Search results for "gensler"
It's Still Rock And Roll To Me
SHoP and Gensler revamp the Nassau Veterans Memorial Coliseum in Long Island
- Keynote Presenter: Hao Ko, Principal at Gensler
- Zachary Aarons, Co-Founder MetaProp NYC
- Daniel Diez, EVP, Chief Marketing Officer, R/GA
- Cindy McLaughlin, CEO, Envelope
- Kerenza Harris, Morphosis Architects
- Jerrod Kennard, Architectural Designer at KPF
- Alexandra Pollock, Director of Design Technology at FXFOWLE
- Robert Otani, Principal at CORE Studio, Thornton Tomasetti
- Joseph Romano, VP Surveying & Mapping, Langan Engineering
- Jonathan Schwartz, Co-Founder + CPO Voodoo Manufacturing
- Zoltan Toth, BIM Implementation Consultant, GRAPHISOFT
- Luc Wilson, Associate Principal and Director at KPF Urban Interface
Big and Tall
66-story tower proposed for Downtown Los Angeles
With the recent wave of corporate office growth, Frisco, a city at the intersection of the Dallas North Tollway and State Highway 121, has seen a number of large developments take shape over the past five years. With Toyota as the most recent and highly publicized to lead the pack by announcing its relocation of its North American headquarters, the area is quickly becoming host to large corporate campuses.
The Star in Frisco, designed by Gensler’s Dallas office, is the first to reach a milestone completion with the opening of the Ford Center, a 12,000-seat indoor field connected to an outdoor Dallas Cowboys’ practice field featuring an expansive glazed curtain wall. With the Ford Center’s completion in 2016, the development has greatly impacted the vitality of the region and the local community. The City of Frisco and the eight schools that make up the Frisco Independent School District will utilize the new Cowboy’s practice facility. “The Star has been a catalyst development for the five billion dollar mile,” said Scott Armstrong, senior associate with Gensler. “Since the completion of the Cowboys’ facility, the real estate development in the surrounding area has gained exponential traction.” Over the next two years, The Star will add an Omni Hotel and additional retail space; a Baylor, Scott & White Health facility will be completed on the remainder of the site.
Other projects are slowly gaining momentum: The $1.5 billion Frisco Station began construction in October of last year. The 242-acredevelopment spearheaded by Hillwood Properties will add nearly six million square feet of new office space with an accompanying mixed-use program, including a 40-acre medical park, 2,400 apartments, 300,000 square feet of retail, and 650 hotel rooms.
Meanwhile, The Gate, a 41-acre luxury development under the direction of Dubai’s Invest Group Overseas, continues to search for investment to partner in the $700 million project.
Wade Park, the largest development of the four, has seen some site work although construction has yet to take place. According to a November 2016 article by Dallas Morning News, the project’s first phase that would feature a large retail component was postponed with completion set for 2018. Its website lists signed tenants such as Whole Foods, iPic Theaters, and Pinstripes bowling.
Just off the Five Billion Dollar Mile, another project provides a contrast to the Mile’s predictable designs. One Legacy West will make a minimalist design statement amongst the horizon. “Given the context we, and our client, the Gaedeke Group, chose to differentiate One Legacy West through an architecture that is simple, ordered, and restrained,” said Mark Dilworth of Morrison Dilworth + Walls. From a 15- by 15-foot column grid, the firm developed a strict logic where the final outcome is a cube in and of itself. The move renders the architecture simultaneously iconic, as it is functional and flexible for the tenants. It is one of the rare, architecturally rich projects in the area based solely upon form. One Legacy West will be complete by mid-2017.
Don't Go Chasing Waterfalls
Sasaki fountain at Citicorp Center may be demolished
I was and am incredibly proud of the work we did on the sidewalks, plaza, cascading fountain, and interior atrium of the Citicorp Center. The response from the public was immediate and strong: they loved it. As the fate of this work is up in the air I cannot help but to return to the original idea that carried through all aspects of the project: the idea of connection. At the time, we asked why not carry the fountain and broad steps all the way from street level; to chapel and atrium entrance level; to the subway level? While it required difficult permitting and multiple bureaucratic maneuvers, it seemed well worth the effort—and it was. It was a first! And today, as I learn that the plaza we designed is in danger of demolition I ask that we consider connection once more. I would like to see the plaza live on, connecting one era of design into the next. Once again, it may take some persistent maneuvering but I believe it will once more be worth it.
Christabel Gough of the advocacy group Society for the Architecture of the City told AN that the Sasaki project has "fallen between the cracks of arcane inter-agency procedures and is not protected. Boston Properties would earn the gratitude of so many New Yorkers by abandoning the demolition plan revealed today."
