfully there is better documentation of Johnson’s foibles in the built environment. Critic Douglas Murphy’s Nincompoopolis: The Follies of Boris Johnson, does this superbly and goes beyond, relating it to Johnson’s ironic ineptitude on more serious issues with real-world ramifications, such as the Heygate Estate evictions in South London. In this instance, Johnson remarked that it was “vital we push forward with work to unlock the economic potential” of the area as he approved the replacement masterplan, seemingly oblivious of the implications. The estates were home to more than 3,000 people. 

The darker manifestation’s of Johnson’s mayoralty come later in the book, which is laid out in two parts: Johnson the architectural meddler comes first and Johnson the hapless, apathetic, and willfully ignorant politician, after. In this sense, Murphy’s depressingly long catalogue of Johnson’s errors posits the more obvious architectural blunders as a mask to his more inimical failings.

To make the grim reading digestible, Nincompoopolis is filled with personal touches from Murphy (all but two of the images used are the author's own) who found himself in London just as Johnson took the reins in 2008. His sophisticated anger is both fitting and relevant, delivered with a dry sense of humor, as he dismantles everything wrong with each project, from the process (or lack of it) to the final product. The reader is doused with lashings of context, followed by a predictable punchline: Johnson.

It’s not all doom and gloom, though. The Garden Bridge, with a corrupt tendering process in which Johnson played a central role, was scrapped by incumbent Mayor Sadiq Kahn. A shopping mall version of the Crystal Palace was another near-miss, and orders have been stopped on the New Routemaster London bus. These failed follies can hardly be classed as wins, however, with millions of dollars of public money having already been squandered on them.

Perhaps a bright spot can be found in the socially-minded work of Peter Barber Architects, which Murphy duly mentions. Johnson is also credited for issuing new housing standards in the shape of the London Housing Design Guide which, bemusingly for him given his track record, called for less “iconic” architecture and beckoned in the “New London Vernacular.” However, as Murphy points out, much of this genuinely good work rides on the legacy of former mayor Ken Livingstone, who worked with Richard Rogers during his time as mayor. “In a city that has been undergoing so much housing struggle, no amount of tasteful brick detailing can mask the problems,” Murphy remarks.

The bearer of an American passport which reads “Alexander Boris de Pfeffel Johnson,” London’s former Mayor will never have to suffer the full consequences of Brexit, in which he played a leading role. Nor will he have to look at the Orbit embarrassingly sprawled across a page of official national documentation.

Brexit, hopefully, was Johnson’s political swan-song. It made sense as well. The Routemaster and Crystal Palace fiascos were projects inspired by a misplaced public love of nostalgia, to which Johnson, seeing his chance as a so-called man of the people, rushed ham-handedly to cater to.

Inspiration also came from New York, where Johnson was born, but again, these ideas were executed in the wrong way. The High Line’s success spurred the Garden Bridge into almost becoming a reality, but ignored the 1964 New York World’s Fair. Johnson was determined to emulate the grandeur of antiquated world expos, but this somehow resulted in the Orbit and nearly led to a enormous glass mall, neither of which approached the legacy of 1964.

Nincompoopolis is a playful word, more endearing than insulting. However, Murphy does not shy away from showing that beneath Johnson’s boyish bravado and messy hair, depicted atop the Orbit on the book's coveris a more clueless and sinister character.

Nincompoopolis: The Follies of Boris Johnson Repeater Books $10.00

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Crescent Coasts

New Orleans property swap may yield largest public riverfront in the U.S.
On October 26, a historic deal was implemented in New Orleans: the Port of New Orleans (PNO) and the Public Belt Railroad (PBR) swapped riverfront properties, unlocking a key stretch of land to what may soon be the largest uninterrupted public riverfront in the U.S. In the swap, PNO took ownership of a stretch of railroad along the Mississippi River and PBR took ownership of two large wharves–Esplanade Avenue and Governor Nicholls Street Wharves. PBR is owned by the City of New Orleans, which now plans to redevelop both wharves as public space (à la Mandeville Wharf). This redevelopment will connect two existing riverfront parks, Bywater's Crescent Park and the French Quarter's Woldenburg Park. This linkage is key in the long-term vision to develop the entire New Orleans riverfront as one contiguous public parkway, as detailed by Eskew Dumez + Ripple's 2008 Reinventing the Crescent plan. In a press conference on October 27, New Orleans Mayor Mitch Landrieu announced several major riverfront redevelopments, including the keystone wharf redevelopments. The wharves themselves have been allocated $15 million. The other developments announced are generally focused on improving existing public amenities along the Mississippi riverfront from the French Quarter to Bywater neighborhoods. They include a $7.5 million renovation of Spanish Plaza, a $400 million renovation of the World Trade Center at the Four Seasons hotel, a new $37 million terminal for the Canal Street Ferry, a new $7.3 million pedestrian bridge over the railway to the ferry terminal, $6 million in park improvements for Woldenberg Park in the French Quarter, $3 million in green space improvements for part of the Riverwalk, and $31.2 million for expansions to Crescent Park. Many of these projects are ongoing. After a series of major floods this summer, water experts in New Orleans are paying close attention to how the city is spending on water management. "The challenge in New Orleans is that we can't rub two nickels together to wrap up our water infrastructure and drainage problems," said Ramiro Diaz, a designer at architecture firm Waggonner and Ball, in a call with The Architect's Newspaper (AN). "Overall, I think it's a positive development, though. People have been waiting for these riverfront projects for years." Waggonner and Ball were the lead designers behind the Greater New Orleans Water Plan. According to Eskew Dumez + Ripple principal Steve Dumez, his firm is now looking into implementing the western end of the Reinventing the Crescent plan. This would open up riverfront property around the Ernest N. Morial Convention Center, extending the parkway even further.