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Ordamental

Studio Gang chosen to head massive O'Hare expansion
After the release of a star-studded shortlist last November and the subsequent proposals in January, the city of Chicago has chosen Studio ORD Joint Venture Partners to design the $2.2 billion O’Hare Global Terminal and Global Concourse at O’Hare International Airport. The winning team consists of Chicago’s own Studio Gang, the international Corgan Associates, as well as local firms Solomon Cordwell Buenz and STL Architects. Studio ORD’s proposal is themed around convergence and features multiple elements that join together in geometrically intricate ways. The terminal’s massing consists of three U-shaped ribbed structures that join in the middle, creating a rooftop “island” and central skylight. Each segment peaks at the center, reminiscent of a mountain. Timber will be used heavily throughout the 2.2-million-square-foot building, as Studio ORD has proposed cladding the underside of each rib, and many elements of the interior, such as the escalators, in wood. Additionally, from the video released as part of their proposal, it seems that the terminal’s interior will be well planted. The team has described their terminal as densely programmed, but easy to navigate, and it appears that the central void below the skylight will anchor the scheme. The O’Hare Global Terminal will replace the existing Terminal 2, which was built in 1963. The new building is part of the $8.5 billion O’Hare 21 expansion, which will modernize the airport and expand its footprint from 5.5 million square feet to 8.9 million square feet. Even though Studio ORD has taken home the design competition’s top prize, the remaining four teams are still in the running to design two new satellite concourses adjacent to Terminal 1. The city will decide on the winner in the coming months. The O’Hare Global Terminal is expected to break ground in 2023.
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Light as Air

New Swiss residential building shows off the latest in efficient tech
A seemingly simple, six-story apartment complex is going up in Zurich, Switzerland, and is putting to the test a number of new technologies that showcase a more sustainable approach to new construction. The project, Hohlstrasse 100, is designed by Dietrich Schwarz Architekten and is rising next to an existing, two-story commercial space that's also being renovated and connected to the new building underground. The firm's namesake principal has written extensively on environmental concerns in architecture and advocates a view of architectural history “from modernism to the ‘one planet society,’” which has manifested itself in projects like the 1996 Solarhaus I and the 2007 Eulachhof "zero-energy" housing complex. Claiming that “architectural and spatial planning” is the cause of greater than 40 percent of global energy consumption, Schwarz has proposed that future structures "will be created in which the building envelope and building service systems complement one another optimally." That ethos is being advanced in Hohlstrasse 100, which is, in part, supported by the Swiss Federal Office of Energy. Loaded with new technology, the residences will be a pilot for a new form of vacuum-insulated glass windows, hot water, and other monitoring systems, as well as new phase-change materials. The windows will also feature unique soundproofing, tested at Empa at ETH Zurich, that will allow them to be opened to the noisy street below for natural ventilation. Hohlstrasse 100 is also testing ground for aerogel insulating technologies, designed in the lab of Jannis Wernery at Empa. While aerogels have been used in many renovations, and also recently at the research-showhome DFAB HOUSE, Wernery says this is first new construction in Switzerland to create a facade entirely using aerogel. The material, an ultralight gel that uses gas instead of a liquid, has incredibly low density and thermal conductivity. Overall, the building is extremely high-efficiency in terms of insulation abilities for its size. The ultra-thin wood, MDF, and aerogel facade make it a primarily a wood structure coming in at just 135mm. Although aerogel is costly, in expensive cities like Zurich the gain in interior square footage (and its attendant profitability) more than compensates for the additional price while providing long-term energy efficiency, according to Wernery. For the architects, this thinness and space efficiency is also part of the building's conceptual conceit. It reads with the “compression” that so distinctly defines modern urban buildings and cities themselves.
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Balancing Design