According to the LPC, the changes put forward by Gensler and Boston Properties were approved by the City Planning Commission prior to 601 Lexington Avenue’s designation as a landmark in December 2016 and that permits to alter the plaza had already been filed with the Department of Buildings (DOB). Despite an extensive search, at press time AN was unable to locate the permits on the DOB's website.At the hearing, preservationists and commissioners raised questions about the missing foundation. "The HDC wishes to express its regret at reports that the water feature may be removed from the space, which seems like an unfortunate loss," said Barbara Zay, of advocacy group the Historic Districts Council. "We would suggest that the LPC retain a seat at the table in discussions for the fate of courtyard by working closely with the owner, and perhaps the MTA, to find an alternative or return this decorative feature which provides an element of civility and whimsy to the space.” Echoing Zay, Commissioner Michael Goldblum expressed regret about the turn of events. "It’s a shame that the plaza will be changed and the fountain lost," he said, adding that the fountain was a "key element of how the public experience this complex." Fellow commissioner John Gustafsson clarified that no decision on the plaza could be made. "We’re not expressing an opinion here because we can’t," he said. The only changes on the agenda then, were to that of the facade, particularly on 53rd Street. Here, a recessed entrance would be eradicated, but the LPC voiced weariness ahead of this decision.
AN asked representatives from Gensler and Boston Properties at the hearing about why they are eliminating the plaza. Both declined to comment.In her closing statement, chair Meenakshi Srinivasan noted that "the Citicorp Building has a long history of changes... We recognized that these spaces will continue to change." She concluded that the proposed modifications were consistent with the building's history, and retained the spirit of the original design intent, particularly with the building's zoning history in mind. Prior to granting its approval, the LPC suggested that the proposed changes to the recessed entranceway be reconsidered. But questions remain as to why a plaza so integral to the landmark is beyond the LPC's oversight in the first place. AN will keep readers updated on this story as it develops. Update 3/22/17: This article originally stated that Sasaki's plaza was not included in the building's December 2016 landmark designation. It was in fact included in the designation. The post was also updated to include clarifying information about the plaza's jurisdiction and additional background on the statement of regulatory intent. The text was updated to reflect that Sasaki Associates principal emeritus Stuart Dawson designed the fountain.
The board of directors for the Lucas Museum of Narrative Art (LMNA) recently chose Los Angeles as the latest—and potentially final—site for its troubled museum proposal.
The decision marks the third attempt by the LMNA museum board to find a location for the nearly $1 billion museum—resulting in multiple design schemes by MAD Architects. The LMNA will house a growing and expansive collection of graphic art, including works by Zaha Hadid, Edgar Degas, and Pierre-Auguste Renoir, among others.
MAD Architects’ initial designs for a site north of San Francisco were rebuffed in 2015 after community outcry. The LMNA team made a try for a site in Chicago in 2016, only to eventually scrap the plans in the face of fierce opposition to the project’s proposed location on the Chicago’s lakefront by a local community group. Most recently, LMNA’s board made parallel pitches for two sites in California: one on San Francisco’s Treasure Island and another in L.A.’s Exposition Park.
L.A. won out this round, gaining another cultural amenity for a site already home to the Los Angeles Memorial Coliseum, California African American Museum, California Science Center, and the Museum of Natural History of Los Angeles County. The new museum, if built, will also be located along the city’s Expo Line light rail line, and will help—along with a forthcoming Gensler-designed Los Angeles Football Club soccer stadium—extend a leg of transit-oriented development from a growing entertainment and hotel district in the South Park neighborhood nearby to one of L.A.’s core working class neighborhoods.
In announcing its decision, the Lucas Foundation’s board of directors extolled the virtues of the urban park and its surrounding neighborhood, saying in a statement: “While each location offers many unique and wonderful attributes, South Los Angeles’s Promise Zone best positions the museum to have the greatest impact on the broader community, fulfilling our goal of inspiring, engaging, and educating a broad and diverse visitorship.”
In an effort to preserve the park’s green spaces, the selected scheme will include public open space on its rooftop. Renderings for the proposal show the curvaceous museum located in a leafy, park setting topped with tufts of greenery. The museum also appears to gingerly touch the ground by coming down in a series of large, discrete piers.
It’s still unclear what sorts of developmental hurdles the museum will need to surpass prior to construction, but the project clearly has a fan in L.A. Mayor Eric Garcetti, who after learning of the decision, remarked to the Los Angeles Times, “It’s a natural place to have this museum in the creative capital of the world and in the geographic center of the city. It’s a banner day for L.A.”