The 2019 Seattle Design Festival puts out a call for proposals
The Seattle Design Festival (SDF) is returning from August 16 through 25 and will once again gather tens of thousands of architects, designers, residents, and aficionados in the city. Before that, though, the SDF is openly soliciting installation proposals throughout April and May. SDF is run by Design in Public, an initiative of AIA Seattle, and appropriately, a host of supplemental educational events will run during the festival. The SDF is being broken up into three parts: a block party at Lake Union Park on August 24 and 25, which will showcase outdoor pavilions and events; neighborhood design crawls from August 16 through 25, where visitors can stop in at lectures, tours, screenings, and more; and finally, partner events all over the city. This year’s theme, Balance, asks applicants to consider how balance can be won by design. How can good design help balance our ecological concerns and restore the environment? How can design establish urban equity, or negotiate a work-life balance? Proposals can address any and all interpretations of the theme. While designers don’t need to be affiliated with a studio or even live in Seattle to apply, Design in Public will be hosting three “design jams” at Seattle’s Center for Architecture and Design. On April 20, May 8, and May 16, interested parties can workshop their ideas, get feedback, ask questions, and mutually support other applicants. Interested applicants and partners can submit their proposals here.
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Going Up, Going Down

Vessel and Hudson Yards are open. What do the critics think?
The first phase of Manhattan’s $25 billion Hudson Yards development opened to the public on March 15, and with the embargos lifted and first impressions filed, a wide variety of critics have put pen to paper on their Vessel thoughts. The $150 million, 150-foot-tall occupiable sculpture is the centerpiece of Hudson Yards’ first phase and sits at the heart of a Nelson Byrd Woltz–designed plaza. The Thomas Heatherwick–designed public installation, inspired in part by Indian stepwells, expands from a minimal footprint at the bottom to a 150-foot-wide diameter at the peak. After signing up for free tickets and agreeing to Vessel’s restrictive photo policy, which previously stated that guests would forfeit the rights to any photos or videos taken there, visitors can explore the 154 flights of stairs and 80 landings. Related Companies chairman Stephen Ross, who paid for the structure out of his own pocket, claims that Vessel holds a mile of staircases. For the mobility impaired, Heatherwick Studio has included a curvilinear elevator that stops at three different landings along the sculpture. The intentions behind the piece have been well stated—the desire to create a monument in Hudson Yards that engages, not overshadows, the surrounding towers, and a "living room" for the public and residents who call the new neighborhood home. So, what do people think of the 15-story Vessel? The reviews have been mixed; some saw it as a monument to excess, while others drew comparisons to shawarma, a pinecone, trash can, drinking glasses, and more. Still others juxtaposed the structure’s 360-degree views and position to a panopticon, as Vessel is eminently and intentionally viewable from most places in Hudson Yards. It should be noted that Related insists that Vessel cost $150 million; the $200 million figure cited in the below articles reportedly accounts for the plaza it sits in as well. The Architect's Newspaper AN's Executive Editor Matt Shaw couldn't help but link Vessel to its larger place and the moneyed circumstances that led to its creation, questioning whether it was spectacle for the sake of spectacle. "Vessel and its counterpart, The Shed, occupy an important niche in the rich culture of Little Dubai: they serve as the attractors to get tourists to come and play, and thus spend money at retail options. Like the spectacular Dubai Aquarium, Dubai Frame, and man-made islands such as Palm Jumeirah, Vessel acts to bring attention to the place. The High Line is already doing this, but these new spectacles will bring in tourists en masse, possibly so much that this area will be like a cleaner and even less exciting Times Square. "This centralization of power—via a marriage of government and private interests—gives power to consultants to plan whole districts, as well as ties together Little Dubai and its namesake (and the other countless cities like it). It should not come as a surprise that this is taking place in New York. In fact, it is a very New York phenomenon, as much of this type of culture was shipped from New York’s office towers (literally and metaphorically.)" The New York Times Michael Kimmelman didn’t mince words in his review for the NYT. “It is temporarily called the Vessel. Hoping for public buy-in, its patron, the lead developer of this vast neoliberal Zion, has invited suggestions for a new name. “Purportedly inspired by ancient Indian stepwells (it’s about as much like them as Skull Mountain at Six Flags Great Adventure is like Chichen Itza) the object—I hesitate to call this a sculpture—is a 150-foot-high, $200 million, latticed, waste-basket-shaped stairway to nowhere, sheathed in a gaudy, copper-cladded steel.” New York Magazine Justin Davidson had many of the same concerns as Kimmelman, as he recognized that historically stairs have been used as gathering places throughout New York City, but that ultimately Vessel felt like a staircase to nowhere. “The advance hype doesn’t prepare you for a structure quite this large, shiny, and extravagantly pointless. Its stainless-steel skin gleams russet like polished copper but won’t weather or lose its gloss. From the beginning, Ross declared his desire for an artwork big and splashy enough to focus the whole development. Not a clock or an obelisk—how about a botanical puppy, say, or a Chicago-style shiny kidney bean? Ross wanted something bolder, an artwork he wouldn’t have to warn people off of. Instead, Heatherwick’s piece functions as its own sign: PLEASE CLIMB ON THE SCULPTURE.” The New York Post Post writer Zachary Kussin wrote much more enthusiastically about his experience with Vessel. In an article entitled “Why the Hudson Yards Vessel is $200M worth of glistening glory,” Kussin recounted a grandiose trip to the top of the sculpture. “He’s right. Designed by Thomas Heatherwick and his London-based Heatherwick Studio, Vessel is an interactive artwork made entirely of staircases that make you feel as if you’re in a giant honeycomb, surrounded on all sides by copper-colored steel.” Curbed Alexandra Lange, reviewing Hudson Yards for Curbed, was simultaneously dazzled by the physical structure of Vessel, but questioned its promised social utility. She writes that once inside, rather than sparking conversation between climbers, the focus turned towards the piece itself, and an innate awareness of being on Vessel. “Whatever you call Heatherwick Studio’s Vessel—the wastebasket, the egg-crate, the Escher-brought-to-life, the basketball net, the Great Doner Kebab—it is the opposite of those examples. Not temporary, not cuddly, not delicate. It looks just like its renderings except possibly more perfect. I had mentally assigned it an outer cladding of weathering steel; with everything else so smooth and shiny, surely Vessel would have an industrial flavor? But no—Heatherwick Studio leaned into the fractal nature of its design, and the cladding, copper-colored steel, has a mirror finish like Anish Kapoor’s Bean in Chicago’s Millennium Park, welcoming our irresistible impulse to selfie.” The Baffler Kate Wagner’s take on Vessel was, predictably, the most pointed AN was able to find. In “Fuck The Vessel,” Wagner savages Heatherwick’s entire body of work as well as the structure’s premise, writing that Vessel embodied the attitude of Hudson Yards, a utopia for the rich out of the grasp of the other 99 percent. “It is a Vessel for labor without purpose. The metaphor of the stairway to nowhere precludes a tiring climb to the top where one is expected to spend a few moments with a cell-phone, because at least a valedictory selfie rewards us with the feeling that we wasted time on a giant staircase for something—perhaps something contained in the Vessel. The Vessel valorizes work, the physical work of climbing, all while cloaking it in the rhetoric of enjoyment, as if going up stairs were a particularly ludic activity. The inclusion of an elevator that only stops on certain platforms is ludicrously provocative. The presence of the elevator implies a pressure for the abled-bodied to not use it, since by doing so one bypasses ‘the experience’ of the Vessel, an experience of menial physical labor that aims to achieve the nebulous goal of attaining slightly different views of the city.” Heatherwick’s response For Thomas Heatherwick’s part, he hasn’t let the criticism bother him. On the opening day of Hudson Yards, The Real Deal was able to snag a brief interview, where the English designer shrugged off the above concerns, saying that all that mattered was whether visitors enjoyed it. Indeed, it seems that for as many think pieces and social media slams that Vessel has endured over its purpose and aesthetics, and whether it truly belongs in New York, tourists have still been clamoring to climb it. AN has reached out to Heatherwick Studio for its take on the critical hullabaloo and will update this article accordingly.
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Taking the Title

Mjøstårnet by Voll Arkitekter is the now the world's tallest timber tower
A Nordic structure has claimed the title of world’s tallest timber building. Mjøstårnet by Voll Arkitekter is a 280-foot-tall tower in Brumunddal, Norway, constructed entirely out of cross-laminated timber. It’s the third tallest building in the country and features 18 stories of office space, apartments, a hotel, a ground-floor restaurant, and an adjoining public bath. Designed like a monumental wooden box planted atop Brumunddal’s open, lakeside landscape, Mjøstårnet stands as a symbol of the “green shift.” It’s all wood—even it’s elevators are built from CLT and its large-scale interior trusses, as well as the structural columns, are glulam. The architects used local-sourced materials crafted from local suppliers to build the soaring structure, which features a series of wooden fins on its western facade and an open-air rooftop with a sculptural timber topper. Scandinavian company Moelven Limtre, owner of 17 sawmills in Norway and Sweden, supplied the wood and served as the Mjøstårnet’s structural engineer. The mixed-use project is owned by AB Invest, a Jordanian investment group, and beats out Brock Commons at the University of British Columbia by 90 feet. Though the Vancouver-based student housing project also stretches 18 stories high and is actually larger than Mjøstårnet in overall square feet, the Nordic building bests it in height. Last week, 3XN released renderings for what will soon become North America’s tallest mass timber office building, T3 Bayside. Imagined for Toronto’s burgeoning waterfront community, it’s slated to rise just 138 feet.
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Will Gritty Show Up?

Populous reveals the Western Hemisphere's largest esports arena in Philadelphia
A $50 million, esports arena is coming to the South Philadelphia Sports Complex courtesy of designers Populous, Comcast Spectacor (Comcast’s sports and entertainment division), and developer The Cordish Companies. Once complete, the geometric Fusion Arena will hold up to 3,500 seats and will be the largest esports venue in the Western Hemisphere. Fusion Arena certainly isn’t the first competitive videogame venue in the country (before this, Populous’s Esports Stadium Arlington in Texas was the largest in the U.S.), and it likely won’t be the last thanks to the meteoric popularity of esports in recent years. The difference with this project is that the ground-up esports arena will house a Philadelphia Fusion esports franchise, similar to the professional-team-and-home-field-stadium model seen in traditional sports. Philadelphia's new Fusion Arena from Architect's Newspaper on Vimeo. For the arena’s exterior, Populous took a cue from the angular, high-contrast world of gaming hardware and peripherals. The building’s vertically-striated black facade wraps several colorful overhangs and is reminiscent of a kitted-out gaming mouse in form. Industrial materials were used both inside and out in reference to Philadelphia’s manufacturing history. Other than the stadium seating, the building will hold a 10,000-square-foot training facility for players to practice in, as well as a broadcast studio for livestreaming, and team offices. A 6,000-square-foot, 30-foot-tall entrance hall will greet visitors. When not in use for competitive gaming, it’s expected that the arena will be used to host year-round live events. Fusion Arena is expected to break ground sometime this summer.
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London in Spring

Foster + Partners' skyline-busting London Tulip is on the path to approval
London’s 1,000-foot-tall Tulip tower looks like it might have an easier time receiving approval than first thought. Plans for the Foster + Partners–designed observation tower will go before London’s Planning and Transportation Committee on April 2, but before that, planning officials have released a 152-page document expressing their support for approving the project. The tower was controversial from the beginning. The Tulip would loom over the neighboring Gherkin in Central London, both developed by Jacob J. Safra, and its distinct “concrete-stem-and-glass-bulb” design drew ridicule online. The tower’s siting would also, according to a report released by the Greater London Authority (GLA) in January, impede views of the historic Tower of London. Questions over whether the building would contain an area open and free to the public, as required by the London Plan, were also raised. The GLA’s report came on the heels of concerns submitted to the City of London shortly after the tower’s reveal, wherein the London City Airport questioned whether the rotating, Ferris wheel-esque pods on the tower’s exterior would interfere with their radar systems. The report released today acknowledged these issues, but on the whole, recommended the planning and transportation committee approve the scheme. “Virtually no major development proposal is in complete compliance with all policies,” the report reads, according to BD Online, “and in arriving at a decision it is necessary to assess all the policies and proposals in the plan and to come to a view as to whether in the light of the whole plan the proposal does or does not accord with it.” Additionally, planning officials praised the design, stating that it was “highly unusual and unique within the UK context” and had “the potential to become an architectural icon for the City, London, and the U.K.” However, that doesn’t ensure that the scheme will sail through to approval, as a number of preservation groups, London mayor Sadiq Khan, and the Tulip’s prospective neighbors have spoken out against the plan. Additionally, the city’s built environment team, which is responsible for overseeing London’s public spaces, has expressed doubt that the street-level entrance would be able to handle the tens of thousands of expected annual visitors. Twelve stories of restaurants, observation decks, educational spaces, and rides would greet guests in the Tulip’s glass “bulb.” AN will follow up on this story following the committee’s vote on April 2.
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onePULSE

onePULSE Foundation announces competition for National Pulse Memorial & Museum in Orlando
Today, onePULSE Foundation announced it will hold an open two-stage international competition to design the new National Pulse Memorial & Museum in Orlando, Florida. Architects from around the world are encouraged to submit their qualifications by 3 p.m. EST on April 30, 2019. In collaboration with Dovetail Design Strategists, one of the country’s leading independent selection firms, the Foundation will pick six studios and their proposed teams by late May to create concept designs for the overall project, which will sit on the site of the PULSE nightclub and nearby properties. The original building, in which 49 members of Orlando’s LGBTQ community were killed in an early morning shooting on June 12, 2016, will be incorporated into the new memorial masterplan. Per the competition website, the “focus of the memorial will be the victims, survivors, and first responders, not the tragic event.” For Stage II of the competition, entrants will be challenged to reimagine the sacred site with a sprawling landscape and comprehensive urban design that honors the lives that were lost, while simultaneously bringing hope and joy to visitors and the families of the victims. The site will feature a new, 30,000-square-foot, “architecturally iconic” museum that will educate and address issues of tolerance, diversity, and inclusion. Outdoor space for community gathering and performances will also be woven into the new construction. An integral part of the site’s extension will be the pedestrian pathway known as Survivors' Walk. It will trace the three-block journey many victims and survivors took to the nearby Orlando Regional Medical Center that fateful summer night. The Walk will additionally stretch further north to the Dr. Phillips Center for the Performing Arts, where the first community vigil was held for the tragedy three years ago. According to the Foundation, this link will further deepen the site’s connection to downtown. The six shortlisted firms will be selected by a jury of onePULSE Foundation leadership, local Orlando stakeholders, and architects Laurind H. Spear, co-founder of Arquitectonica and principal of Arquitectonica GEO, Sarah Whiting of WW Architecture, and Yolanda Daniels of studioSUMO. This September, the top concepts will be showcased at a public exhibition at the Orange County Regional Historic Center in Orlando, Florida. After a public commentary period and presentations to the jury, the winning team will be announced in late October. Each team will receive a $50,000 honorarium for meeting the Stage II requirements of the competition once the final design is chosen. The new National Pulse Memorial & Museum is slated to cost $45 million and expected to open in 2022. The memorial site will be free and open to the public year-round, seven-days-a-week, 24-hours-a-day. For more information on submitting, visit the onePULSE competition website.
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Zumth(ingm)or(e)

Peter Zumthor lightens and shortens LACMA design
Peter Zumthor's office has released new renderings of its new building for the Los Angeles County Museum of Art (LACMA). In this latest update, the building's amorphous "canopy" level still sprawls across Wilshire Boulevard, and several pavilions still connect the upper level to the plaza, but now those pavilions are shorter and do not rise above the upper level. The building's material also appears to have been toned down; previous renderings showed striations on the pavilions' exterior, but now all facades seem to be blank concrete. The building's color has come a long way since the building was conceived as a kind of oil slick, referencing the local tar pits. Originally, the building was a sort of black blob, but over the past couple of years, that color seems to have been phased out. The sprawling elevated floor has remained throughout the project's development. The new building will replace an existing William Pereira–designed structure and is scheduled to be finished in 2023.
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About Face

The Met premieres an annual facades series to spotlight contemporary work
The Metropolitan Museum of Art’s flagship Beaux-Arts facade on Fifth Avenue will soon host art for the first time in the building’s 115-year history. Installing work along the museum’s historic frontage is part of a larger slew of contemporary art exhibitions announced by the institution last Thursday. The move to display new pieces, some of them site-specific, is a clear effort by the museum to fill the void created by winding down its presence at the Met Breuer. It was announced last September that the Met would be vacating the brutalist Breuer building in 2020, only four years after its renovation and rebranding, so that the Frick Collection can temporarily continue to operate there while its flagship house-museum undergoes an upgrade. From September 9 through January 12, 2020, sculptures from Nairobi-born artist Wangechi Mutu will adorn the facade's niches. Mutu’s designs will be the first in a newly-announced annual series of installations along the building’s stone facade, which was completed in 1902 by architect Richard Howland Hunt. Although Mutu's exact sculptures have not been revealed yet, her work has previously used collage to touch on elements of diaspora, African culture, and inequality. Additionally, Canadian Cree artist Kent Monkman has been tapped to create enormous, site-specific new paintings for the museum’s Great Hall, which will be on view from December 19 through April 12, 2020. Multidisciplinary Icelandic artist Ragnar Kjartansson will also premiere Death is Elsewhere, an immersive multi-channel video installation in the Robert Lehman Wing atrium, from May 30 through September 2. Other than marking a shift towards highlighting contemporary and new pieces, the three exhibitions also make greater use of the Met’s building itself to display them. "Artists have long engaged with The Met's collection, drawing connections between contemporary practices and 5,000 years of world culture," said Max Hollein, Director of the Met, in a press release. "These projects are a manifestation of The Met's desire and ability to collaborate with artists and current artistic production in an unusual way. The Met itself, the building, and its public spaces will become temporary platforms for presenting new work, offering powerful opportunities to display contemporary art for our broad audience to experience."
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Sic Semper

Storefront for Art and Architecture's latest show spotlights the infrastructure of tyranny
At what point do urban interventions designed to protect the public shift to stifling their freedoms? How do hostile urban interventions enable repressive regimes to control the public? A new show at the Storefront for Art and Architecture and an accompanying walking tour through Lower Manhattan look to put the physical artifacts of tyranny on display. From March 28 through May 4, State of Tyranny will expand on Theo Deutinger’s book, Handbook of Tyranny. The exhibition will explore the design of tyranny through seven categories, from walls and surveillance cameras, to hostile architecture meant to dissuade public gatherings, to less tangible means of controlling the flow of people and information, such as passports. The shaping of public gathering spaces by big government or well-moneyed corporate interests to head off public protests and dissent is a well-known tactic that State of Tyranny will examine by placing physical artifacts front and center. Videos and detailed descriptions of these objects, which seek to directly or indirectly control human behavior, will supplement and add further context to these items. The Tyranny Trail, a walking tour hosted by artists and activists, will take visitors from the Storefront’s gallery at 97 Kenmare Street all the way down to the World Trade Center Memorial. Every tour will highlight both obvious and subtle methods of control, from concrete barriers to spiked benches meant to prevent the homeless from sleeping on them. The Tyranny Trail serves to remind that many design choices nefariously seek to influence the behavior of the public. A map of the trail will also be posted at the Storefront so that visitors can explore the Tyranny Trail at their convenience.
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In Hot Water

Junya Ishigami's use of unpaid interns draws criticism after Serpentine selection
Junya Ishigami, this year’s Serpentine Pavilion designer, has come under fire after an Architect’s Journal report brought the Tokyo-based Junya Ishigami + Associates’ internship policy to light. A student who reached out to the firm to apply for an internship reportedly told the Journal that they would be expected to work six days a week, from 11 AM to midnight, for free and would have to supply their own computer and accompanying software. The internship would last for 8 to 12 weeks, “or longer,” according to emails reviewed by the Journal. Prospective interns would also be on their own in relocating to Japan and in acquiring a visa. The student ultimately decided not to apply, citing the extreme workload and high price of living in Tokyo. Unpaid internship culture is still pervasive in Japan, but a number of British organizations have come out against the practice, including the Serpentine Gallery. A Serpentine spokesperson told the Journal that they weren’t aware of Ishigami + Associates’ use of unpaid labor and would be looking into the situation. Additionally, they noted that “the Serpentine only supports paid positions on all of its projects and commissions, and is a London Living Wage employer.” This isn’t the first time a Japanese Serpentine Pavilion designer has drawn flak for using unpaid interns. The 2013 pavilion architect, Sou Fujimoto, was accused of doing the same and defended himself in Dezeen, saying that "in Japan we have a long history of interns and usually the students work for free for several periods. It’s a nice opportunity for both of us: [for the employer] to know younger generations and for them to know how architects in Japan or different countries are working." AN has reached out Junya Ishigami + Associates for comment and will update this article accordingly.